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Imagine the civil rights movement without freedom songs and the politics of women's movements without poetry. Or, more difficult yet, imagine an America unaffected by the cultural expressions and forms of the twentieth-century social movements that have shaped our nation. The first broad overview of social movements and the distinctive cultural forms that express and helped shape them, The Art of Protest shows the vital importance of these movements to American culture. In comparative accounts of movements beginning with the African American civil rights movement of the 1950s and 1960s and running through the Internet-driven movement for global justice ("Will the revolution be cybercast?") of the twenty-first century, T. V. Reed enriches our understanding of protest and its cultural expression. Reed explores the street drama of the Black Panthers, the revolutionary murals of the Chicano movement, the American Indian Movement's use of film and video, rock music and the struggles against famine and apartheid, ACT UP's use of visual art in the campaign against AIDS, and the literature of environmental justice. Throughout, Reed employs the concept of culture in three interrelated ways: by examining social movements as sub- or countercultures; by looking at poetry, painting, music, murals, film, and fiction in and around social movements; and by considering the ways in which the cultural texts generated by resistance movements have reshaped the contours of the wider American culture. The United States is a nation that began with a protest. Through the kaleidoscopic lens of artistic and cultural expression, Reed reveals how activism continues to remake our world.

The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.

The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.

Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

This analysis of Baldwin's pre-1963 works examines the pressures that transform a successful Black from a private person into a racial activist.

This analysis of Baldwin's pre-1963 works examines the pressures that transform a successful Black from a private person into a racial activist

In The Art of Moral Protest, James Jasper integrates diverse examples of protest—from nineteenth-century boycotts to recent movements—into a distinctive new understanding of how social movements work. Jasper highlights their creativity, not only in forging new morals but in adopting courses of action and inventing organizational forms. "A provocative perspective on the cultural implications of political and social protest."—Library Journal

The rich history of African-American theatre has often been overlooked, both in theoretical discourse and in practice. This volume seeks a critical engagement with black theatre artists and theorists of the twentieth century. It reveals a comprehensive view of the Art or Propaganda debate that dominated twentieth century African-American dramatic theory. Among others, this text addresses the writings of Langston Hughes, W.E.B. DuBois, Alain Locke, Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy, Sidney Poitier, and August Wilson. Of particular note is the manner in which black theory collides or intersects with canonical theorists, including Aristotle, Keats, Ibsen, Nietzsche, Shaw, and O'Neill.

The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

The rich history of African-American theatre has often been overlooked, both in theoretical discourse and in practice. This volume seeks a critical engagement with black theatre artists and theorists of the twentieth century. It reveals a comprehensive view of the Art or Propaganda debate that dominated twentieth century African-American dramatic theory. Among others, this text addresses the writings of Langston Hughes, W.E.B. DuBois, Alain Locke, Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy, Sidney Poitier, and August Wilson. Of particular note is the manner in which black theory collides or intersects with canonical theorists, including Aristotle, Keats, Ibsen, Nietzsche, Shaw, and O'Neill.

Book is in NEW condition. 2.47

We seek to address current issues including climate change, sexual assault, immigration, the refugee crisis, racism, and sexism. The art in this exhibition expresses a range of emotions from anger and sadness, to our hope for positive change.All profits from the exhibition catalog goes to the Artist Circle Alliance, LLC to cover costs associated with the exhibit. Once all expenses are paid at the end of the exhibit’s run, anything left over will be donated to four charities: the ACLU (American Civil Liberties Union), Planned Parenthood, RAINN (Rape, Abuse & Incest National Network), and IRC (International Rescue Committee). Through much of history, quilts have spoken to many political causes, including the temperance movement, women’s suffrage, nuclear proliferation,and AIDS awareness. Quilts have always been a means of expression for people whose political voices were silenced.Art is about communication, and the makers of these works are eager to share their viewpoints. Agree? Disagree? We invite you to join us as we examinethese issues and consider differing opinions with civilized, constructive conversation. We hope to ultimately gain a better understanding of oneanother’s perspectives and to foster continued change in a positive direction.

A survey of antiwar art features the works of over one hundred artists from many countries, including Breughel, Goya, Manet, Kandinsky, Munch, Sloan, and Searle

An extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century.    Two of the most recognizable images of twentieth-century art are Pablo Picasso’s “Guernica” and the rather modest mass-produced poster by an unassuming illustrator, Lorraine Schneider “War is Not Healthy for Children and Other Living Things.”  From Picasso’s masterpiece to a humble piece of poster art, artists have used their talents to express dissent and to protest against injustice and immorality.  As the face of many political movements, posters are essential for fueling recruitment, spreading propaganda, and sustaining morale.  Disseminated by governments, political parties, labor unions and other organizations, political posters transcend time and span the entire spectrum of political affiliations and philosophies.  Drawing on the celebrated collection in the Tamiment Library’s Poster and Broadside Collection at New York University, Ralph Young has compiled an extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century:  labor, civil rights, the Vietnam War, LGBT rights, feminism and other minority rights.    Make Art Not War can be enjoyed on aesthetic grounds alone, and also offers fascinating and revealing insights into twentieth century cultural, social and political history.

To a group of architecture students at the Ecole des Beaux-Arts in Paris in the turbulent year 1968, the idea of the inflatable held a promise of mobility, movement, energy, and escape. Seeking to overturn the inertia and oppression that they believed characterized mainstream architecture, the Utopie group (as they called themselves) designed a series of pneumatic buildings, furniture, and environments, all heavily influenced by American military structures and comic books as well as by the work of Buckminster Fuller, Henri Lefebvre, Jean Baudrillard, and London's Archigram. Though Utopie architects Jean Aubert, Jean-Paul Jungmann, and Antoine Stinco were unable to realize their dream of a society literally built on air, their fanciful, exuberant, witty, and highly detailed drawings remain some of the most extraordinary in modern architecture. The Inflatable Moment documents this fascinating intersection of architectural, social, and political history, as it presents a complete, annotated catalog of the designs of the Utopie architects alongside similar structures from the period. Essays on the pneumatic phenomenon and the intellectual history of the Utopie group are supplemented by reflections by the three architects, each written especially for this book.

First edition copy. . No Dust Jacket Former Library book. Underlining and marginalia inside. (African Americans in the performing arts, NAACP, National Association for the Advancement of Colored People)

Every work of art has a story behind it. In 1886 the German American artist Robert Koehler painted a dramatic wide-angle depiction of an imagined confrontation between factory workers and their employer. He called this oil painting The Strike. It has had a long and tumultuous international history as a symbol of class struggle and the cause of workers’ rights. First exhibited just days before the tragic Chicago Haymarket riot, The Strike became an inspiration for the labor movement. In the midst of the campaign for an eight-hour workday, it gained international attention at expositions in Paris, Munich, and the 1893 Chicago World’s Fair. Though the painting fell into obscurity for decades in the early twentieth century, The Strike lived on in wood-engraved reproductions in labor publications. Its purchase, restoration, and exhibition by New Left activist Lee Baxandall in the early 1970s launched it to international fame once more, and collectors and galleries around the world scrambled to acquire it. It is now housed in the Deutsches Historisches Museum in Berlin, Germany.            Art historian James M. Dennis has crafted a compelling “biography” of Koehler’s painting: its exhibitions, acclaim, neglect, and rediscovery. He introduces its German-born creator and politically diverse audiences and traces the painting’s acceptance and rejection through the years, exploring how class and sociopolitical movements affected its reception. Dennis considers the significance of key figures in the painting, such as the woman asserting her presence in the center of action. He compellingly explains why The Strike has earned its identity as the iconic painting of the industrial labor movement. 

An authoritative, richly illustrated history of six centuries of global protest artThroughout history, artists and citizens have turned to protest art as a means of demonstrating social and political discontent. From the earliest broadsheets in the 1500s to engravings, photolithographs, prints, posters, murals, graffiti, and political cartoons, these endlessly inventive graphic forms have symbolized and spurred on power struggles, rebellions, spirited causes, and calls to arms. Spanning continents and centuries, Protest! presents a major new chronological look at protest graphics.Beginning in the Reformation, when printed visual matter was first produced in multiples, Liz McQuiston follows the iconic images that have accompanied movements and events around the world. She examines fine art and propaganda, including William Hogarth’s Gin Lane, Thomas Nast’s political caricatures, French and British comics, postcards from the women’s suffrage movement, clothing of the 1960s counterculture, the anti-apartheid illustrated book How to Commit Suicide in South Africa, the “Silence=Death” emblem from the AIDS crisis, murals created during the Arab Spring, electronic graphics from Hong Kong’s Umbrella Revolution, and the front cover of the magazine Charlie Hebdo. Providing a visual exploration both joyful and brutal, McQuiston discusses how graphics have been used to protest wars, call for the end to racial discrimination, demand freedom from tyranny, and satirize authority figures and regimes.From the French, Mexican, and Sandinista revolutions to the American civil rights movement, nuclear disarmament, and the Women’s March of 2017, Protest! documents the integral role of the visual arts in passionate efforts for change.

"The future is female" This retro style french print was a well known classic Fanclub t-shirt launched in 2017. The design is timeless and we thought what better way to celebrate women and empower our fans and sisters than bring it back as a print. Taking design inspiration from 60s protest posters this retro off-white and red print will sure make a statement on any wall. Giclée printed on Munken pure smooth cream paper which is certified by the Rainforest Alliance Program for FSC® Standards. All in the details * Sold without frame. * Designed by Fanclub owners and sisters, Johanna and Felicity. * Giclée printed in Nottingham UK on Munken pure smooth cream paper which is certified by the Rainforest Alliance Program for FSC® Standards. * Handled with care and shipped in a cardboard envelope with added cardboard backing for extra protection (please note A2 prints are shipped in postal tubes).

"The future is female" This retro style french print was a well known classic Fanclub t-shirt launched in 2017. The design is timeless and we thought what better way to celebrate women and empower our fans and sisters than bring it back as a print. Taking design inspiration from 60s protest posters this retro off-white and red print will sure make a statement on any wall. Giclée printed on Munken pure smooth cream paper which is certified by the Rainforest Alliance Program for FSC® Standards. All in the details * Sold without frame. * Designed by Fanclub owners and sisters, Johanna and Felicity. * Giclée printed in Nottingham UK on Munken pure smooth cream paper which is certified by the Rainforest Alliance Program for FSC® Standards. * Handled with care and shipped in a cardboard envelope with added cardboard backing for extra protection (please note A2 prints are shipped in postal tubes).