A history of 1960s activist art group Black Mask. With Up Against the Real, Nadja Millner-Larsen offers the first comprehensive study of the group Black Mask and its acrimonious relationship to the New York art world of the 1960s. Cited as pioneers of now-common protest aesthetics, the group's members employed incendiary modes of direct action against racism, colonialism, and the museum system. They shut down the Museum of Modern Art, fired blanks during a poetry reading, stormed the Pentagon in an antiwar protest, sprayed cow's blood at the secretary of state, and dumped garbage into the fountain at Lincoln Center. Black Mask published a Dadaist broadside until 1968, when it changed its name to Up Against the Wall Motherfucker (after line in a poem by Amiri Baraka) and came to classify itself as "e;a street gang with analysis."e; American activist Abbie Hoffman described the group as "e;the middle-class nightmare . . . an anti-media phenomenon simply because their name could not be printed."e; Up Against the Real examines how and why the group ultimately rejected art in favor of what its members deemed "e;real"e; political action. Exploring this notorious example of cultural activism that rose from the ruins of the avant-garde, Millner-Larsen makes a critical intervention in our understanding of political art.
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