jes sachse, the agitative-propagandist

Living under these conditions has made way for disabled artists to author their experiences by reflecting on the infantilization and fetishization of disabled narratives. This torrid history has resulted in the blossoming of a twenty-first-century crip aesthetic that is steeped in overt political reclamation but has been co-opted by a wider art landscape that demands hypervisibility of disabled artists — which, once again, serves capitalism. Within this context, the political act of “cripping” or “queering” the status quo becomes even more important within disability arts, as it functions to critique/manipulate/probe the by-products of a socio-economic system that routinely fails disabled people.