In 1968, Chicago made headlines for the ferocity of its police response to protesters at the Democratic National Convention, prompting outrage in the art world. Some artists pulled their shows from the city and called for a boycott until the mayor left office. But others responded artistically, creating new works and even full exhibitions in reaction to the political and social issues raised by the summer’s events.

Despite the city's sometimes notorious political and social history, art practices that challenge authority have thrived in Chicago. Art Against the Law examines the creative tactics of the city’s activist artists and their ways of addressing the broad definitions of the law—from responses to excessive policing to inequities in public policy. These include creative forms of protest, rebellion against the law through illegal art practices, and using the political system itself as an art medium to alter existing laws. The essays and conversations in this volume also address the boundaries between art and creative activism and question whether lines should be drawn at all. Through these texts and interviews, Art Against the Law proves that creative imagination can be formidable in challenging the status quo.

Art Against the Law is part of the new Chicago Social Practice History series, edited by Mary Jane Jacob and Kate Zeller in the Department of Exhibitions and Exhibition Studies at the School of the Art Institute of Chicago (SAIC).

In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of independent community art centers to the work of the AFRICOBRA collective and Black filmmakers, artists on Chicago's South and West Sides built a vision of art as service to the people. In Art for People's Sake Rebecca Zorach traces the little-told story of the visual arts of the Black Arts Movement in Chicago, showing how artistic innovations responded to decades of racist urban planning that left Black neighborhoods sites of economic depression, infrastructural decay, and violence. Working with community leaders, children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcasing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era.

Most people would be hard pressed to name a famous artist from Renaissance France. Yet sixteenth-century French kings believed they were the heirs of imperial Rome and commissioned a magnificent array of visual arts to secure their hopes of political ascendancy with images of overflowing abundance. With a wide-ranging yet richly detailed interdisciplinary approach, Rebecca Zorach examines the visual culture of the French Renaissance, where depictions of sacrifice, luxury, fertility, violence, metamorphosis, and sexual excess are central. Zorach looks at the cultural, political, and individual roles that played out in these artistic themes and how, eventually, these aesthetics of exuberant abundance disintegrated amidst perceptions of decadent excess.
 
Throughout the book, abundance and excess flow in liquids-blood, milk, ink, and gold-that highlight the materiality of objects and the human body, and explore the value (and values) accorded to them. The arts of the lavish royal court at Fontainebleau and in urban centers are here explored in a vibrant tableau that illuminates our own contemporary relationship to excess and desire.
 
From marvelous works by Francois Clouet to oversexed ornamental prints to Benvenuto Cellini's golden saltcellar fashioned for Francis I, Blood, Milk, Ink, Gold covers an astounding range of subjects with precision and panache, producing the most lucid, well-rounded portrait of the cultural politics of the French Renaissance to date.

Gleaming and perfect, gold has beguiled humankind for many millennia, attracting treasure hunters, adorning the living and the dead, and symbolizing wealth, power, divinity, and eternity. This book offers a lively, critical look at the cultural history of this most regal metal, examining its importance across many cultures and time periods and the many places where it has been central, from religious ceremonies to colonial expeditions to modern science.
           
Rebecca Zorach and Michael W. Phillips Jr. cast gold as a substance of paradoxes. Its softness at once makes it useless for most building projects yet highly suited for the exploration of form and the transmission—importantly—of images, such as the faces of rulers on currency. It has been the icon of value—the surest bet in times of uncertain markets—yet also of valuelessness, something King Midas learned the hard way. And, as Zorach and Phillips detail, it has been at the center of many clashes between cultures all throughout history, the unfortunate catalyst of countless blood lusts. Ultimately, they show that the questions posed by our relentless desire for gold are really questions about value itself. Lavishly illustrated, this book offers a shimmering exploration of the mythology, economy, aesthetics, and perils at the center of this simple—yet irresistible—substance.