Art & Activism: History & Critical Analysis
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Social Practice Art in Turbulent Times
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Call Number: eBookPublication Date: 2019This volume is an anthology of current groundbreaking research on social practice art. Contributing scholars provide a variety of assessments of recent projects as well as earlier precedents, define approaches to art production, and provide crucial political context.
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Usable Pasts: Social Practice and State Formation in American ArtThis book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.
Art & Colonialism
Curatorial Activism
" 'Curatorial Activism' is a term I use to designate the practice of organizing art exhibitions with the principle aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art " -Maura Reilly, author of Curatorial Activism
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A Pedagogy of Witnessing: Curatorial Practice and the Pursuit of Social Justice
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Explores the curating of "difficult knowledge" through the exhibition of lynching photographs in contemporary museums.This outstanding comparative study on the curating of "difficult knowledge" focuses on two museum exhibitions that presented the same lynching photographs. Through a detailed description of the exhibitions and drawing on interviews with museum staff and visitor comments, Roger I. Simon explores the affective challenges to thought that lie behind the different curatorial frameworks and how viewers' comments on the exhibitions perform a particular conversation about race in America. He then extends the discussion to include contrasting exhibitions of photographs of atrocities committed by the German army on the Eastern Front during World War II, as well as to photographs taken at the Khmer Rouge S-21 torture and killing center. With an insightful blending of theoretical and qualitative analysis, Simon proposes new conceptualizations for a contemporary public pedagogy dedicated to bearing witness to the documents of racism.
ISBN: 9781438452715Publication Date: 2014-08-18 -
The Routledge Companion to African American Art History
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This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.
ISBN: 9781138486553Publication Date: 2019-12-10 -
Curatorial Activism
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Call Number: Print Book (Moriarty N72.S6 R44 2018)ISBN: 9780500239704Publication Date: 2018-04-17Only 16% of the most recent Venice Biennale artists were female. A mere 14% of MoMA's 2016 display is by non-white artists. Only one third of artists represented by US galleries are female, but over two-thirds of the enrolment in art and art-history programmes is young women... The fight for gender and race equality in the art world is far from over. Indeed, the more closely one examines the numbers, the more glaring it becomes that white, Euro-American, heterosexual, privileged and, above all, male artists continue to dominate the art world. Arranged in thematic sections focusing on feminism, race and sexuality, this book examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Nochlin's 'Women Artists' at the LACMA in the mid-1970s to Martin's 'Carambolages' in 2016 at the Grand Palais in Paris. By exposing both the disparities and inclusive solutions, the author addresses the urgent need in the contemporary art world for curatorial strategies that provide alternatives to exclusionary models of collecting and display. In so doing, she provides an invaluable source of information for current thinkers and, in a world dominated by visual culture, a vital source of inspiration for today's ever-expanding new generation of curators.
Community Building
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Keeping the Campfires Going : Native Women's Activism in Urban Communities
Highlights the accomplishments of and challenges confronting Native women activists in American and Canadian cities. Since World War II, Indigenous women from many communities have stepped forward through organizations, in their families, or by themselves to take action on behalf of the growing number of Native people living in urban areas.
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What We Made: Conversations on Art and Social Cooperation
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In What We Made, Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. He suggests social cooperation as a meaningful way to think about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made available by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. He also interviews the often overlooked co-creators of cooperative art, "expert participants" who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston's Project Row Houses. Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern
Call Number: eBookPublication Date: 2013
Black is Beautiful
What is the "Black is Beautiful" movement?
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Kwame Brathwaite Black Is Beautiful by In the late 1950s and throughout the 1960s, Kwame Brathwaite used his photography to popularize the political slogan “Black Is Beautiful.
Publication Date: Aperture
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Black Portraiture ConferenceIf you're interested in black portraiture, check out the conference for leads on current artists, models, and scholars. Micki went to the conference when it was in Cambridge and it was GREAT.
One specific area of activism is promoting conversations and education around lighting black skin: