How to Start a Revolution

about Packard Jennings

If you’re a little bored being stuck at the office, maybe because you feel like your days aren’t going anywhere and you still have so much energy, life and creativity inside, this is just a small, sixteen-page instructional pamphlet to put inside the postage-paid, business-reply envelopes that come with junk mail offers, and mailed back to the company of origin. A way as any to start a revolution.

Packard Jennings is a multi-disciplinary artist who uses appropriation, humor and interventionist tactics to explore the dynamics of public spaces and to address political and corporate transgressions against public interests. Over the past twenty-five years he has built a practice that employs interventionism, conceptual work, performance, collaboration, and social practice to engage the public and semi public spheres. He combines these contemporary methods while incorporating the more traditional mediums of sculpture, illustration, installation and video.




Born in Oakland, CA, Packard moves freely between entertainment, activism and artistic practice and subverts familiar tropes — be they in consumer products, film narratives, or performance characters. He strongly believes in sharing tools and skills with others to affect positive social change. His website is a user generated, D.I.Y. website of projects for protest and creative dissent that encourages anyone to share step-by-step instructions for dissenting actions, including: art actions, protest strategies, and other forms of public dissent.

Although he often works in public spaces, his work has been shown in galleries and museums in throughout the U.S. and internationally in Geneva, Turin, Paris, Stuttgart, Madrid, Ljubljana, Vancouver and Barcelona. His work has been published in several books, including Art and Agenda, Urban Interventions, the BLDG BLOG book, and We Own the Night. His work has garnered critical media attention in The Boston Globe, Artforum, Flash Art, the Believer, Adbusters, Sculpture, New American Painting, the Washington Post, and the front page of the New York Times.















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