Routledge Companion to Art and Activism in the Twenty-First Century

<p><em>The Routledge Companion to Art and Activism in the Twenty-First Century</em> brings together a wide range of geographical, cultural, historical, and conceptual perspectives in a single volume of new essays that facilitate a deeper understanding of the field of art activism as it stands today and as it looks towards the future.</p><p>The book is a resource for multiple fields, including art activism, socially engaged art, and contemporary art, that represent the depth and breadth of contemporary activist art worldwide. Contributors highlight predominant lines of inquiry, uncover challenges faced by scholars and practitioners of activist art, and facilitate dialogue that might lead to new directions for research and practice. The editors hope that the volume will incite further conversation and collaboration among the various participants, practitioners, and researchers concerned with the relationship between art and activism.</p><p>The audience includes scholars and professors of modern and contemporary art, students in both graduate and upper-level undergraduate programs, as well as artists, curators, and museum professionals. Each chapter can stand on its own, making the companion a flexible resource for students and educators working in art history, museum studies, community practice/socially engaged art, political science, sociology, and ethnic and cultural studies.</p><p>Chapter 17 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com</p> <p><strong>Section I: Public Space and Protest</strong></p><p>Introduction</p><ol> <p> </p> <li>A Collectography of PAD/D, a 1980s Activist Art Collective, and its Legacy in 21st-Century Activist Art and Scholarship</li> <i> </i><p>Gregory Sholette</p> <p> </p> <li>Aesthetics of Reciprocity: Socially Engaged Art in China and Hong Kong</li> <i> </i><p>Mai Corlin Frederiksen</p> <p> </p> <li>Guided Horizontality in Art Resistance Platforms in Hungary Since 2010</li> <i> </i><p>Izabel Galliera</p> <p> </p> <li>Instructions Within: Art as Liberation Praxis in the Arab World</li> <i> </i><p>Maymanah Farhat </p> <p> </p> <li>Shattering Glass Ceiling: Art and Activism in Thailand since 2020</li> <i> </i><p>Thanavi Chotpradit</p> <p> </p> <li>1 to 1: Media and Public Mourning through Temporary Tactical Memorials</li> <i> </i><p>Daniel Tucker</p> <b> </b><p>Section II: Gender and Visual Sovereignty</p> <p>Introduction</p> <p> </p> <li>Reel/Real Resurgence: Pasifika Women Filmmakers and Media Activism</li> <i> </i><p>Jennifer L. Gauthier</p> <p> </p> <li>The Visual Politics of Queerness on the Navajo Nation</li> <i> </i><p>Louise Siddons</p> <p> </p> <li>Zeke Peña: Illustrating Chicanx Environmental Justice Histories in the Rio Grande Watershed</li> <i> </i><p>Jennifer Garcia Peacock</p> <p> </p> <li>Reproductive Justice and Visual Activism</li> <i> </i><p>Tamar Carroll</p> <p> </p> <li>Be Otherwise, 13 Acts of Resistance</li> <i> </i><p>Anonda Bell </p> <b> </b><p>Section III: Racial and Restorative Justice</p> <p>Introduction</p> <p> </p> <li>Historical Memory in Contemporary African American Activist Photography</li> <i> </i><p>Mary Trent</p> <p> </p> <li>A Series of Transitions: an interview with members of What Would an HIV Doula Do?</li> <i> </i><p>Andy Campbell</p> <p> </p> <li>Abolition Art: Contemporary Imaginings against the Carceral State</li> <i> </i><p>Rebecca Zorach </p> <p> </p> <li>let <i>them</i> tell it: Black southern women's retrospection within the works of Remember2019</li> <i> </i><p>Arielle Julia Brown</p> <p> </p> <li>La Vivienda Es La Cura: Latinx Art, Politics, and Housing Justice in East Boston</li> <i> </i><p>Anthony Romero </p> <p> </p> <li>Atomized Solidarity and New Shapes of Resistance: Visual Activism in South Africa after Apartheid</li> <i> </i><p>Kylie Thomas</p> <p><b>Section IV: Community Care and Advocacy</b></p> <p>Introduction</p> <p> </p> <li>With a Camera and a Tape Recorder: Through Positive Eyes, the AIDS Pandemic, and the Politics of Identification</li> <i> </i><p>David Gere </p> <p> </p> <li>For Foul-Mouthed Activists: Disobedience as Care Work in African Social Practice Art</li> <i> </i><p>Nomusa Makhubu</p> <p> </p> <li>Activating Vulnerability: On Artivism in Colombia’s Precarious Peace Process</li> <i> </i><p>Ana María Reyes</p> <p> </p> <li>A View from the Future: Activist Artists, Writers, and Filmmakers Turn to Science Fiction to Address the Climate Crisis</li> <i> </i><p>Lisa E. Bloom</p> <p> </p> <li>Amplifying Our Voices Through Public Art</li> <i> </i><p>Michelle Angela Ortiz</p> <p> </p> <li>What’s it all About, Alfie?</li> </ol><p>Zoë Charlton and <i>Tim Doud</i></p>