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ARTIVISM 2020 explores the intersections of political action and creative work across genre. From written manifestos to street art, from political theatre to documentary film, this semester's focus topic will investigate the way our desires for activism and message impact our artmaking, as well as the ways that artmaking enhances political protest, subverts the status quo, and furthers action across communities.
"Elegant and incendiary." --Naomi Klein. Beautiful Trouble brings together dozens of seasoned artists and activists from around the world to distill their best practices into a toolbox for creative action. Sophisticated enough for veteran activists, accessible enough for newbies, this compendium of troublemaking wisdom is a must-have for aspiring changemakers. Showcasing the synergies between artistic imagination and shrewd political strategy, Beautiful Trouble is for everyone who longs for a more beautiful, more just, more livable world - and wants to know how to get there.
Craftivism is a worldwide movement that operates at the intersection where craft and activism meet. With interviews and profiles of craftivists who are changing the world with their art, and through examples that range from community embroidery projects (such as stitching in prisons, revolutionary ceramics, AIDS activism, yarn bombing and crafts that facilitate personal growth) Craftivism provides imaginative examples of how crafters can be creative and altruistic at the same time.
Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.