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Author: Yates McKee
Publisher: Verso Books
ISBN: 1784781894
Category : Political Science
Languages : en
Pages : 374
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Book Description
The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.
Author: Yates McKee
Publisher: Verso Books
ISBN: 1784781894
Category : Political Science
Languages : en
Pages : 374
Get Book Here
Book Description
The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.
Author: Laura Raicovich
Publisher: Verso Books
ISBN: 1839760524
Category : Art
Languages : en
Pages : 225
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Book Description
A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.
Author: Claire Fontaine
Publisher: MIT Press
ISBN: 1635901367
Category : Art
Languages : en
Pages : 313
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Book Description
The first English-language publication of writings by the collective artist Claire Fontaine, addressing our complicity with anything that limits our freedom. This anthology presents, in chronological order, all the texts by collective artist Claire Fontaine from 2004 to today. Created in 2004 in Paris by James Thornhill and Fulvia Carnevale, the collective artist Clare Fontaine creates texts that are as as experimental and politically charged as her visual practice. In. these writings, she uses the concept of “human strike” and adopts the radical feminist position that can be found in Tiqqun, a two-issue magazine cofounded by Carnevale. Human strike is a movement that is broader and more radical than any general strike. It addresses our inevitable subjective complicity with everything that limits our freedom and shows how to abandon these self-destructive behaviors through desubjectivization. Human strike, Claire Fontaine writes, is a subjective struggle to separate from the inevitable harm we do to ourselves and others simply by living within postindustrial neoliberalism. Human Strike is the first English-language publication of Claire Fontaine's influential and important theoretical writings.
Author: Joe Brusha
Publisher: Zenescope Entertainment
ISBN: 1937068439
Category : Comics & Graphic Novels
Languages : en
Pages : 162
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Book Description
Awakened from a sixty-five million year hibernation, the evil alien overlord, Zalex, is ready to resume his conquest of the universe... and he's starting with Earth! Backed by his army of mutated Dino-soliders, there's nothing that can stop him... nothing but the Jurassic StrikeForce 5! Don't miss the brand new all-ages, action adventure series from Silver Dragon Books. Earth's original heroes have arrived!
Author: James M. Dennis
Publisher: Univ of Wisconsin Press
ISBN: 0299251330
Category : Art
Languages : en
Pages : 261
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Book Description
Every work of art has a story behind it. In 1886 the German American artist Robert Koehler painted a dramatic wide-angle depiction of an imagined confrontation between factory workers and their employer. He called this oil painting The Strike. It has had a long and tumultuous international history as a symbol of class struggle and the cause of workers’ rights. First exhibited just days before the tragic Chicago Haymarket riot, The Strike became an inspiration for the labor movement. In the midst of the campaign for an eight-hour workday, it gained international attention at expositions in Paris, Munich, and the 1893 Chicago World’s Fair. Though the painting fell into obscurity for decades in the early twentieth century, The Strike lived on in wood-engraved reproductions in labor publications. Its purchase, restoration, and exhibition by New Left activist Lee Baxandall in the early 1970s launched it to international fame once more, and collectors and galleries around the world scrambled to acquire it. It is now housed in the Deutsches Historisches Museum in Berlin, Germany. Art historian James M. Dennis has crafted a compelling “biography” of Koehler’s painting: its exhibitions, acclaim, neglect, and rediscovery. He introduces its German-born creator and politically diverse audiences and traces the painting’s acceptance and rejection through the years, exploring how class and sociopolitical movements affected its reception. Dennis considers the significance of key figures in the painting, such as the woman asserting her presence in the center of action. He compellingly explains why The Strike has earned its identity as the iconic painting of the industrial labor movement.
Author: Alex Baker
Publisher: Distributed Art Publishers (DAP)
ISBN:
Category : Art
Languages : en
Pages : 294
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Book Description
Edited by Aaron Rose and Christian Strike. Interview with Agnes B.
Author: Shannon Ebner
Publisher:
ISBN: 9788867491292
Category : Art
Languages : en
Pages : 0
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Book Description
Like musical scores, the text-based works of Los Angeles-based artist Shannon Ebner (born 1971) literalize and make visible the intervals and suspensions inherent in language. Her alphabets explore language's "other"--hovering presences like silence, nonverbal communication, misspellings, handwriting--and emphasize what written language commonly represses or takes for granted in order to function. But the mechanical processes of language break down under Ebner's close scrutiny; text and language are revealed as eminently physical, concrete manifestations of supposedly immaterial ideas. In her new artist's book, Strike, Ebner slows down the pace of reading to its zero degree--one letter, one page. With each letter looming as a monumental, monolithic symbol, Strikefosters a reading experience akin to our first decodings of the written word, when we started, as children, to learn how to do things "by the book."
Author: Terry Smith
Publisher: National Geographic Books
ISBN: 3956795318
Category : Art
Languages : en
Pages : 0
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Book Description
An analysis of the contexts in which curating takes place: why curate art these days and in the name of which interests? If we ask where the curating of art occurs these days--in which places, which kinds of place, and how--apparent answers immediately appear: everywhere, expanding as if to ubiquity. Yet at the same time, we sense, with fragile purpose. In this, his newest book, Terry Smith explores the contemporary contexts of curating, looking for less apparent answers. It will map the dimensions of the visual arts exhibitionary complex, including its dialectical dance between institutionalization and deinstitutionalization; the persistence of professional classifications of curatorship; the given and changing categories of art exhibitions; the increasing variety of curatorial styles; the underthinking about publics; and (undistracted by curationism) the changing roles of art making and exhibiting art within an exhibitory iconomy that is at once viral and consumptive. A mapping of this kind might help us towards some answers to the more important questions: why curate art these days and in the name of which interests?
Author: Ariella Aïsha Azoulay
Publisher: Verso Books
ISBN: 1788735714
Category : Political Science
Languages : en
Pages : 657
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Book Description
A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics.
Author: Julia Bryan-Wilson
Publisher: MIT Press
ISBN: 026201940X
Category : Art
Languages : en
Pages : 223
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Book Description
Essays, an interview, and a roundtable discussion on the work of one of the most influential American artists of the postwar period. This October Files volume gathers essays, an interview, and a roundtable discussion on the work of Robert Morris, one of the most influential American artists of the postwar period. It includes a little-known text on dance by Morris himself and a never-before-anthologized but influential catalog essay by Annette Michelson. Often associated with minimalism, Morris (b. 1931) also created important works that involved dance, process art, and conceptualism. The texts in this volume focus on Morris's early work and include an examination of a 1971 Tate retrospective by Jon Bird, an interview with the artist by Benjamin Buchloh, a conversation from a 1994 issue of October about resistance to 1960s art, and an essay by this volume's editor, Julia Bryan-Wilson, on the labor involved in installing the massive works in Morris's 1970 solo exhibition at the Whitney. Spanning 1965 to 2009, these writings map the evolution of critical thought on Morris over more than four decades.
