Signaling such recent activist and aesthetic concepts in the work of Kara Walker, Childish Gambino, BLM, Janelle Monáe, and Kendrick Lamar, and marking the exit of the Obama Administration and the opening of the National Museum of African American History and Culture, this anthology explores the role of African American arts in shaping the future, and further informing new directions we might take in honoring and protecting the success of African Americans in the U.S. The essays in African American Arts: Activism, Aesthetics, and Futurity engage readers in critical conversations by activists, scholars, and artists reflecting on national and transnational legacies of African American activism as an element of artistic practice, particularly as they concern artistic expression and race relations, and the intersections of creative processes with economic, sociological, and psychological inequalities. Scholars from the fields of communication, theater, queer studies, media studies, performance studies, dance, visual arts, and fashion design, to name a few, collectively ask: What are the connections between African American arts, the work of social justice, and creative processes? If we conceive the arts as critical to the legacy of Black activism in the United States, how can we use that construct to inform our understanding of the complicated intersections of African American activism and aesthetics? How might we as scholars and creative thinkers further employ the arts to envision and shape a verdant society?

Contributors: Carrie Mae Weems, Carmen Gillespie, Rikki Byrd, Amber Lauren Johnson, Doria E. Charlson, Florencia V. Cornet, Daniel McNeil, Lucy Caplan, Genevieve Hyacinthe, Sammantha McCalla, Nettrice R. Gaskins, Abby Dobson, J. Michael Kinsey, Shondrika Moss-Bouldin, Julie B. Johnson, Sharrell D. Luckett, Jasmine Eileen Coles, Tawnya Pettiford-Wates, Rickerby Hinds.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. 

After Authority explores the tendency in art cinema to respond to political transition by turning to ambiguity, a system that ideally stems the reemergence of authoritarian logics in art and elsewhere. By comparing films from Italy, Hungary, South Korea, and the United States, this book contends that the aesthetic tradition of ambiguity in art cinema can be traced to post-authoritarian conditions and that it is in the context of a transition away from authoritarianism where art cinema aesthetics become legible. Art cinema, then, can be seen as a mode of cinematic practice that is at its core political, as its constitutive ambiguity finds its roots in the rejection of centralized and hierarchical configurations of authority. Ultimately, After Authority proposes a history of art cinema predicated on the potentials, possibilities, and politics of ambiguity.

In Art and Politics, Segal explores the collision of politics and art in seven enticing essays. The book explores the position of art and artists under a number of different political regimes of the twentieth and twenty-first centuries, traveling around the world to consider how art and politics have interacted and influenced each other in different conditions.

Joes Segal takes you on a journey to the Third Reich, where Emil Nolde supported the regime while being called degenerate; shows us Diego Rivera creating Marxist murals in Mexico and the United States for anti-Marxist governments and clients; ties Jackson Pollock's drip paintings in their Cold War context to both the FBI and the CIA; and considers the countless images of Mao Zedong in China as unlikely witnesses of radical political change.

Explicitly—or not—protocols determine much of what we do. Far exceeding traditional notions of “good manners,” protocols are systems of language that regulate how we relate to each other, to our cultural, social, and political environments, and to the technologies that create them. The first publication to look at protocols across a wide range of disciplines, As for Protocols brings together contributions by twenty-two international artists, writers, scholars, musicians, architects, and scientists who explore protocols across various fields, foregrounding opportunities for creating new protocols that are inclusive and equitable. Through essays, artworks, interviews, and scores, the book speaks to protocols as practice—neither conventional mannerisms nor abstract concepts, but material processes, relational affinities, shared responsibilities, and mutual care.

Edited by Re’al Christian, Carin Kuoni, and Eriola Pira, an opening score by Raven Chacon and contributions by Salome Asega, Carolina Caycedo with Lupita Limón Corrales, Raven Chacon, Jesse Chun, Asia Dorsey, Taraneh Fazeli and Cannach MacBride, Pablo Helguera, Emmanuel Iduma, Mary Maggic, Shannon Mattern, V. Mitch McEwen with Nadir Jeevanjee, Rashaun Mitchell with Silas Riener, Romy Opperman, Rasheedah Phillips, Leanne Betasamosake Simpson with Maria Hupfield, Ultra-red with Robert Sember, and Underground Resistance.

On September 29 and 30, 1941, in one of the largest mass murders of the Holocaust, German troops massacred 33,771 Jews at the vast gorge located near Kyiv known as Babi Yar (Babij Jar). During and after the war, the territory was modified, redesigned, and converted in order to remove the physical signs of genocide, including the exhumation and incineration of thousands of bodies. In large part this erasure was the result of policies implemented by the Soviet regime, which refused to accept that there had been a “special war” against Jews. 

Beginning with an explication of the mass murders and their aftermath, Antonella Salomoni examines the afterlife of a massacre whose physical remains were intentionally hidden. She focuses especially on how the arts—prose, poetry, music, architecture, and painting—shaped a collective narrative that, despite repression, played a crucial role in preserving the history and memory of the genocide.

In the first, most intense years of the Cold War (1947–1954), New Deal liberals often found themselves in great disfavor. Ben Shahn's experience presents something of a paradox, however, since his paintings appealed in different ways to both liberals and conservatives. Blacklisted by CBS during the McCarthy era and yet, ironically, incorporated into presidential "campaigns of truth" aimed at improving the U.S. image abroad, Ben Shahn is a pivotal figure, revealing the complexities and contradictions inherent in this highly polarized moment in American history.

In this pathbreaking study, Frances Pohl traces the political and artistic struggles Ben Shahn became embroiled in as he tried to remain a socially concerned artist during the early Cold War period. She shows how he rejected the argument, voiced by many Abstract Expressionists, that art and politics should not mix, yet at the same time searched for a way to depict, in universal and allegorical terms, the broad human condition rather than simply specific instances of injustice. Perhaps most important, she makes critical connections between U.S. social and political history and the art it provoked, thus illuminating both the later career of Ben Shahn and the Cold War era in American cultural history.

In 1991, sixteen-year-old activist Keiko Lane joined the Los Angeles chapters of Queer Nation and ACT UP. Their members protested legislation aimed at dismantling rights for LGBTQ people, people living with HIV, and immigrants while fighting for needle-exchange programs, reproductive justice, safer-sex education, hospice funding, and the right to die with dignity. At the same time, the activists were a queer chosen family of friends and lovers who took care of one another in sickness and in health. Sometimes they helped each other die. By the time Lane turned twenty-two, most had died of AIDS. In her evocative memoir, Lane weaves together love stories and afterlives of queer resistance and survival against the landscape of the Rodney King Rebellion, the movement for queer rights, and the censorship of queer artists and sexualities. Lane interrogates the social construction of power against and in queer communities of color and the recovery of sexual agency in the midst and aftermath of violence. Luminous and powerfully moving, Blood Loss explores survival after those we love have died.

The Brodsky Center at Rutgers: Three Decades, 1986-2017, chronicles the history and artists involved with an internationally acclaimed print and papermaking studio at Rutgers University. Judith K. Brodsky conceived, founded, and directed the atelier, which, from its onset, provided state-of-the-arts technology and expertise for under-represented contemporary artists — women, Indigenous, and from diasporas of the African, Eastern European, Latin and Asian communities — to make innovative works on paper. These artistic creations presented new narratives to American and global visual arts from voices previously not heard or seen. Some of the artists featured in the book include Faith Ringgold, Elizabeth Catlett, Jaune Quick-to-See Smith, Miriam Schapiro, Pepón Osorio, Kiki Smith, and Richard Tuttle, among many other talented and influential printmakers and artists. 

Published in partnership with the Zimmerli Museum.
 

How can memory be mobilized for social justice? How can images and monuments counter public forgetting? And how can inherited family and cultural traumas be channeled in productive ways?  
 
In this deeply personal work, acclaimed art historian Dora Apel examines how memorials, photographs, artworks, and autobiographical stories can be used to fuel a process of “unforgetting”—reinterpreting the past by recalling the events, people, perspectives, and feelings that get excluded from conventional histories. The ten essays in Calling Memory into Place feature explorations of the controversy over a painting of Emmett Till in the Whitney Biennial and the debates about a national lynching memorial in Montgomery, Alabama. They also include personal accounts of Apel’s return to the Polish town where her Holocaust survivor parents grew up, as well as the ways she found strength in her inherited trauma while enduring treatment for breast cancer.  
 
These essays shift between the scholarly, the personal, and the visual as different modes of knowing, and explore the intersections between racism, antisemitism, and sexism, while suggesting how awareness of historical trauma is deeply inscribed on the body. By investigating the relations among place, memory, and identity, this study shines a light on the dynamic nature of memory as it crosses geography and generations.

Citizens of Memory explores efforts at recollection in post-dictatorship Argentina and the hoped-for futures they set in motion. The sites, images, narratives, and practices it analyzes address the dark years of state repression (1976-1983) while engaging ongoing debates about how this traumatic past should be transmitted to future generations. This insightful study approaches cultural recall via two theoretical principles—the first understands memory as a social construct that is as much about the past as it is of the present, and the second observes that what distinguishes memory from history is affect. Understanding recollection and storytelling as practices that can help constitute communities of belonging, Tandeciarz suggests that by inciting deep reflection and an active engagement with the legacies of state violence, interventions like those studied here may advance transitional justice and contribute to the construction of less violent futures.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

During the 1930s, the United States government founded the Jersey Homesteads community (now known as Roosevelt, New Jersey) to help a group of pioneering Jewish immigrants create a new and ambitious cooperative experiment. Two hundred urban garment worker families moved from New York City to rural New Jersey to develop an intentional community with a focus and reliance upon both agriculture and craft. The community worked to unite the Jewish cooperative agricultural movement with the New Deal priorities of back-to-the-land rural resettlement. Notably, the town also embraced modernist aesthetics through homes designed by Louis Kahn and Alfred Kastner, and a public mural by Ben Shahn depicting the community’s creation. 

This book tells the inspiring yet under-appreciated history of the town’s establishment, revealing its historical utopian commune precursors and detailing how such an unconventional project could only have been possible at its precise moment because of President Franklin D. Roosevelt’s progressive New Deal government support. The Jersey Homesteads project brought together the forces of community, identity, and art as a unified force for betterment in the brave new world of New Deal America. It is a story about a specific time and place with significant lessons for our understanding of American modernism and Jewish identity during the 1930s and beyond. 

Honorable Mention, Best Book in Latin American Visual Culture Studies, Latin American Studies Association–Visual Culture Studies Section, 2023

Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism.

The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements.

Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK.

It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Essays on the relationship between artists and entrepreneurship. 

As in sports, business, and other sectors, the top 1% of artists have disproportionately influenced public expectations for what it means to be successful. In Creative Infrastructures, Linda Essig takes an unconventional approach and looks at the quotidian artist—and at what they do, not what they make. All too often, artists who are attentive to the business side of their creative practice are accused of selling out. But for many working artists, that attention to business is what enables them not just to survive but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. Through illustrative case studies from culturally and racially diverse communities, Essig examines the relationships between art, innovation, entrepreneurship, and money while offering a theory for arts entrepreneurship that places more emphasis on means than ends. 

“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

The vibrant fine arts and mass culture that the United Stated exported to Britain in the postwar period had a powerful and far-reaching impact on many British artists, art students and critics. In a fascinating social and cultural history covering the period from the 1940s to the 1990s, but with emphasis on the 1950s and 1960s, John A. Walker offers a scholarly but accessible account of America's Cold War cultural offensive and the role played by American artists living in Britain.

This is the first text to document in detail the variegated responses of British artists to postwar America and its art, criticism and mass media. Their reactions that ranged from Americanism – enthusiasm and compliance – to Anti-Americanism – criticism and resistance. Covering significant art movements such as Abstract Expressionism, the Independent Group and Pop Art, Walker synthesises information from hundreds of published sources and interviews to paint a vivid picture of a crucial period in British culture. 

Many of the critics, painters and sculptors featured – Lawrence Alloway, Peter Blake, Reyner Banham, Anthony Caro, Clement Greenberg, David Hockney, Richard Hamilton, R.B. Kitaj,  John Latham, Claes Oldenburg, Eduardo Paolozzi, Herbert Read, Bridget Riley, Larry Rivers – are now internationally famous. The study is brought up to date with an overview of the decline in American influence during in the 1980s and 1990s and the rise of Brit Art.

Since the 2008 financial crisis and Occupy movements around the globe, artists have increasingly turned to socially engaged public art to create new models of artistic production and community engagement. Curating the Commons examines this turn through an in-depth study of performance-centered public art presented in Athens and Piraeus, Greece, during the austerity years. Extending from Henri Lefebvre’s theory of social space, Arfara examines art and social engagement in relation to the commons and self-organized solidarity initiatives, including performance, photography, film, and sculptures that appeared in unexpected urban spaces to complicate notions of memory, mobility, and belonging. These works all ask the question: Who has the right to the city? Combining her scholarly and curatorial work, Arfara advocates for performance-centered public art that resists processes of exclusion and segregation, reclaiming public space as a commons. 

By sharing critical insights, Arfara immerses the reader in the working processes of artists and collectives, showing how public art can address ecosocial concerns in aesthetic forms. Curating the Commons offers a grounded perspective on the making of cutting-edge, socially engaged public artworks and contributes to the larger effort to craft more-than-human narratives in response to global events.

Artists in the Soviet Union faced a difficult choice: either join the official academies and make art that conformed to the state’s aesthetic and ideological dictates, or attempt to develop alternative artistic practices and spheres for exhibiting their work. In the early 1970s, conceptual artists Ilya Kabakov and Viktor Pivovarov chose the latter option, turning their limited resources into an asset by pioneering an entirely new artistic genre: the album. Somewhere between drawings and novels, Kabakov and Pivovarov’s albums were also the basis for unique performance pieces, as the artists invited select audiences to their Moscow apartments for private readings and viewings of the albums, helping to cultivate an alternative artistic community in the process.

This exhibition catalog brings together Kabakov and Pivovarov’s key works for the first time, putting the two artists in dialogue and recreating their artistic community. It not only includes nearly hundred pages of full-color illustrations, but also provides complete English translations of the Russian texts that appear in the volume, plus new interviews with each artist. Taken together, they give viewers a new appreciation of the different aesthetic strategies each artist used to depict the absurdities of everyday life in the Soviet era. Published in partnership with the Zimmerli Museum.

Artists fighting racism and sexism from the end of the Great Depression through the Civil Rights era

In 1943, the production of the Columbia Pictures film The Heat’s On halted for three days due to an on-set protest by featured performer Hazel Scott. Appalled by the racially demeaning and stereotypical depictions of Black women extras and dancers, Scott—one of the top African American performers of the era—forced the studio to relent. But her protest of Hollywood racism angered powerful white men in the industry, and despite her rising career, she was soon banished from American film.

Scott was far from the only Black woman in a creative field to use her professional success as leverage against prejudice. In The Fiercest Kind, cultural historian H. Zahra Caldwell explores the biographical narratives of five Black women at the top of their artistic crafts in the mid-20th century to understand how they pushed back against racism and sexism. From 1937–1965, pianist Hazel Scott, dancer Katherine Dunham, cartoonist Jackie Ormes, multihyphenate fine artist (graphic artist, painter, and sculptor) Elizabeth Catlett, and singer Lena Horne were among the most popular and nationally known Black women in their respective fields, spanning film, television, print media, and fine art. Generating creative works at the end of the Great Depression through the Civil Rights era, they used their professional and personal lives to confront seemingly insurmountable repression through what Caldwell defines as “layered resistance.”

A Black feminist practice, layered resistance consists of four tactics: claiming and adapting cultural spaces for Black women; strategically crafting positive images of Black womanhood that directly challenge white supremacy; combining performance and/or visual representation with social and political activism; and choosing unconventional lifestyles that defy rigid gender and racial norms. These artists also lived in, worked in, and supported important Black spaces such as Harlem and Black Chicago. Using a methodology that combines textual analysis, archival research, and oral history, Caldwell understands this strategy within larger movements for Black freedom and equality that spanned the twentieth century and continue to the present day.  

Many people around the world are frustrated with their governments yet do not know what actions to take. Protest may feel out of reach, like something only seasoned activists can do. This accessible guide explores the creativity, joy, and accessibility of peaceful protest. Megan Hershey introduces readers to twenty-five specific and inspiring nonviolent protest methods through real-life examples from the past fifty years. Each chapter includes a short, vivid description of a bold nonviolent action taken by everyday people who demanded that their leaders listen to them. From patriotic choir concerts in Estonia to live painted pigs at the Ugandan parliament, these unique protest strategies will inspire those looking to effect change and offer encouragement from past successes.

In Icons Axed, Freedoms Lost, Vyacheslav Karpov and Rachel L. Schroeder demonstrate how Russia went from persecuting believers to jailing critics of religion and why, in contrast, religious pluralism and tolerance have solidified in Ukraine. Offering a richly documented history of cultural and political struggles that surrounded desecularization—the resurgence of religion’s societal role—from the end of the USSR to the Russo-Ukrainian war, they show Russian critics of desecularization adhered to artistic provocations, from axing icons to “punk-prayers” in cathedrals, and how Orthodox activists, in turn, responded by vandalizing controversial exhibits and calling on the state to crush “the enemies of the Church.” Putin’s solidifying tyranny heard their calls and criminalized insults to religious feelings. Meanwhile, Ukraine adhered to its pluralistic legacies. Its churches refused to engage in Russian-style culture wars, sticking instead to forgiveness and forbearance. Icons Axed, Freedoms Lost offers original theoretical and methodological perspectives on desecularization applicable far beyond the cases of Russia and Ukraine.
 

A pioneering look at an immensely creative period in Japanese art that developed amid the Cold War.
 
Alicia Volk brings to light a significant body of postwar Japanese art, exploring how it accommodated and resisted the workings of the American empire during the early Cold War. Volk’s groundbreaking account presents the points of view of Japanese artists and their audiences under American occupation and amid the ruins of war. Each chapter reveals how artists embraced new roles for art in the public sphere—at times by enacting radical critiques of established institutions, values, and practices—and situates a range of compelling art objects in their intersecting artistic and political worlds.
 
Centering on the diverse and divisive terrain of Japanese art between 1945 and 1952, In the Shadow of Empire creates a fluid map of relationality that brings multiple Cold War spheres into dialogue, stretching beyond US-occupied Japan to art from China, Europe, the Soviet Union, and the United States, and demonstrates the rich potential of this transnational site of artmaking for rethinking the history of Japanese and global postwar art.
 

Throughout her extensive career, Russian conceptual artist Irina Nakhova has frequently pushed the limits of what constitutes art and how we experience the art museum. One of her famous early pieces, for instance, transformed a room in her very own Moscow apartment into an art installation.
 
Released in conjunction with Nakhova’s first museum retrospective exhibition in the United States, this book includes many full-color illustrations of her work, spanning the entirety of her forty-year career and demonstrating her facility with a variety of media. It also includes essays by a variety of world-renowned curators and art historians, each cataloging Nakhova’s artistic innovations and exploring how she deals with themes of everyday life, memory, viewer engagement, and moral responsibility. It concludes with a new interview with Nakhova herself, giving new insight into her creative process and artistic goals. Irina Nakhova: Museum on the Edge provides a vivid look at the work of a visionary artist. Published in partnership with the Zimmerli Museum.

The National Bolshevik Party, founded in the mid-1990s by Eduard Limonov and Aleksandr Dugin, began as an attempt to combine radically different ideologies. In the years that followed, Limonov, Dugin, and the movements they led underwent dramatic shifts. The two leaders eventually became political adversaries, with Dugin and his organizations strongly supporting Putin’s regime while Limonov and his groups became part of the liberal opposition.
To illuminate the role of these right-wing ideas in contemporary Russian society, Fabrizio Fenghi examines the public pronouncements and aesthetics of this influential movement. He analyzes a diverse range of media, including novels, art exhibitions, performances, seminars, punk rock concerts, and even protest actions. His interviews with key figures reveal an attempt to create an alternative intellectual class, or a “counter-intelligensia.” This volume shows how certain forms of art can transform into political action through the creation of new languages, institutions, and modes of collective participation.

A reflection on the reconstruction of the Berlin Palace and its contradictory use as an ethnological museum.

Having recently accepted German citizenship, writer and activist Priya Basil explores the Humboldt Forum from a deeply personal perspective. She delves into the question of what such a building, such a project, means for an understanding of the past and for belonging in the present. This much disputed, contested, celebrated monument now exists—but what exactly does it monumentalize? Basil writes, “In German, the word Schloss means a palace, and also a lock. The central question: Can a lock also be a key?”

In wartime, artists often play an important role in keeping social structures alive and mitigating suffering. Yet art can also be used as a tool for the propagation of violence or the consolidation of an unjust status quo; the brutal iconography used on the murals in Belfast during the Troubles being a prominent example. Memories of Violence investigates the potential of artwork to bring to the fore often-invisible configurations of violence that span across the globe.

Many peace processes fail to address the legacies of violence and to offer meaningful avenues of repair on the part of perpetrators, some of whom are outside the physical space in which violence was, or continues to be, experienced. Stefanie Kappler looks at situations of violence where societies are implicated in and continue to benefit from the legacies of violence, particularly the peace processes of South Africa, Bosnia-Herzegovina, and Northern Ireland. Bringing together Peace and Conflict Studies with Memory Studies, Kappler examines how art offers an opportunity to achieve a mnemonic peace—a memory-oriented peace that acknowledges the complex ways in which historical violence and its legacies are constituted. While recognizing the power structures that limit artists and curators, Memories of Violence reveals how they can play a role in addressing situations of complex implication; amplify the voices that call for acknowledgment, reparations, and solidarity; and suggest avenues for facilitating this process.

A Mexican State of Mind: New York City and the New Borderlands of Culture explores the cultural and creative lives of the largely young undocumented Mexican population in New York City since September 11, 2001. Inspired by a dialogue between the landmark works of Paul Gilroy and Gloria Anzaldúa, it develops a new analytic framework, the Atlantic Borderlands, which bridges Mexican diasporic experiences in New York City and the black diaspora, not as a comparison but in recognition that colonialism, interracial and interethnic contact through trade, migration, and slavery are connected via capitalist economies and technological developments. This book is based on ten years of fieldwork in  New York City, with members of  a vibrant community of young Mexican migrants who coexist and interact with people from all over the world. It focuses on youth culture including hip hop, graffiti, muralism, labor activism, arts entrepreneurship and collective making.
 

An incisive examination of the intersection of global art and political resistance.

NO Rhetoric(s) examines a subject intensely debated during the last three decades but rarely a topic of its own: art as an agent of resistance, whether as a rhetorical stance or critical strategy. In the face of today’s discourse on revolt and insurrection, it is necessary to ask whether the gesture of “negation” still has an emancipatory potential. NO Rhetoric(s) contributes a deeper understanding of the different logics of resistance at play between art and politics. Showcasing a diverse array of voices, this volume presents contributions on topics as varied as sexual dissidence, ecology, and geopolitics in the digital age. Through this interdisciplinary show of force, the collected authors, artists, and scholars shed light on how art approaches the most urgent issues facing today’s society.

A valuable new touchstone for phenomenology and performance as research.

In this book, Daniel Johnston examines how phenomenology can describe, analyze, and inspire theater-making. Each chapter introduces themes to guide the creative process through objects, bodies, spaces, time, history, freedom, and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone, and Shakespeare’s Hamlet. Practical tasks throughout explore how the theatrical event can offer unique insights into being and existence, as Johnston’s philosophical perspective shines a light on broader existential issues of being. In this way, the book makes a bold contribution to the study of acting as an embodied form of philosophy and reveals how phenomenology can be a rich source of creativity for actors, directors, designers, and collaborators in the performance process.

Brimming with insight into the practice and theory of acting, this original new work stimulates new approaches to rehearsal and sees theater-making as capable of speaking back to philosophical discourse.

Today, most colonial-era modernist mass housing is seen as fundamentally broken: crumbling concrete spaces of social alienation and containment that fractured societies both then and now. In Poetics of Repair, Katarzyna Pieprzak examines how contemporary visual, literary, and performance art of the Maghreb has the potential to change the terms, histories, and imagined futures of mass housing in North Africa and France. Pieprzak dives deeply into contemporary art engagements with three mass housing sites that epitomize the French colonial geography of modernist architecture in the Maghreb. She identifies in this art what she names a transformative “poetics of repair”: a practice that conjoins, puts in relation, or simply brings closer together broken materials, separated people, and severed timelines. Reading art and its engagements with mass housing, Pieprzak argues, has the potential to unmoor established knowledge and rehearse the tensions and productive ambiguities inherent to practices of constitution and revision. She demonstrates that such a reading practice is a step toward a reparative epistemology for mass housing that turns sites of wreckage and alienation into sites of possible solidarities and new formulations of history and experience.

Poetries – Politics: A Celebration of Language, Art, and Learning celebrates the best of innovative humanities pedagogy and creative graphic design. Designed and implemented during a time of political divisiveness, the Poetries – Politics project created a space of inviting, multilingual walls on the Rutgers campus, celebrating diversity, community, and cross-cultural exchange. This book, like the original project, provides a platform for the incredible generative power of student-led work. Essays feature the perspectives of three students and professors originally involved in the project, reflecting on their learning and exploring the works they selected for the original exhibition. The essays lead to a beautifully illustrated catalogue of the original student designs.

Reproduced in full color and with the accompanying poems in both their original language and a translation, this catalogue commemorates the incredible creative spirit of the project and provides a new way of contemplating these great poetic works.

For generations most of the canonical works that detail the lives of poor people have been created by rich or middle-class writers like Charles Dickens, John Steinbeck, or James Agee. This has resulted in overwhelming depictions of poor people as living abject, violent lives in filthy and degrading conditions. In Poor Things, Lennard J. Davis labels this genre “poornography”: distorted narratives of poverty written by and for the middle and upper classes. Davis shows how poornography creates harmful and dangerous stereotypes that build barriers to social justice and change. To remedy this, Davis argues, poor people should write realistic depictions of themselves, but because of representational inequality they cannot. Given the obstacles to the poor accessing the means of publication, Davis suggests that the work should, at least for now, be done by “transclass” writers who were once poor and who can accurately represent poverty without relying on stereotypes and clichés. Only then can the lived experience of poverty be more fully realized.

Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict
 
Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of paint­ing played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet pro­vide resulted in a robust market for drawn or painted battle scenes.
 
Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding pan­oramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war.
 
Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contribu­tors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
 

A revelatory exploration of one of Jean-François Millet’s most contentious paintings.

A monumentalizing portrayal of a peasant bowed over by brutal toil, Man with a Hoe (1860–62) by Jean-François Millet (1814–1875) is arguably the most art historically significant painting in the J. Paul Getty Museum’s collection of nineteenth-century European art. This volume situates the work in the arc of Millet’s career and traces its fascinating and contentious reception, from its scandalous debut at the 1863 Paris Salon to the years following its acquisition by American collectors in the 1890s. The essays examine the painting’s tumultuous public life, beginning in France, where critics attacked it on aesthetic and political grounds as a radical realist provocation; through its transformative movement in the art market during the remaining years of the artist’s life and following his death; to its highly publicized arrival in California as a celebrated masterpiece. In the United States it was enlisted to serve philanthropic interests, became the subject of a popular poem, and once again became embroiled in controversy, in this case one that was strongly inflected by American racial politics. This is the first publication dedicated to the work since its acquisition by the Getty Museum in 1985.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 12 to December 10, 2023.

How artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance.
 
As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists’ experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing.
 
Focusing on instances of arrest or potential arrest in art by Chris Burden, Adrian Piper, Jean Toche, Tehching Hsieh, Pope.L, the Guerrilla Girls, Asco, and PESTS, Faye Raquel Gleisser analyzes the gendered, sexualized, and racial politics of risk-taking that are overlooked in prevailing, white-centered narratives of American art. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists’ anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society.
 

This is the first biography of the renowned American Chicano visual artist and activist Rupert García, drawing on fifty hours of interviews conducted over thirty years and accompanied by eighty images. This in-depth oral history gives an unparalleled look at García’s life and work, tracing his evolution as an artist and the political upheavals that shaped his life and worldview. 

Mario T. García’s testimonio places Rupert García’s art in historical perspective, from his beginnings as a working-class Mexican American from California’s Central Valley, his coming of age in the U.S. Air Force during the Vietnam War, his involvement in the antiwar movement during the San Francisco State student strike in 1968-69, and his participation in the Chicano Movement and beyond. Influenced by history and politics, García’s vital works of art represent a changing world through the eyes of an artist, speaking to issues of poverty, racism, capitalism, war, and the role of the artist in society.

His art—from revolutionary silkscreen posters to monumental pastels to portraits of political icons like Frida Kahlo, Che Guevara, and Dolores Huerta—serves to critique history and reassess it. It is work that will endure for generations to come. 

The degree to which shopping, or, more broadly, consumerism, is both critiqued and defended in American society confirms the role that commercial goods play in our daily lives. This collection of essays provides case studies depicting selected aspects of this engaging activity. The authors include several historians with diverging specialties: an art historian, an anthropologist, an environmental journalist, a geographer and urban planner, and practicing artists. Each author demonstrates how a material culture perspective—a focus on the relationship between people and their things—can illuminate a specific corner of consumption. Connecting the essays are concerns about the spaces in which shopping occurs; about the experience of shopping itself, both individual and social; and about its economic, environmental, and personal downsides. Collectively, these essays demonstrate how a material culture perspective on shopping yields insights into multiple aspects of American culture.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

Formed amidst the incendiary violence and political turmoil of the 1960s, beyond the barricades, the Situationist International (SI) remains to this day influential in anti-capitalist cultural, political and philosophical debates. 

Looking at philosophy, sociology, critical theory, art, architecture and literature, The Situationist International is an up-to-date and comprehensive survey of the SI and its thought. Leading thinkers analyze the SI's interdisciplinary challenges, its roots in the artistic avant-garde and the traditional workers' movements, its engagement with the problems of postcolonialism and issues of gender and sexuality.

Including contributions from key thinkers, including Anselm Jappe and Michael Lowy, as well as new and upcoming scholars, The Situationist International unpacks the complexity of a group that has come to define radical politics and culture in the postwar period. 

Spaces of Creative Resistance: Social Change Projects in Twenty-First-Century East Asia brings together an exciting cross-regional interdisciplinary group of scholars, scholar activists, artists, and others for a collection that addresses the last two decades' hollowing out of social connections, socioeconomic income gaps, and general precarity of life in East Asian societies. Written by authors from China, Japan, South Korea, Taiwan, and Hong Kong, each chapter is focused on people making a difference together in socially sustainable ways, particularly in the areas of gender, labor, and environments—both built and natural. These projects all constitute acts of creative resistance to neoliberal development, and each act of creative resistance demonstrates how individuals and communities across East Asia are making new worlds and lifeways in the small and everyday. Taking on larger political and economic forces that affect their lives and communities, each project and group of individuals featured here is focused on making more liveable presents and more possible futures.

There have been few times in US American history when the very concept of freedom of speech—its promise and its contradictions—has been under greater scrutiny. Guided by acclaimed artist, filmmaker, and activist Amar Kanwar, the Vera List Center for Art and Politics at The New School convened a series of public seminars on freedom of speech with the participation of some of the most original thinkers and artists on the topic. Structured as an open curriculum, each seminar examined a particular aspect of freedom of speech, reflecting on and informed by recent debates around hate speech, censorship, sexism, and racism in the US and elsewhere. Studies into Darkness emerges from these seminars as a collection of newly commissioned texts, artist projects, and resources that delve into the intricacies of free speech. Providing a practical and historical guide to free speech discourse and in-depth investigations that extend far beyond the current moment, and featuring poetic responses to the crises present in contemporary culture and society around expression, this publication provocatively questions whether true communication is ever attainable.

Contributions by Zach Blas, Mark Bray, Natalie Diaz, Aruna D’Souza, Silvia Federici and Gabriela López Dena, Jeanne van Heeswijk, shawné michaelain holloway, Prathibha Kanakamedala and Obden Mondésir, Amar Kanwar, Carin Kuoni, Lyndon, Debora, and Abou, Svetlana Mintcheva, Mendi + Keith Obadike, Vanessa Place, Laura Raicovich, Michael Rakowitz, Kameelah Janan Rasheed, and Nabiha Syed.

Earth’s weary lovers are tired, perplexed, and battered from all directions. Their hearts have so often been broken. It’s hard to go on, but it is morally impossible to quit. How do Earth’s protectors find the heart to continue the struggle?

To this question, environmental philosopher Kathleen Dean Moore and Canadian artist Bob Haverluck bring twenty-two life-affirming essays and drawings. Their entwined art offers pluck, stubborn resolve, and even some laughter to those who have for years been working for environmental sanity, social justice, and ecological thriving.

What Moore and Haverluck offer is encouragement to join or keep on with Earth’s work—not distractions, but deep and honest reasons to remember that the struggle matters. Rather than another to-do list or an empty promise of hope, Take Heart is a thank-you gift to the multitudes of Earth’s defenders. Inside its pages, they will find reason to take heart.

Taking heart is not hope exactly, but maybe it’s courage. Not solutions to the planetary crisis, but some modest advice for the inevitable crisis of the heart. A rueful grin, and gratitude to be part of this strange and necessary work for the endangered Earth.

This original and insightful study explores the points at which theater and propaganda meet. Defining propaganda as a form of "activated ideology," George H. Szanto discusses the distortion of information that occurs in dramatic literature in its stage, film, and television forms.

Szanto analyzes the nature of "integration propaganda," which is designed to render the audience passive and to encourage the acceptance of the status quo, as opposed to "agitation propaganda," which aims to inspire the audience to action. In Szanto's view, most popular western theater is saturated, though usually not intentionally, with integration propaganda. The overall purpose of Theater and Propaganda is twofold: to analyze the nature of integration propaganda so that it becomes visible to western readers as a tool of the dominant class in society, and to examine the manner by which unself-conscious propagandistic methods have saturated dramatic presentation.

In discussing the importance of propaganda within and between technological states, the author examines the seminal work of Jacques Ellul. In this chapter he analyzes the function of integration propaganda in a relatively stable society. The following chapter defines and analyzes three theaters (in the sense of performance) of propaganda: the theater of agitation propaganda, of integration propaganda, and of dialectical propaganda. In this section he uses examples from a variety of plays, movies, and television commercials. In succeeding chapters Szanto discusses the role of integration propaganda in the medieval Wakefield mystery plays and the plays of Samuel Beckett. The appendix, "Contradiction and Demystification," provides a general model that suggests ways of breaking down and overcoming the propagandistic intentions of an artwork and discusses theater's possible role in this breakdown.

Unfolding Corpus: Radical Creativity and Vulnerability in Times of Plague is a carefully curated collection of visual and textual works by artists and writers from past issues of Corpus, a community produced journal, which was originally published between 2003 and 2008. Unfolding Corpus uses contributions from the original journal to draw parallels between HIV, COVID, and monkey pox. The mix of art and other visual works with varied textual works, including poetry, is used as a meaning-making strategy meant to both disrupt and reveal the wrongs waged on low income, Black, Brown, and queer bodies across time and across pandemics. Unfolding Corpus holds radical story telling about desire, pleasure, connectedness, gender, age, class, race, and place. This short book once again confronts a hostile state and cultural environment by celebrating a world in which queer and trans sexuality can flourish, be seen, and be understood by superimposing past works with present day realities.

The appearance of HIV/AIDS in the early 1980s and its subsequent rapid spread left deep marks on society. Artists and activists across the world responded to both the illness itself and its effects with moving work that reflects on loss, remembrance, and activism in art.

United by AIDS sheds light on the multifaceted and complex interrelation between art and HIV/AIDS from the 1980s to the present. Published to accompany an exhibition at Zurich’s Migros Museum of Contemporary Art, it looks at the blurred lines between art production and HIV/AIDS activism and showcases artists who played—and still play—leading roles in this discourse. Alongside fifty illustrations of important works, including many in color, the book includes brief texts on the featured artists and essays by Douglas Crimp, Alexander García Düttmann, Raphael Gygax, Elsa Himmer, Ted Kerr, Elisabeth Lebovici, and Nurja Ritter.
 

The first book to examine the visual art legacy of the 1992 Los Angeles Riots.

On April 29, 1992, a jury’s acquittal of four white Los Angeles police officers who had beaten Rodney King, a Black man, incited five days of intense protests. The 1992 Los Angeles Riots resulted in nearly four thousand fires, over $1 billion in property damage, fourteen thousand arrests, two thousand injuries, and sixty-three deaths. While many scholars have studied the period leading up to and following the riots, few have focused on how contemporary artists reacted to and continued to respond to this traumatic event.

In Unrest, Rose Salseda provides the first major art historical account of the 1992 Los Angeles Riots that chronicles the works of two generations of artists. Closely examining visual art that explores overlooked cross-racial, immigrant, and intergenerational experiences of the events, Salseda provocatively frames unrest as an act of the bereaved that makes visible the unrelenting experiences of injustice. She provides important insights into how we process violence through imagery; how the criminal justice system visualizes race and tolerates racial and xenophobic violence; and how we adapt racialized modes of viewing, normalize violence and oppression, and perhaps unwittingly contribute to these injustices. Ultimately, Unrest highlights how the experience of the 1992 Los Angeles Riots has driven artists to address the King beating and related episodes of racial violence for over thirty years—underscoring unrest as the inability to rest in the face of state-sanctioned violence, which persists to this day.

Climate change, biodiversity loss, and environmental injustice are complex, messy, and gravely important issues. In addressing these concerns, traditional ecocriticism understandably has taken itself very seriously. Unserious Ecocriticism, by contrast, highlights alternative responses to the challenges of environmental collapse and catastrophe. By theorizing an unserious ecocriticism, contributors to this volume validate and empower alternatives to mainstream environmentalism, scholarship, and artmaking. The essays, artworks, and non-traditional scholarly formats of this edited collection demonstrate that the creative tools available to artists and those who study them are particularly well positioned to inventively disrupt normative modes of ecocritical presentation and environmentalist thought.

Rather than approach environmental crises through tragic and dire warnings, contributors take seriously the unexpected or easily dismissed, play with format and form, embrace the bodily and abject, take pleasure in their subjects of study, have fun, and crack jokes. In Unserious Ecocriticism, humor, playfulness, parody, and irreverence become tools to challenge expectations, cope with complicated problems, and imagine new futures.

Edited by Jessica Landau and Maria Lux, with a foreword by Aaron Sachs and contributions from Allie ES Wist, Deke Weaver, Kathleen McDermott, Annie Ronan, Kimiko Matsumura, Ina Linge, Paula Kupfer, Craig Carey, Anna Ialeggio, Topher Lineberry, Stentor Danielson, Patrick Gonder, Matthew Teti, Nicole Seymour, with Emily Eliza Scott, Rob Gioielli, and Jenny Price, Phaan Howng, and Jennifer Schell.

A collection of thoughtful and incisive examinations of how we interact and engage with the visual elements of our environments. 

In our everyday lives, we navigate a vast sea of visual imagery. Yet we rarely consider systematically how or why we derive meaning from this sea of the visual. Nor do we typically contemplate the effect it has on our motivations and actions as individuals and collectives. Visual Futures provides a new lens through which to analyze and challenge established perspectives, norms, and practices surrounding the visual. 

This edited collection ruminates on how visuality and the visual provoke a new kind of cultural exchange and explores the relationships, intersections, and collisions between visuality and visual practices and one (or a combination) of the following: embodiment, spatial literacy, emerging languages, historical reflection, educative practices, civic development, and social development. 

Demonstrates the role of Beirut’s postwar graffiti and street art in transforming the cityscape and animating resistance.

Over the last two decades in Beirut, graffiti makers have engaged in a fierce “war of colors,” seeking to disrupt and transform the city’s physical and social spaces. In A War of Colors, Nadine Sinno examines how graffiti and street art have been used in postwar Beirut to comment on the rapidly changing social dynamics of the country and region. Analyzing how graffiti makers can reclaim and transform cityscapes that were damaged or monopolized by militias during the war, Sinno explores graffiti’s other roles, including forging civic engagement, commemorating cultural icons, protesting political corruption and environmental violence, and animating resistance. In addition, she argues that graffiti making can offer voices to those who are often marginalized, especially women and LGBTQ people. Copiously illustrated with images of graffiti and street art, A War of Colors is a visually captivating and thought-provoking journey through Beirut, where local and global discourses intersect on both scarred and polished walls in the city.

We Take Care of Our Own traces the evolution of Bruce Springsteen’s beliefs, beginning with his New Jersey childhood and ending with his most recent works from Springsteen on Broadway to Letter to You. The author follows the singer’s life, examining his albums and a variety of influences (both musical and nonmusical), especially his Catholic upbringing and his family life, to show how he became an outspoken icon for working-class America—indeed for working-class life throughout the world. In this way, the author emphasizes the universality of Springsteen’s canon and depicts how a working-class sensibility can apply to anyone anywhere who believes in fairness and respect. In addition, the author places Springsteen in the historical context not only of literature (especially John Steinbeck) but also of the art world (specifically the work of Thomas Hart Benton and Edward Hopper). Among the themes explored in the book include community, a sense of place, America as the Promised Land, the myth of the West, and, ultimately, mortality.