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8 books about Artists and community
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8 books about Artists and community
Art, Activism, and Oppositionality
Essays from Afterimage
Grant Kester, ed.
Duke University Press, 1998
There is a common perception in the arts today that overtly activist art—often seen to sacrifice an aesthetic pleasure for a subversive one—is no longer in fashion. In bringing together sixteen of the most important essays on activist and community-based art from the pages of Afterimage—one of the most influential journals in the media and visual arts fields for more than twenty-five years—Grant H. Kester demonstrates that activist art, far from being antithetical to the true meaning of the aesthetic, can be its most legitimate expression.
Forging a style of criticism where aesthetic, critical, theoretical, and activist concerns converge, Afterimage has shaped American debates around the politics of visual production and arts education while offering a voice to politically involved artists and scholars. Art, Activism, and Oppositionality insists not only on the continuing relevance of an activist stance to contemporary art practice and criticism, but also on the significance of an engaged art practice that is aligned with social or political activism. With essays that span fifteen years—roughly from Ronald Reagan’s 1980 presidential win to the 1994 Republican victories in Congress, a period marked by waning public support for the arts and growing antagonism toward activist art—Art, Activism, and Oppositionality confronts issues ranging from arts patronage, pedagogy, and the very definitions of art and activism to struggles involving AIDS, reproductive rights, sexuality, and racial identity.
Contributors. Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H. Kester, Ioannis Mookas, Chiquita Mullins Lee, Darrell Moore, Lorraine O’Grady, Michael Renov, Martha Rosler, Patricia Thomson, David Trend, Charles A. Wright Jr., Patricia R. Zimmerman
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Art for People's Sake
Artists and Community in Black Chicago, 1965-1975
Rebecca Zorach
Duke University Press, 2019
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.
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The New Public Art
Collectivity and Activism in Mexico since the 1980s
Mara Polgovsky Ezcurra
University of Texas Press, 2023
Other Country
Barry Lopez and the Community of Artists
James Perrin Warren
University of Arizona Press, 2015
The award-winning American environmental writer Barry Lopez has traveled extensively in remote and populated parts of the world. Lopez’s fiction and nonfiction focus on the relationship between the physical landscape and human culture, posing abiding questions about ethics, intimacy, and place.
Other Country presents a full-scale treatment of Lopez’s work. James Perrin Warren examines the relationship between Lopez’s writing and the work of several contemporary artists, composers, and musicians, whose works range from landscape photography, painting, and graphic arts to earth art, ceramics, and avant-garde music. The author demonstrates Lopez’s role in creating this community of artists who have led cultural change, and shows that Lopez’s writing—and his engagement with the natural world—creates an “other country” by redefining boundaries, rediscovering a place, and renewing our perceptions of landscapes.
Warren’s critique examines manuscripts and typescripts from the 1960s to the present, interviews with Lopez conducted from 2008 to 2013, and interviews with artists. Part 1 focuses on the relationship between Lopez’s storytelling, which he calls “a conversation with the land,” and Robert Adams’s landscape photography. For both Lopez and Adams, a worthy artistic expression serves the cultural memory of a community, reminding us how to behave properly toward other people and the land. Part 2 looks at the collaborative friendship of Lopez and visual artist Alan Magee, tracking the development of Lopez’s short stories through a consideration of Magee’s career. Part 3 moves farther afield, discussing Lopez’s relationship to Richard Long’s earth art, Richard Rowland’s ceramics, and John Luther Adams’s soundscapes.
Other Country reveals the dynamic relationships between Lopez, considered by many the most important environmental writer working in America, and the artistic community, who seek to explore the spiritual and ethical dimensions of an honorable and attentive relationship to the land and thus offer profound implications for the future of the planet.
Other Country presents a full-scale treatment of Lopez’s work. James Perrin Warren examines the relationship between Lopez’s writing and the work of several contemporary artists, composers, and musicians, whose works range from landscape photography, painting, and graphic arts to earth art, ceramics, and avant-garde music. The author demonstrates Lopez’s role in creating this community of artists who have led cultural change, and shows that Lopez’s writing—and his engagement with the natural world—creates an “other country” by redefining boundaries, rediscovering a place, and renewing our perceptions of landscapes.
Warren’s critique examines manuscripts and typescripts from the 1960s to the present, interviews with Lopez conducted from 2008 to 2013, and interviews with artists. Part 1 focuses on the relationship between Lopez’s storytelling, which he calls “a conversation with the land,” and Robert Adams’s landscape photography. For both Lopez and Adams, a worthy artistic expression serves the cultural memory of a community, reminding us how to behave properly toward other people and the land. Part 2 looks at the collaborative friendship of Lopez and visual artist Alan Magee, tracking the development of Lopez’s short stories through a consideration of Magee’s career. Part 3 moves farther afield, discussing Lopez’s relationship to Richard Long’s earth art, Richard Rowland’s ceramics, and John Luther Adams’s soundscapes.
Other Country reveals the dynamic relationships between Lopez, considered by many the most important environmental writer working in America, and the artistic community, who seek to explore the spiritual and ethical dimensions of an honorable and attentive relationship to the land and thus offer profound implications for the future of the planet.
[more]
Painting Publics
Transnational Legal Graffiti Scenes as Spaces for Encounter
Caitlin Frances Bruce
Temple University Press, 2019
Public art is a form of communication that enables spaces for encounters across difference. These encounters may be routine, repeated, or rare, but all take place in urban spaces infused with emotion, creativity, and experimentation. In Painting Publics, Caitlin Bruce explores how various legal graffiti scenes across the United States, Mexico, and Europe provide diverse ways for artists to navigate their changing relationships with publics, institutions, and commercial entities.
Painting Publics draws on a combination of interviews with more than 100 graffiti writers as well as participant observation, and uses critical and rhetorical theory to argue that graffiti should be seen as more than counter-cultural resistance. Bruce claims it offers resources for imagining a more democratic city, one that builds and grows from personal relations, abandoned or under-used spaces, commercial sponsorship, and tacit community resources. In the case of Mexico, Germany, and France, there is even some state support for the production and maintenance of civic education through visual culture.
In her examination of graffiti culture and its spaces of inscription, Bruce allows us to see moments where practitioners actively reckon with possibility.
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The Play in the System
The Art of Parasitical Resistance
Anna Watkins Fisher
Duke University Press, 2020
What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism—tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins—from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus—have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.
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South of Pico
African American Artists in Los Angeles in the 1960s and 1970s
Kellie Jones
Duke University Press, 2017
Named a Best Art Book of 2017 by the New York Times and Artforum
In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
[more]
Wages Against Artwork
Decommodified Labor and the Claims of Socially Engaged Art
Leigh Claire La Berge
Duke University Press, 2019
The last twenty years have seen a rise in the production, circulation, and criticism of new forms of socially engaged art aimed at achieving social justice and economic equality. In Wages Against Artwork Leigh Claire La Berge shows how socially engaged art responds to and critiques what she calls decommodified labor—the slow diminishment of wages alongside an increase in the demands of work. Outlining the ways in which socially engaged artists relate to work, labor, and wages, La Berge examines how artists and organizers create institutions to address their own and others' financial precarity; why the increasing role of animals and children in contemporary art points to the turn away from paid labor; and how the expansion of MFA programs and student debt helps create the conditions for decommodified labor. In showing how socially engaged art operates within and against the need to be paid for work, La Berge offers a new theorization of the relationship between art and contemporary capitalism.
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