|
Showing 1 - 6 of
6 matches in All Departments
Performance Action looks to advance the understanding of how art
activism works in practice, by unpacking the relationship between
the processes and politics that lie at its heart. Focusing on the
UK but situating its analysis in a global context of art activism,
the book presents a range of different cases of performance-based
art activism, including the anti-oil sponsorship performances of
groups like Shell Out Sounds and BP or not BP?, the radical
pedagogy project Shake!, the psychogeographic practice of Loiterers
Resistance Movement, and the queer performances of the artist
network Left Front Art. Based on participatory, ethnographic
research, Performance Action brings together a wealth of first-hand
accounts and interviews followed by in-depth analysis of the
processes and politics of art activist practice. The book is unique
in that it adopts an interdisciplinary approach that borrows
concepts and theories from the fields of art history, aesthetics,
anthropology, sociology and performance studies, and proposes a new
framework for a better understanding of how art activism works,
focusing on processes. The book argues that art activism is defined
by its dual nature as aesthetic-political practice, and that this
duality and the way it is manifested in different processes, from
the building of a shared collective identity to the politics of
participation, is key towards fully understanding what sets apart
art activism from other forms of artistic and political practice.
The book is aimed at both specialist and non-specialist audiences,
offering an accessible and engaging way into new theoretical
contributions in the field of art activism, as well as on wider
subjects such as participation, collective identity, prefiguration
and institutional critique.
artWork: Art, Labour and Activism brings together a variety of
perspectives on contemporary cultural production and activism in
order to interrogate how the concepts of art, labour and activism
intersect in practices for social change. What can we learn about
contemporary art and politics by looking at the intersections
between art, labour and activism? What theoretical tools can help
us arrive at a deeper understanding of these intersections? In
order to address these questions, this collection explores the role
of art as activism, the use of social media and technology in
creative production and organising, the politics of artmaking, the
commodification of culture and the possibility of a creative
commons, and the work of artist activists as educators. In addition
to offering a variety of new perspectives from researchers and
practitioners, it proposes new paths towards interdisciplinary
research in this field that combine sociological, anthropological,
philosophical and art theory perspectives. It will be of interest
to students and scholars interested in creative labour, social
movements and political arts practice.
Performance Action looks to advance the understanding of how art
activism works in practice, by unpacking the relationship between
the processes and politics that lie at its heart. Focusing on the
UK but situating its analysis in a global context of art activism,
the book presents a range of different cases of performance-based
art activism, including the anti-oil sponsorship performances of
groups like Shell Out Sounds and BP or not BP?, the radical
pedagogy project Shake!, the psychogeographic practice of Loiterers
Resistance Movement, and the queer performances of the artist
network Left Front Art. Based on participatory, ethnographic
research, Performance Action brings together a wealth of first-hand
accounts and interviews followed by in-depth analysis of the
processes and politics of art activist practice. The book is unique
in that it adopts an interdisciplinary approach that borrows
concepts and theories from the fields of art history, aesthetics,
anthropology, sociology and performance studies, and proposes a new
framework for a better understanding of how art activism works,
focusing on processes. The book argues that art activism is defined
by its dual nature as aesthetic-political practice, and that this
duality and the way it is manifested in different processes, from
the building of a shared collective identity to the politics of
participation, is key towards fully understanding what sets apart
art activism from other forms of artistic and political practice.
The book is aimed at both specialist and non-specialist audiences,
offering an accessible and engaging way into new theoretical
contributions in the field of art activism, as well as on wider
subjects such as participation, collective identity, prefiguration
and institutional critique.
artWork: Art, Labour and Activism brings together a variety of
perspectives on contemporary cultural production and activism in
order to interrogate how the concepts of art, labour and activism
intersect in practices for social change. What can we learn about
contemporary art and politics by looking at the intersections
between art, labour and activism? What theoretical tools can help
us arrive at a deeper understanding of these intersections? In
order to address these questions, this collection explores the role
of art as activism, the use of social media and technology in
creative production and organising, the politics of artmaking, the
commodification of culture and the possibility of a creative
commons, and the work of artist activists as educators. In addition
to offering a variety of new perspectives from researchers and
practitioners, it proposes new paths towards interdisciplinary
research in this field that combine sociological, anthropological,
philosophical and art theory perspectives. It will be of interest
to students and scholars interested in creative labour, social
movements and political arts practice.
Latin American extractivism has become the ground on which
activists and scholars frame the dynamics of ecological
devastation, accumulation of wealth, and erosion of rights. These
maladies are the detritus of longstanding extraction-oriented
economies, and more recently from the expansion of the extractive
frontier and the implementation of new technologies in the
extraction of fossil fuels, mining, and agriculture. But the fields
of sociology, political ecology, anthropology, and geography have
largely ignored the role of art and cultural practices in studies
of extractivism and postextractivism. The field of art theory on
the other hand, has offered a number of texts that put forward
insightful analyses of artwork addressing extraction, environmental
devastation, and the climate crisis. However, an art theory
perspective that does not engage firsthand with collective action
remains limited, and fails to provide an account of the role,
processes and politics of art in anti- and post-extractivist
movements. Creating Worlds Otherwise offers the narratives that
subaltern groups generate around extractivism, and how they
develop, communicate, and mobilize these narratives through art and
cultural practices. The book reports on a two-year research project
into creative resistance to extractivism in Argentina, and builds
on long-term engagement working on environmental justice projects
and campaigns in Argentina and the UK. Creating Worlds Otherwise is
structured according to the main themes of anti and
post-extractivist movements: territoriality; ecofeminism and the
ethics of care; human rights and the rights of nature; urban
extractivism; sovereignty, autonomy and self-determination; and
postextractivism and alternatives to development. It is an
innovative contribution to the fields of Latin American studies,
political ecology, cultural studies, and art theory, and addresses
pressing questions regarding what post-extractivist worlds might
look like as well as how such visions are put into practice.
Extractivism has increasingly become the ground on which activists
and scholars in Latin America frame the dynamics of ecological
devastation, accumulation of wealth, and erosion of rights. These
maladies are the direct consequences of long-standing
extraction-oriented economies, and more recently from the expansion
of the extractive frontier and the implementation of new
technologies in the extraction of fossil fuels, mining, and
agriculture. But the fields of sociology, political ecology,
anthropology, and geography have largely ignored the role of art
and cultural practices in studies of extractivism and
post-extractivism. The field of art theory, on the other hand, has
offered a number of texts that put forward insightful analyses of
artwork addressing extraction, environmental devastation, and the
climate crisis. However, an art theory perspective that does not
engage firsthand and in depth with collective action remains
limited and fails to provide an account of the role, processes, and
politics of art in anti- and post-extractivist movements. Creating
Worlds Otherwise examines the narratives that subaltern groups
generate around extractivism, and how they develop, communicate,
and mobilize these narratives through art and cultural practices.
It reports on a six-year project on creative resistance to
extractivism in Argentina and builds on long-term engagement
working on environmental justice projects and campaigns in
Argentina and the UK. It is an innovative contribution to the
fields of Latin American studies, political ecology, cultural
studies, and art theory, and addresses pressing questions regarding
what post-extractivist worlds might look like as well as how such
visions are put into practice.
|
|