"The aesthetics of politics is such that the sensorium is organized according to who does or does not have a legitimate claim to a share of what is common to the community. While certain subjects are marginalized to the point that they do not count as individuals with a voice and a stake in that sharing, others only acquire personhood in relation to their illegality, according to their transgressions.
An articulation of that wrong can be seen in Untitled (Tenderloin, November 2009), a video by artist Alex Wang. This short video is a series of vignettes in which the artist, who recently moved to San Francisco’s Tenderloin district, dons a paper wolf mask while violating 30 state, federal, and city laws, including possession of a switchblade, playing ball in the street, public consumption of alcohol, and the possession of a flammable balloon. In the context of the Tenderloin—a district most frequently associated with sex work, ubiquitous drug use, and a transient population composed of homeless people as well as indigent and immigrant workers—the act of breaking these and other such laws measures the gap between the ways legitimacy and legality are assigned to populations. In addition to laws “which most of us transgress on a daily basis,” Wang chose to break those “explicitly directed at the disenfranchised … laws so absurd as to question the basis of their existence.”  Indeed, public urination laws disproportionately apply to individuals who, to use a turn of phrase, don’t have a pot to piss in. Similarly, obstructing a sidewalk and the illegal disposal of “residential trash” are relatively easy to do for those individuals who are forced to constantly carry all of their possessions on their person.” (read more)
“They are also expelling the performance artists, the poets, the muralists, the activists, the working-class families — all these wonderful urban tribes that made this neighborhood a very special neighborhood for decades…One day…they will wake up to an extremely unbearable ocean of sameness.”—Art Practical contributor Guillermo Gómez-Peña nails it in the most recent piece to publish on the effect of the tech industry in the Bay Area (via New York Times) —> http://nyti.ms/1ekN0em (via artpractical)
“If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual is as much a work of art as any finished product. All intervening steps – scribbles, sketches, drawings, failed work, models, studies, thoughts, conversations – are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product.”—Sol LeWitt, ‘Paragraphs on Conceptual Art’ (via violetismmsiteloiv)