Sue Simensky Bietila

The visual arts must be part of intellectual discourse. Art must not be primarily a commodity, but a means of communication. All my life the mainstream art institutions have erected hypocritical barriers separating politics from art. I welcome the opportunity to collaborate in the historical task before us -- breaking through those barriers. 

I was born 1947 and grew up in a housing project past the last subway stop in Brooklyn. Won a scholarship to the Brooklyn Museum School art classes out of kindergarten -and went to the H.S. of Music & Art. I was recruited by an elite Ford Foundation program at Brooklyn College as a math/science prodigy to beat the Russians to the moon. Switched to a painting major after one semester. 

As the Free Speech Movement began, I found myself at the center of protest activity and joined SDS in 1965. Did art work in leisure moments between leafleting and organizing demonstrations against the draft during the the Vietnam War. Went to Amsterdam and lived with the anarchist provos in 1966 and discovered the underground press. Back in New York went job hunting. Was rejected by The Rat for being female. Hired by The National Guardian, then the pre-eminent anti-war newspaper and did illustrations and covers during the height of the anti-war years. Then jointed the women who seized The Rat and made it one of the first womens' papers. Helped create the 2nd wave of feminism. Also did artwork for other groups, like the poster for the Yippees above. Participated in guerilla theatre actions like taking over of the Bridal Fair as told in World War 3-Illustrated #30.

 I started to do artwork seriously again in the 1980s. Did a lot of street theatre against US wars in Central America. Went to grad school and did printmaking and photography in the 90s and figured out a lot more about metaphor and symbolism. I  had photos and prints published in The Progressive, Cream City Review, Art Muscle. I exhibited in juried shows like University of Toledo's- "Fun with Dick and Jane" ( about the construction of gender) as well as politically themed shows in the US and Canada, including the Mumia 911 shows. I had been photographing street theater since the late 80s and have recently documented the Active Resistance convergences in Chicago '96 and Toronto '98 as well as numerous local actions. I was delighted to meet the folks at the Fifth Estate paper in Detroit and World War 3  Illustrated in New York as well as the wonderful folks who have been making the giant puppets and masks for the anti-globalization demonstrations. 

At present I have been doing artwork for the movement against the Crandon Mine in Wisconsin (a broad coalition of environmentalist and indigenous rights groups, farmers, union activists, even hunters and fisherman) and doing stories for World War 3 Illustrated. Art making can be kind of isolating. I have been cheered by the artists who made this show happen. I look forward to meeting all of you and the many more who we will meet as the show travels.

contact: agitartgal@hotmail.com