Seeing Power: Art and Activism in the Twenty-first Century

Melville House - Here, nato thompson—one of the country’s most celebrated young curators and critics—investigates what this deluge means for those dedicated to socially engaged art and activism. How can anyone find a voice and make change in a world flooded with such pseudo-art? how are we supposed to discern what’s true in the product emanating from the ceaseless machine of consumer capitalism, a machine that appropriates from art history, and now from the methods of grassroots political organizing and even social networking? Thompson’s invigorating answers to those questions highlights the work of some of the most innovative and interesting artists and activists working today, as well as institutions that empower their communities to see power and reimagine it.

. In our chaotic world of co-opted imagery, does art still have power?A fog of images and information permeates the world nowadays: from advertising, radio, television, and film to the glut produced by the new economy and the rise of social media . From cooperative housing to anarchist infoshops to alternative art venues, Seeing Power reveals ways that art today can and does inspire innovation and dramatic transformation.

Seeing Power: Art and Activism in the Twenty-first Century - . Perhaps as never before. Where even our friends suddenly seem to be selling us the ultimate product: themselves.





Education for Socially Engaged Art: A Materials and Techniques Handbook

Jorge Pinto Books Inc. - Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. For too long social practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history.

Locating the methodologies of this work in between disciplines, pedagogy, sociology, Helguera draws on histories of performance, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field.

Claire bishop, professor of contemporary art and exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship "This is an extremely timely and thoughtful reference book. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact.

Education for Socially Engaged Art: A Materials and Techniques Handbook - Sally tallant, director of the queens museum, liverpool biennial "helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art" -Tom Finkelpearl, Artistic Director, New York, and author of Dialogues in Public Art.





Art and Politics: A Small History of Art for Social Change Since 1945

I.B. Tauris - With its broad definition of the political, environmentalism, the anti-war movement, feminism, this book features chapters on postcolonialism, gay rights and anti-globiliaztion. While emphasising the west, art and politics takes global developments into account as well - looking at art production practiced by postcolonial African, Latin American and Middle Eastern artists.

From the postwar works of pablo picasso and alexander deineka to thie border film Project and web-based works of Beatriz da Costa, Art and Politics: a Small History of Art for Social Change after 1945 considers how artists visual or otherwise have engaged with major political and grassroots movements, particularly after 1960

Art and Politics: A Small History of Art for Social Change Since 1945 - . Contemporary art is increasingly concerned with swaying the opinions of its viewier. It charts how individual artworks reverberated with enormous idealogical shifts. Its case-study approach to the subject provides the reader with an overview of a most complex subject. This book will also challenge its readers to consider often devalued and marginalised political artworks as properly part of the history of modern and contemporary art.

This book provides readers with the tools to decode and appreciate political art, a crucial and understudied direction in post-war art. To do so, the art employs various strategies to convey a political message. I b tauris.





Artificial Hells: Participatory Art and the Politics of Spectatorship

Verso - Artificial hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice. Claire bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.

I b tauris. In artificial hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical rather than artistic criteria invited by such artworks. Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations.

Artificial Hells: Participatory Art and the Politics of Spectatorship - It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art.

This itinerary takes in futurism and dada; the situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. Verso. Artificial hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.





Living as Form: Socially Engaged Art from 1991-2011 The MIT Press

The MIT Press - Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. Engaged with the texture of living, these art works often blur the line between art and life. Verso. Mit Press. The artists include the danish collective superflex, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, creator of socially and politically charged performance works; Women on Waves, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, an architect who builds temporary structures to solve housing problems.

Living as form contains commissioned essays from noted critics and theorists who look at this phenomenon from a global perspective and broaden the range of what constitutes this form. Contributing authorsclaire bishop, anne pasternak, Maria Lind, Brian Holmes, Teddy Cruz, Shannon Jackson, Carol Becker, Nato Thompson I b tauris.

Living as Form: Socially Engaged Art from 1991-2011 The MIT Press - This book offers the first global portrait of a complex and exciting mode of cultural production―one that has virtually redefined contemporary art practice. Living as form grew out of a major exhibition at Creative Time in New York City. These works are often produced by collectives or come out of a community context; they emphasize participation, and action, dialogue, and appear in situations ranging from theater to activism to urban planning to visual art to health care.

A monumental, lavishly illustrated book that offers the first global portrait of a complex and definition-defying genre of cultural production. Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics.





Culture as Weapon: The Art of Influence in Everyday Life

Melville House - One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us. The production of culture was once the domain of artists, the emerging fields of public relations, but beginning in the early 1900s, advertising and marketing transformed the way the powerful communicate with the rest of us.

Verso. I b tauris. In culture as weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives. Melville House Publishing. An eye-opening account of the way advertising, and politics work today, media, Culture as Weapon offers a radically new way of looking at our world.

Culture as Weapon: The Art of Influence in Everyday Life - A century later, the tools are more sophisticated than ever, the onslaught more relentless. Mit Press.





Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art

Allworth - Luis garcía, los angeles, phoenix, josé González, and Kirn Kim, Ryan Lo, California. Sarah ross, damon locks and Fereshteh Toosi, Chicago, Illinois. Laurie palmer, sarah Ross and Lindsey French, Chicago, Illinois. Matthew friday and iain kerr SPURSE, New Paltz, New York. Alejandro meitin, La Plata, Argentina.

Bo zheng, Hong Kong. Jon platt and sonya akimovaChto Delat School of Engaged Art, St. Melville House Publishing. Petersburg, Russia. Jaishri abichandani, SAWCC, New York City. Jen delos reyes, Chicago, Illinois. Joseph cuillier, New York City. Alpha elena escobedo, Ciudad Juárez, Mexico. Justin langlois, Vancouver, Canada.

Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art - Loraine leeson and Alberto Duman, London UK. Gretchen Coombs, Brisbane, Australia. Susan R. Greene, palestine and San Francisco, California. Dillon de give, New York City.





Culture as Weapon: The Art of Influence in Everyday Life

Melville House - An eye-opening account of the way advertising, media, and politics work today, Culture as Weapon offers a radically new way of looking at our world. In culture as weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives.

Melville House Publishing. A century later, the tools are more sophisticated than ever, the onslaught more relentless. I b tauris. One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us. The production of culture was once the domain of artists, the emerging fields of public relations, but beginning in the early 1900s, advertising and marketing transformed the way the powerful communicate with the rest of us.

Culture as Weapon: The Art of Influence in Everyday Life - Mit Press. Verso.





A People's Art History of the United States: 250 Years of Activist Art and Artists Working in Social Justice Movements

The New Press - In fact, art is created every day in the street and all around us, and everyone deserves to be a part of it. Called “important” by renowned art critic lucy lippard, A People’s Art History of the United States introduces us to key works of American radical art alongside dramatic retellings of the histories that inspired them.

Mit Press. Richly illustrated with more than two hundred black-and-white images, this book by acclaimed artist and author Nicolas Lampert is the go-to resource for everyone who wants to know what activist art can and does do for our society. Spanning the abolitionist movement, the civil rights movement, and up to the present antiglobalization movement and beyond, women’s suffrage, early labor movements, A People’s Art History of the United States is a wonderful read as well as a brilliant toolkit for today’s artists and activists to adapt past tactics to the present, utilizing art and media as a form of civil disobedience.

A People's Art History of the United States: 250 Years of Activist Art and Artists Working in Social Justice Movements - Melville House Publishing. I b tauris. Inspired by the pathbreaking work of howard zinn, a people’s Art History of the United States is propelled by a democratic vision of art, showing that art doesn’t just belong within the confines of museums and archives. Verso.





What We Made: Conversations on Art and Social Cooperation

Duke University Press Books - In his conclusion, finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston's Project Row Houses. Interviewees. He also interviews the often overlooked co-creators of cooperative art, "expert participants" who have worked with artists.

Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, collaborative opportunities made available by new media, spirituality, and the elusive criteria for evaluating cooperative art.

What We Made: Conversations on Art and Social Cooperation - . Mit Press. Naomi beckwith, tania bruguera, daniel martinez, teddy cruz, gregg horowitz, lee mingwei, wendy ewald, harrell fletcher, David Henry, Pedro Lasch, Ethan Seltzer, Brett Cook, Grant Kester, Mierle Laderman Ukeles, Jonah Peretti, Sondra Farganis, Rick Lowe, Ernesto Pujol, Claire Bishop, Evan Roth, Jay Dykeman, and Mark Stern I b tauris.

Verso. Melville House Publishing. In a series of fifteen conversations, including social policy, architecture, urban planning, joined at times by colleagues from related fields, art history, artists comment on their experiences working cooperatively, and new media. In what we made, tom finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art.





The Interventionists: Users' Manual for the Creative Disruption of Everyday Life MIT Press

MASS MoCA - Mit Press. Melville House Publishing. The accompanying text includes essays by noted scholars putting the work in a broader cultural and social context as well as texts by the artists themselves. From michael rakowitz's inflatable homeless shelter and William Pope. L's "black factory" truck with pulverizer, and giant inflatable igloo to the Biotic Baking Brigade's political pie-throwing, gift shop, the art of The Interventionists surveys a growing genre and offers a guide for radical social action.

The book classifies the artists according to their choice of tactics: the Nomads, artists who produce fashion for political action; and the Experimental University, who create mobile projects; Reclaim the Streets, artists who act in public places; Tools for Resistance: Ready to Wear, artists whose work engages pedagogy and theory.

The Interventionists: Users' Manual for the Creative Disruption of Everyday Life MIT Press - These artists don't preach or proselytize; they give us the tools to form our own opinions and create our own political actions. Art made to attach to buildings or to be given away? wearable art for street demonstrations or art that sets up a booth at a trade show? This is the art of the interventionists, who trespass into the everyday world to raise our awareness of injustice and other social problems.

. Verso. It's a user's guide to art that is exciting, inspiring artistically and politically, provocative, unexpected, and fun. The interventionists, which accompanies an exhibit at MASS MoCA, serves as a handbook to this new and varied work. I b tauris.