Art in Our Times, a poem

Art in Our Times

Piss poor excuse for a joke,

All the un-ironic irony in real life.

I have always said it,

Life is a parody of the self,

We live in Chaplin’s Modern Times,

We are the machines,

And the proles.

We are wheels,

Turning and obedient to the driver,

Circle after circle,

Loop after loop.

Never changing,

Always moving,

Who are we, you, I?

Identity in these times,

Matches no other,

Identity in the past,

Must be laid to rest.

People are tired of cliches,

They need new ones,

New tropes,

New motifs,

New characters.

We,

The artists,

The writers,

The workers!

We must create something new.

We must not merely express our times,

We must change them.

What are the times we live in?

What will our era be called?

What can one do?

to help,

to change,

to move forward?

What can one do to stop the delay?

So that art,

and liberty,

can save us all.

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Wanna Be Socrates, a poem

Dull, now babbles some

wanna-be Socrates.

A Plato of the non-

existent preverbal page.

An awkward stammer

and pause gone about

with forced emotion.

So forced that it has no force,

no power,

gone and now at rest,

deserving non of its fake praise.

Lofty lust, and more incoherent

babbles and rambles in the name

of some forgotten crackpot

pipe dream.

Again this “philosopher” speaks,

and the actual teacher wretches in the corner,

excess is the key word

of the wanna-be Socrates.

Soul and Pain, a poem

Soul and Pain.

Here we are again,

A dying planet and a line of willful morons

Humping their hands while complaining about the better sex.

No game, and they won’t shut up about it.

Our so called leaders are afraid to lead

Because they might not be leaders anymore if they do.

Complacency is safer than action only if you’re rich.

Sex and violence and sexual violence.

Two souls comrades butchered in the streets.

Lynchings protected by badges and city hall.

Soul and pain.

21st century lies and truth.

Soul and pain.

Soul and Pain, a poem

Soul and Pain.

Here we are again,

A dying planet and a line of willful morons

Humping their hands while complaining about the better sex.

No game, and they won’t shut up about it.

Our so called leaders are afraid to lead

Because they might not be leaders anymore if they do.

Complacency is safer than action only if you’re rich.

Sex and violence and sexual violence.

Two souls comrades butchered in the streets.

Lynchings protected by badges and city hall.

Soul and pain.

21st century lies and truth.

Soul and pain.

Cruel Reality, a poem for our times

Cruel Reality

A classic song screams out through my radio,

“We won’t get fooled again!”

Unless we don’t pay attention in history class,

Or worse, when we don’t bother to ask any questions.

Yet soft,

Do not let your words enable “deconstruction.”

Fight on weirdos, fight on freaks,

Fight on.

Stanza 2, the part where the poet keeps rambling,

Not this time.

My poems are no longer mine,

No longer for me,

No longer needing to be justified or validated.

Poetry itself is justified.

Does the president get it?

Of course not,

Evil is as evil does.

Evil has no humanity,

Do not appeal to where there is no court.

Why do so many legitimize evil

by doing nothing?

Denial, easy to do

when ICE or the B.I.A isn’t kidnapping your child

and beating up your grandmother.

Brainless professional bootlicks

and we give them badges and parades.

If they failed at high school football

why trust them with the law?

Cruel reality, not everyone is on your side.

Cruel reality, our lenses can be skewed

and skew our view.

Cruel reality, people are not always what they seem.

I could go on for days about this world’s cruel reality.

And I will.

I need to.

Cruel reality, an idea is an idea in of itself.

It’s all inane, but it’s all very interesting to.

Both?

Yes, and neither.

Confused yet?

Good. That’s step one.

The next is controlling

channelling

the inevitable frustrations.

Your microwave will kill you

faster than a diseased box

and the cops are bloodthirsty.

Long live reality T.V.

Max Headroom was no metaphor,

Tangent words begin again

reps and senators

Hot sex live 24/7

And the millionaires whine more about it than we do.

That’s nice but please sir,

Please master,

May I have some more?

No, well, can I have my life back?

No?

Can I at least live?

No.

Why are the puppies begging eyes

only effective when they are blue,

not brown?

Enjoy cable?

iPhones? Wifi?

And all the other masturbation aides?

Well, congrats jerks,

While you were hate tweeting about whatever it is,

Tyrone got shot,

Maria was deported,

And Mohamed is stuck in LAX.

Good luck replacing all three.

Flags make good cum catchers,

And even our soldiers are tired of being props,

Sick of being human flag poles.

Don’t use the used to justify you.

Facts to suit theories not theories to suit facts.

Have I limited myself?

Is grammar so important?

What do order and style

have anything to do with truth?

When did “MAGA” become “Zig HEIL!”?

It always was.

A big, round planet

that no empire could ever keep covered.

Caligula had to come sometime

but a horse in the senate would be fitting

since it is already full of jackasses.

Thank you good night!

You’ve been a great crowd!

Don’t forget to harass the waitress on your way out.

Cruel reality,

Integrity can fall short,

And supremacy hinders the so called “supreme.”

Cruel reality,

Proustian memories triggered not by a cookie, but a beer,

A familiar scene, my local pub and brew.

A dad trying,

A bored teen,

A hungry young sister,

Convinced she “isn’t hungry daddy!”

It is her standing rock, she will not be moved.

A sweet scene, tainted by the world it exists in.

Cruel reality,

Not everyone on the same side

is actually on the same side.

Cruel reality,

One man can destroy democracy.

One can always interfere,

But one can never stand in the way of truth.

Cruel reality for them,

The truth is always there,

And will always haunt them.

Cruel reality,

We can never be free from the haunt of memory.

Nation captive to nation,

The profit in pain.

Cruel reality,

Kids don’t care about the carbon-dated world

of colas and silver screen stars.

Should they?

A question for the philosophers, not the poets.

Cruel reality for the enemy,

Is that the game is a state of mind.

But the game ain’t saying nothing.

Today the masses say it,

Cruel reality for the enemy,

The eye of integrity,

Karma and big brother

Are on them like never before.

Cruel reality for the enemy, but we all got game.

Cruel reality, what is happening here

Is perfectly clear

And it always has been.

Cruel reality,

Racism is not just for the racists,

But even the “good” people.

Cruel reality for me,

Though frustration is real

The tedium of this world,

The pain and suffering

Is more real than ever today.

Cruel reality, that isn’t too cruel when you think about it,

But the time, the chance, to step back,

And give others a space, a time, a home.

Cruel reality, pretty blond pornstars

Have gone political,

And trust me when I say

It isn’t pretty.

Cruel reality.

Cruel reality.

Cruel reality.

Won’t someone pass me a pill

Since joints are a sin?

Pass me a pill so that I may sink

So that I can forget

So that I can ignore these days,

This era,

So that I can ignore

our cruel reality.

What is Socialist Art?

It is very true that one cannot always go by the principles of Marxism in deciding whether to reject or accept a work of art. A work of art should, in the first place, be judged by its own law, that is, by the law of art. But Marxism alone can explain why and how a given tendency in art has originated in a given period of history; in other words, who it was made a demand for such an artistic form… – Literature and Revolution, pg. 150

Recently I was attempting to answer the question,”what is socialist art?” as a theoretical response to Trotsky’s Literature and Revolution. I had just finished the book and was working on a piece that would be an attempt to expand his application of a Marxist lens towards the arts by contemporizing it for socialists here in the 21st century. Originally I started off with the question, “what is socialist art?” However I found that I could not answer the question until I answered a more pressing one, “what is arts place in the Revolution?” Since I have now established that art indeed has a place in Revolution with my previous blog post, I will now attempt to answer my original question. What is socialist art?

Arguably Trotsky’s Literature and Revolution is the most influential piece of Marxist literary theory. It was arguably the first application of Marxism towards the arts and it paved the way for the likes of Terry Eagleton. Communists such as myself who came to leftism through their study of literary theory owe the existence of their Marxist lens to this text.

Although it was written almost a century ago, Literature and Revolution still provides us with two central principles that can be applied if we are to look at art through a socialist lens. In order to determine, “what is Socialist art?” we must look at art as socialists. It should be noted that the terms Marxist, socialist, communist, and leftist are used interchangeably in this piece, as they are in most of my work. It should also be noted that Trotsky uses the term “proletarian art” as opposed the term “socialist art.” In this piece the terms will be used interchangeably because art that is inherently proletarian is art that in-turn inherently socialist.

Literature and Revolution offers use two principles that can be used to determine what is socialist art. The first is that the proletariat are capable of understanding art, and that it is the bourgeoise who have controlled the economy of art, but their control does not mean the proletariat are not interested in art.

In addition to that, Trotsky’s work demonstrates art, like anything in historical dialectics, are subject to the economics of its time and place and therefore serves as a reflection of history and culture from where the art comes from. Therefore proletarian art will reflect proletarian culture. Trotsky argues that this proletarian culture needed to be developed by the proletariat after Revolution was achieved. However this is not so today. Unlike Trotsky and the bolsheviks who were rebuilding a culture from scratch, there is already a rich existence of anticapitalist traits in contemporary art.

Proletarian art is one that is reflective of the proletariat in the time and place they exist. Whereas bourgeoise art is always indulgent for the sake of indulgence proletarian art is always one that is expressive. Consider the artists who create for arts sake versus the working class artists who produce art not for profit but for the sake of their own self expression, or for the reclamation of their colonized culture.

Jeff Koons and Damien Herst are more likely to produce indulgent and pretentious sculptures for the sake of a high price tag, whereas a Chicano or Chicana street artist is likely to graffiti a mural to express their outrage over their coopted or ignored cultures. Another fine example of anti capitalism in art is the legend of Banksy, a person who shreds his art if it ever appears for sale at Sothebys. Proletarian art is art that rejects the bourgeoisie or the racist patriarchy they uphold, rather than cater to them.

However what is most important to consider is the amount of people who draw, write poetry, blog, make videos, jam with friends, all without seeking a profit. The fact that art is a form of therapy, a form of community, a form of cultural reclamation, a form of resistance, and a form of self expression demonstrates that the masses, and therefore the proletariat, are both interested and capable of being involved in the world of art. Therefore the “art world” should not be controlled by a single class but should be something that benefits the collective.

Proletarian art is about radical self expression, bourgeois art is self expression to appease an already affluent class. Proletarian art is not just self expression of an individual artistic proletarian but rather it is a self expression that rejects bourgeois influence and the oppressive systems within that influence. Art that rejects the bourgeoisie and the systems of patriarchy, white supremacy, and imperialism are all arguably manifestations of socialist art.

Bourgeois art however is expressive of the artists individual politics through its indulgence. To put it plainily, art for arts sake is art that is art that accepts the status quo. Since the status quo is one of oppression, indulgent bourgeois art is art that is complacent with oppression. For example the art of the impressionists, while technically masterful, were created to appease a petite bourgeois art world. In Literature and Revolution Trotsky points out that while bourgeois artists are often obsessed and even mystify the peasantry, they ignore the reality of their industrial proletarian neighbor. “Our old literature and “culture” were the expressions of the nobleman and the bureaucrat, and were based on the peasant.”(pg 30)

In other words bourgeoisie artists romanticize elements of the working class but refuse to incorporate the reality of their struggle into their world. This is still true today and can be seen in the bourgeoisies co-opting of street art and graffiti art.

Street artist Bansky hid a shredder in this frame and activated it when his piece sold for over $1 million at Sothebys in 2018

Proletarian art is also art that is created in response to the bourgeoisie power and all of its manifestations, whether it be colonization, patriarchy, or the overall class system. The murals of Malcom X, Martin Luther King Jr, Harriet Tubman, Zapata, Caesar Chavez and Dolores Huerta that grace the walls of buildings in Compton, Watts, East LA, Oakland, and South Sacramento are all examples of the modern working class using art to fight bourgeoise oppression. Indigenous and African artists who are keeping the arts of their colonized people alive should be welcomed as socialist art as well. The fact that art is used by so many for so many different purposes reflects the truth that the proletariat are both capable and interested in the intellectual properties of art.

There is also the agitational element of political street art like Banksy’s or in the cultural expressions of non white street artists. There is also the agitational effort we see in feminist art. Art that puts the reality of sexwork or the reality of attacks on women’s bodies should be included in our definition of proletarian art as well, for women are the most exploited of workers and any art that reflects that reality is inherently a rejection of the bourgeoisie definition of art. The same goes for art produced to agitate and express the realities of being trans, non binary, or gay. All art that is born out of a rejection of capitalist oppression must be included in our definition of proletarian art.

Fridha Khalo’s “Henry Ford Hospital, 1932”

If socialist art is art that rejects the bourgeoisie’s control of art, then socialist art should elevate oppressed cultures and people. This is because art is a reflection of the times and place it is produced no matter what. Considering we live in explicitly racist, sexist, transphobic, and queer-phobic times, proletarian art should both reflect that and reject the status quo that enables these cultural constructs of capitalism. There is also the reality that art and cultures have always been around but all in someway or another all cultures and art forms have been forced to respond to capitalist oppression. That is proletarian art, black poetry slams, indigenous art, street art, or any art that exists because of a rejection of the capitalist status quo.

Unlike Trotsky in the USSR we do not need to re-define art we need to use it to elevate our working class. We simply must reject the notion that the art we put up in galleries and museums to honor famous artists is the only manifestation of art. All we need to do to determine “what is socialist art?” is to bring in the arts that have already been born out of their rejection of capitalism. This is not only possible but it is already happening, artists have been creating to reject capitalism even as Trotsky was writing Literature and Revolution over a century ago, what has not been attempted is a general contemporary categorization of socialist art. However even Trotsky himself pointed this out in the text;

“themes migrate from people to people, from class to class, and even from author to author. This means only that the human imagination is economical. A new class does not begin to create all of culture from the beginning, but enters possession of the past, assorts it, touches it up, rearranges it, and builds on it further. If there were no such utilization of the “secondhand” wardrobe of the ages, historic processes would have no progress at all.” – Literature and Revolution pg 149

In conclusion, the proletariat are already creating their own art for means of self expression, political agitation, therapy, and cultural resistance. Whereas Trotsky’s Revolution had to create a proletarian culture, today a proletarian culture already exists in the numerous oppressed peoples under contemporary capitalism. Therefore our proletariat art is the art of our oppressed masses, of people who have either been denied their culture or denied access to the culture created by the bourgeoisie. Socialist art can be any medium, but it must either be about reclaiming culture or rejecting the oppressive pillars of capitalist culture. So the ultimate answer to my question, “what is socialist art?” is art that actively works to reject capitalism and the oppressive structures that capitalism brings.

What Is Art’s Place In The Revolution? An Essay

I was in the midst of writing a new essay for this blog titled “What is Socialist Art?” which is going to be a review and response to Leon Trotsky’s Literature and Revolution. The book offers an incredible degree of insight into what the effects of class revolution can be on poetry, literature, and art. As I was beginning to write my essay another question arose, and the more I tried working on my original question the more this other question gnawed at the back of my mind. This question needs to be answered before I can properly answer my first one. The question “What is socialist art?” cannot be answered until we solve another riddle, “What is art’s place in the revolution?”

Since April is National Poetry Month and I think this is the perfect time to address this topic. I have written multiple poems about art and revolution and in conjunction with National Poetry Month they will be published here in the coming weeks. This article is my humble attempt to answer the question “What is art’s place in the revolution?” with the same socialist lens that Trotsky applied to poetry and painting in Literature and Revolution, my poems shall be the praxis form of my theory. It should also be noted that the terms Marxist, socialist, leftist, and communist are used interchangeably in this piece of dialectic, but enough jargon for one paragraph!

Art clearly does have a place in the revolution because revolution is nothing more than the overhaul of society, not the abolition of society itself but the abolition of the society as we have come to know it. Art, as most Marxists would interpret it, is a key historical reference used in our analyses to help us define the class relations of the society where that art was produced. Art is always a product of it’s time and place and therefore inevitably has a place in times of upheaval and revolt. Art has a place both in the overhaul of society and use as a reference when discussing or reflecting on that society or the progress towards that society.

Art in the time that Trotsky wrote Literature and Revolution was significantly more conservative than today. Literature and Revolution was written in the early 1920’s when “the arts” were understood to be theater, poetry and novels, painting and sculpture, and architecture. Film was just coming into it’s own as an artistic medium and the radio broadcasts which later evolved into television were just starting. Literature and Revolution was written almost a century ago, and within that century the number of mediums of art have exploded in addition to film and broadcast mediums. In addition to what we might call the “traditional arts” we now have graphic design, 3D printed sculpture, street art and graffiti, and an endless list of music genres or painting styles. This is a self evident aspect of art, for while it is a reflection of its time and place art itself evolves and grows on its own terms. The laws of art are different from other natural laws because of the difficulty, if not impossibility, of categorizing them completely. Art is its own entity and the explosive growth of artistic mediums in the last century reflects that.

So the question “What is art’s place in the revolution?” requires us to answer not just for a handful of artistic mediums, but an entire dimension in of itself. While we can study art through the Marxist theoretical lens, we can only understand it through the lens of art itself because art exists within it’s own natural laws. So within the context of looking at art through a socialist revolutionary lens and acknowledging that because art is so autonomous this list can in no way be totally conclusive, it can be argued that art has at least three places in the revolution. They are agitation, the fostering of democratic participation, and subversion.

Agitation

The whole point of agitation is to foster debate so that revolutionaries may educate the classes they seek to organize and inturn motivate into action. Art has always shown it has the power to foster debate and motivate people into action, for better or worse. There are several examples in history that record people getting into fist fights, even rioting in the streets, as a reaction to artistic endeavors.

Consider the composer Igor Stravinsky and the stories surrounding the debut of his ballet the “Rite of Spring.” While the accounts of the event vary in their details about the severity and violence that broke out, the overarching detail of all accounts is that there was a violent reaction to the performance by the audience. The ballet caused fights to break out when it premiered in Paris because of the divided audience reaction. You either loved or hated the performance and would fight to defend your view, there was no middle ground for the Parisian’s who attended the legendary performance.

By modern standards a fight over a ballet performance seems trivial and unlikely, but what the mythos of Stravinsky’s Rite of Spring demonstrates is that art can foster massive reactions by the public, even to the point of violence. It also demonstrates the power that art has to foster debate and how far that debate will go.

One must also talk about the world’s most influential medium of art to come out of the century since Trotsky wrote Literature and Revolution , film. There are too many controversies surrounding film to list. There is the christian conservative reaction to Martin Scorcese’s The Passion of The Christ. There was ongoing debate in the christian community about how to properly follow and celebrate Jesus when The Passion of the Christ came out. There is the debate about casting diversity and exclusion of trans actors or non white actors for trans and poc roles. There is the ever growing list of actors, directors, and producers who have permanently fallen from grace in the public’s eye as the Me Too movement unfolds. The industry behind the medium of film is so forward facing that it inevitably fosters, and at times even guides, our public dialect. This was true when the Birth of a Nation was released and it is true today.

Allen Ginsberg’s obscenity trial for his public readings of his magnum opus “Howl” is another example of the incendiary nature of the arts. A poem going into vivid detail about drug addicts, poor black neighborhoods, and sexual perversion was shocking for all of America in the 1950s. After years of being ignored the arts gave the dark side of America a spotlight and the conservative capitalist establishment reacted to the poem with censorship and one of the world’s most historic indecency trials. Whether the message of the artistic piece is positive or negative does not effect the incendiary nature of art either way. People heard Ginsberg’s poem and reacted either with amazement or disgust, a sense of disgust which drove many in power to support a very vocal public trial. The trial and the debate about decency in art that came of it is yet another example of how art can and is utilized for agitation. If the capitalist class is so offended by your work that they arrest you for it, you have done something right.

While all of these examples differ in their messages and their politics, the reaction to these pieces are all the same. We see both excitement and anger from the audiences. We see people take action and we see people react to the actions thereof. We see people who are either shocked out of complacency and relieved because of it or they are shocked out of complacency and reactionary. This is the ultimate purpose of agitation. To shock people out of complacency and foster a space for debate, which in-turn fosters democratic participation.

To Foster democratic participation

From agitation we move on to the topic of democratic forums, an essential part of revolutionary organizing. Art allows platforms for people who might otherwise be oppressed or marginalized or flat out ignored by our inherent tendencies to erase certain people. What does this mean in the simplest of terms?

Well to put it plainly, some people might speak up for themselves more through poetry or painting than in democratic forums or dialectical conversations. Consider the popularity of poetry slams and open mic nights. There is also the ancient cultural arts we see being practiced by Indigenous communities, as well as African, Latin, and Asian ones, which are attempts to reclaim what had otherwise been a lost or colonized way of life. The reclamation of culture is a revolutionary act, and some would prefer to focus on reclaiming lost culture than sit through meetings to debate and vote on organizational matters.

Some people might just be more introverted and not confident in their abilities to speak up, often times a person will have an opinion on a topic but does not feel ready or comfortable sharing it in that setting. Where some people might not speak up at a meeting, for whatever reason, they might be likely to express themselves through the reviving of their culture or through a poem shared with other like minded poets.

You might be more likely to hear someone’s point of view at a poetry slam than at your committee meeting. You might see more of the Indigenous perspective in a Navajo sand painting than in a conversation about the Indigenous. You might learn more about the experience of being a person of color or an immigrant in a piece of street art than in a debate on a resolution.

These mediums of art and the perspectives they offer do not have to be stand alone, nor be separate from democratic action. These pieces of art and expressions of culture can foster further conversation. The conversation and perspective generated by people’s reactions to them can in-turn be channeled into our democratic organizations. Art’s place in the revolution includes the reclaiming of colonized cultures and creating avenues of self expression that cannot be achieved in procedural matters alone, socialists and the left need to make sure there is a place for this in our organizing. Art and expression of culture fosters thought, thought fosters conversation and debate, that debate needs to be apart of our overall democratic procedure to insure the widest participation possible.

In other words, art is good for democracy, period.

Subversion

In the realm of political subversion and art, no medium has been used more in the last 30 years than street art. Street art is a prime example of how subversive art can be a tool for revolutionary organizing.

It is impossible to visit an area that is both predominately poor and non white and not see a galleries worth of street art on at least one building. One sees murals to black leaders such as Malcom X, Angela Davis, Harriett Tubman, Cesar Chavez, Zapata, and Dr. King throughout the neighborhoods of Compton and East Los Angeles. We must also not forget the popularity of street artists such as Plastic Jesus, Blackhat, and the legendary Banksy all of whom to some degree or another are political and subversive. While these are contemporary street artists we must remember that graffiti is nothing new to political expressionism. Since the 1970s and 80s, artists such as Keith Herring and Basquiat were forcing the streets of New York to face tragic political realities with their messages about black lives or the AIDS epidemic. All of these are artists who either reject the bourgeoise galleries or who have been rejected by them still create and they create their art to be seen by the masses for the sake of educating people about the reality of oppression or expressing the pain that the artist has either witnessed or experienced due to that oppression.

Yet subversion in the arts is not exclusive to our modern mediums, it is nothing new to art. There is a rich history of subversion in the traditional arts as well. Consider Voltaire, he was ever the subversive with his tale Candide essentially serving as a farce about the standards and practices of the bourgeoisie of his time. If Voltaire had just come out and said “Fuck you, you greedy entitled mother fuckers!” he would have been killed. Instead he crafted a novel where a man wanders the Earth and finds cities that treat gold like we would a piece of scrap paper.

Another example of the power of subversion is the popularity of Boots Riley’s “Sorry to Bother YOu.” Riley does not simply come out and say, “Organize your workplace! Overthrow the capitalists!’ (save for his twitter account of course). What he did was create a film that is the equivalent of Get Out meets an Adult Swim show and the result is a pro union call to action not seen in film since Norma Rae. All of these examples are important things to consider as the capitalist establishment works to censor us and whip up another red scare.

The truth is that the more the left succeeds the harder our opposition will come down on us. Be aware my fellow comrades, a wave of sabotage and censorship is already coming our way. We are already seeing the ground work for a new red scare in the current administrations obsession with Venezuela, and on a personal note I have lost count of how many Trumpers have called me a “filthy communist.” The terrors of censorship are already beginning, let us not forget that TeleSur has already been deleted from Facebook multiple times without reason. Sex-workers have been deplatformed to the point where they are facing more violence than ever before. The Washington Post, the paper owned by billionaire Jeff Bezos, are releasing record breaking amounts of negative op-eds about Bernie Sanders much like they did in 2016. Make no mistake, the groundwork for the new censorship of the left and our base has already been laid out before us and it will only continue to grow until the capitalist class is defeated.

The more we succeed the more they will make moves against us. We will need to be creative about how we communicate our message of organization and revolution to the public. Arts, of all mediums and dimensions, from film to street art, allow us our avenues for subversion where we might otherwise be censored, ignored, or deleted.

Conclusion.

So, what is arts place in the revolution? Aside from elevating the voices of the colonized and the most oppressed classes by giving them avenues to reclaim culture, it can be a tool we use to agitate the public and shock them out of the complacency that capitalism brings. Art can foster democratic discussions that might otherwise be lost in the ether of ingrained social constructs or practices. Art gives us avenues to combat censorship and oppression, and more importantly allows us a forward facing avenue for presenting our message to the world. While we cannot make a conclusive list because of the never ending growth of artistic mediums what we can say is that art has a definite place in the revolution.

Perhaps now my original question, “What is socialist art?” will be a little easier to answer.