Anti-Racism and Anti-Oppression Resources: Art and Art History Resources

This book is a collection of articles that reflect on various connectivities between art and social justice and media which are pertinent to studying contemporary societies. How different forms of media and art, in the broadest possible meaning of these terms, reflect on, relate to, and campaign for social justice is an important topic to consider as artists, academics and activists. The subject matter of the book is also contextualized, with attention being paid to historical, cultural and communication factors, and with chapters referencing situations and collaborations in Brazil, Cyprus, Greece and South Africa. This is the first time that such a broad range of contexts are being considered together within the pursuit of studies on art and social justice. Furthermore, this book concentrates on how different art forms are manifest, in relation to social justice issues in an ever-changing world mediated by the Internet. How much mobilization happens online through art and media, and how much happens in 'reality' (offline) are issues explored at length with regard to youth and participation in social change.

A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the "new black" and "post-black." Black Post-Blackness compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of twenty-first century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of twenty-first century black aesthetics. She uncovers the circle of black post-blackness that pivots on the power of anticipation, abstraction, mixed media, the global South, satire, public interiority, and the fantastic.

At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early 90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. "Bound to Appear" focuses on four of these artists Renee Green, Glenn Ligon, Lorna Simpson, and Fred Wilson who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the peculiar institution. The first book to examine in depth these artists engagements with slavery, "Bound to Appear" will leave an indelible mark on modern and contemporary art."

Philadelphia's community muralism movement is transforming the City of Brotherly Love into the Mural Capital of the World. This remarkable groundswell of public art includes some 3,500 wall-sized canvases: On warehouses and on schools, on mosques and in jails, in courthouses and along overpasses. In If These Walls Could Talk, Maureen O'Connell explores the theological and social significance of the movement. She calls attention to some of the most startling and powerful works it has produced and describes the narratives behind them. In doing so, O'Connell illustrates the ways that the arts can help us think about and work through the seemingly inescapable problems of urban poverty and arrive at responses that are both creative and effective. This is a book on American religion. It incorporates ethnography to explore faith communities that have used larger-than-life religious imagery to proclaim in unprecedented public ways their self-understandings, memories of the past, and visions of the future. It also examines the way this art functions in larger public discourse about problems facing every city in America. But If These Walls Could Talk is also theological text. It considers the theological implications of this most democratic expression of public art, mindful of the three components of every mural: the pieces themselves, those who create them, and those who interpret them. It illuminates a kind of beauty that seeks after social change or, in other words, the largely unexplored relationship between theological aesthetics and ethics.

Actor and singer Paul Robeson's performances in Othello, Show Boat, and The Emperor Jones made him famous, but his midcentury appearances in support of causes ranging from labor and civil rights to antilynching and American warmongering made him notorious. When Robeson announced at the 1949 Paris Peace Conference that it was "unthinkable" for blacks to go to war against the Soviet Union, the mainstream American press declared him insane.nbsp; nbsp; Notions of Communism, blackness, and insanity were interchangeably deployed during the Cold War to discount activism such as Robeson's, just a part of an array of social and cultural practices that author Tony Perucci calls the Cold War performance complex. Focusing on two key Robeson performances---the concerts in Peekskill, New York, in 1949 and his appearance before the House Committee on Un-American Activities in 1956---Perucci demonstrates how these performances and the government's response to them are central to understanding the history of Cold War culture in the United States. His book provides a transformative new perspective on how the struggle over the politics of performance in the 1950s was also a domestic struggle over freedom and equality. The book closely examines both of these performance events as well as artifacts from Cold War culture---including congressional documents, FBI files, foreign policy papers, the popular literature on mental illness, and government propaganda films---to study the operation of power and activism in American Cold War culture.

Radical Aesthetics and Modern Black Nationalism explores the long-overlooked links between black nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. GerShun Avilez charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As Avilez shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with black nationalist discourses. Avilez's close readings study how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, Radical Aesthetics and Modern Black Nationalism rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.

Activist art experienced a new beginning in the Seattle anti-globalization protests of 1999, but it didn't reach a zenith until Occupy Wall Street, a movement initiated by artist-activists and structured around performative gestures and iconic imagery for the media age. In this moment, activist art and radical ideas briefly invaded the mainstream imagination, and the art world proper opened its doors--momentarily--to activist art, having been forced to acknowledge its presence. Art critic and historian Yates McKee recounts this turn of events, and argues that it has fundamentally changed contemporary art, whether or not the art world knows it yet.