After child-birth in 1968, artist Mierle Laderman Ukeles became a mother/maintenance worker and fell out of the picture of the avant-garde. In a rage, she wrote the Cambridge, and the Ayalon Park in Israel. She has completed 6 work ballets with workers, trucks, barges, and hundred of tons of recyclables: in NYC, Pittsburgh, France, Holland, and Tokamachi, Japan. Recent and forthcoming exhibitions are a one person show in the Feldman Gallery Booth at the International Armory Art Fair in NYC, WACK! Art & the Feminist Revolution, at the Los Angeles Museum of Contemporary Art, and the Sharjah Biennial 8, United Arab Emirates. The unsalaried Artist In Residence in the NYC Department of Sanitation for 30 years, she is represented by Ronald Feldman Fine Arts in NYC. Often a visiting artist, she will teach at Yale in the sculpture department in 2007—2008. She has received multiple awards from the National Endowment for the Arts and the NY State Council on the Arts and support from the Guggenheim, Andy Warhol, Joan Mitchell, and Anonymous Was a Woman Foundations.
ripped right from her web site: Brooklyn Museum: Mierle Laderman Ukeles.
I’ve been inspired by her imaginative work on sanitation since first hearing in a book how she shook hands with all the sanitation workers in New Yourk city. And I think the work still has resonance, a path well warn. There are AI’s who could use some of her guidance. And with it the potential to liberate us onec again from the grim, again.
yours in the struggle,
“Accessible housing in Kingston is in short supply. The Accessibility for Ontarians with Disabilities Act outlines regulations for ensuring that public spaces are accessible; however, it does not require landlords or rental agencies to provide accessible accommodations. When Lisa was searching for an apartment in Kingston for the first time last summer, her first barrier was being able to find an apartment that simply claimed to be accessible. However, although some apartment listings have a check box indicating whether or not an apartment is “accessible,” accessibility is a term that is poorly defined. For those who have not been affected by physical accessibility issues, certain aspects of a building’s infrastructure simply do not register as barriers. After confirming with landlords that there were no stairs, Lisa would often arrive to learn that there were steps, and as Lisa explained, “Even one step is enough to keep you out.” Here is a link to a video clip that Lisa recorded as part of her art practice which illustrates an issue of accessibility that is a regular part of her life.””
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Sins Invalid recognizes that we will be liberated as whole beings—as disabled, as queer, as brown, as black, as gender non-conforming, as trans, as women, as men, as non-binary gendered— we are far greater whole than partitioned. We recognize that our allies emerge from many communities and that demographic identity alone does not determine one’s commitment to liberation.