The interaction of politics and the visual in the activities of nongovernmental activists. Political acts are encoded in medial forms-punch holes on a card, images on a live stream, tweets about events unfolding in real time-that have force, shaping people as subjects and forming the contours of what is sensible, legible, and visible. In doing so they define the terms of political possibility and create terrain for political acts. Sensible Politics considers the constitutive role played by aesthetic and performative techniques in the staging of claims by nongovernmental activists. Attending to political aesthetics means focusing not on a disembodied image that travels under the concept of art or visual culture, nor on a preformed domain of the political that seeks subsequent expression in media form. Instead it requires bringing the two realms together into the same analytic frame. A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the "forensic architecture" of claims to truth; and the "Make Poverty History" campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic. Their contributions offer critical insight into the practices of mediation whereby the political becomes manifest.

The past, present, and future prospects of nongovernmental politics-political activism that withdraws from traditional government but not from the politics associated with governing. To be involved in politics without aspiring to govern, without seeking to be governed by the best leaders, without desiring to abolish all forms of government: such is the condition common to practitioners of nongovernmental politics. Whether these activists concern themselves with providing humanitarian aid, monitoring human rights violations, protecting the environment, educating consumers, or improving the safety of workers, the legitimacy and efficacy of their initiatives demand that they forsake conventional political ambitions. Yet even as they challenge specific governmental practices, nongovernmental activists are still operating within the realm of politics.Composed of scholarly essays on the challenges and predicaments facing nongovernmental activism, profiles of unique and diverse NGOs (including Memorial, Global Exchange, World Vision, and Third World Network), and interviews with major nongovernmental actors (Gareth Evans of International Crisis Group, Anthony Romero of the ACLU, Rony Brauman of Medecins sans Frontieres, and Peter Lurie of Public Citizen, among others), this book offers a groundbreaking survey of the rapidly expanding domain of nongovernmental activism. It examines nongovernmental activists' motivations, from belief in the universality of human rights to concerns over the fairness of corporate stakeholders' claims, and explores the multiple ways in which nongovernmental agencies operate. It analyzes the strategic options available and focuses on some of the most remarkable sites of NGO action, including borders, disaster zones, and the Internet. Finally, the book analyzes the conflicting agendas pursued by nongovernmental advocates-protecting civil society from the intrusions of governments that lack accountability or wresting the world from neo-liberal hegemony on the one hand and hastening the return of the Savior or restoring the social order prescribed by the Prophet on the other.

What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new-if internally fraught-political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other-oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.

Collaborative duo Jennifer Allora and Guillermo Calzadilla's interdisciplinary body of work permeates the realms of sculpture, photography, video, social interventions, and performance, engaging with both art and activism. Now at Lisson Gallery in London is Vieques Videos 2003-2010, three video works addressing the island of Vieques, shown together for the first time.

This generously illustrated volume surveys a new chapter in the history of environmental art, one in which space, geopolitics, human relations, urbanism, and utopian dreamwork play as important a role as, if not more than, raw earth. Discussed are case studies by seven artists and two artist teams-Jennifer Allora and Guillermo Calzadilla, Francis Alys, Yael Bartana, Joana Hadjithomas and Khalil Joreige, Emre Huner, Andrea Geyer, Matthew Day Jackson, Lucy Raven, and Santiago Sierra. While some of these artists explore historical and symbolic configurations of space, others parse the social, legal, and economic conditions of specific land-sites, including the Navajo Nation, the island of Vieques, the border town of Juarez, and the cities of Tongling, Jerusalem, and Beirut. Not confined to the displacement of matter, these artists employ a wide range of media, such as performance, animation, assemblage, and photography. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum 10/23/10 - 02/20/11

This cultural reader, edited by Creative Time curator Nato Thompson, gathers more than 100 artists, thinkers and activists to reflect on the historical roots and current manifestations of democracy in the United States. Taking as a springboard the exhibition "Democracy in America: The National Campaign," presented by Creative Time in association with the Park Avenue Armory in September of 2008, this compendium includes writing and artwork by Laurie Anderson, Critical Art Ensemble, Liam Gillick, Jenny Holzer, Matt Keegan, Jon Kessler, Mark Tribe and many others; essays by Yates McKee, Doug Ashford of Group Material and curators Sofia Hernandez Chong Cuy and Nato Thompson; and interviews with Critical Art Ensemble's Steve Kurtz, Rene Gabri & Ayreen Anastas and Trevor Plagen--as well as a series of town hall-style conversations with artists and activists from five cities across the country.