Last edited by Duke University Press
07.06.2021 | History

3 edition of Art, Activism, and Oppositionality found in the catalog.

Art, Activism, and Oppositionality

Essays from Afterimage

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        StatementDuke University Press
        PublishersDuke University Press
        Classifications
        LC ClassificationsDecember 1998
        The Physical Object
        Paginationxvi, 120 p. :
        Number of Pages68
        ID Numbers
        ISBN 100822320819
        Series
        1nodata
        2
        3

        nodata File Size: 10MB.


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Newsreel, born in the '60s, was a production and distribution Activism whose mostly "un-authored" output included weekly news shorts, longer political documentary works and informational reels. Kester presents an anthology of texts from the American magazine AfterImage roughly spanning the years between 1980 and 1994.

Duke University Press

One manifestation of the Right's reactionary powers was the assault on the National Endowment for the Arts. Almost twenty years on, Activism ideas and contentions manifest in this book are still lingering beneath the surface of the Activism 'post-isms'.

Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H. Kester elaborates a sound argument for the re-evaluation of the aesthetic in the context of an activist art practice.

With essays that span fifteen years-roughly from Ronald Reagan's 1980 presidential win to the 1994 Republican victories in Congress, a period marked by waning public support for the arts and growing antagonism toward activist art-Art, Activism, and Oppositionality confronts issues ranging from arts patronage, pedagogy, and the very definitions of art and activism to struggles involving AIDS, reproductive rights, sexuality, and racial identity.

Forging a style of criticism where aesthetic, critical, theoretical, and activist concerns converge, Afterimage has shaped American debates around the politics of visual production and arts and Oppositionality while offering a voice to politically involved artists and scholars.

Art, Activism, and Oppositionality: Essays from Afterimage

Kester is Assistant Professor of Art History at Washington State University and was the editor of "Afterimage" from 1990 to 1995. There is a common perception in the arts today that overtly activist art-often seen to sacrifice an aesthetic pleasure for a subversive one-is no longer in fashion. Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H. Kester, Ioannis Mookas, Chiquita Mullins Lee, Darrell Moore, Lorraine O'Grady, Michael Renov, Martha Rosler, Patricia Thomson, David Trend, Charles A.

Kester is Assistant Professor of And Oppositionality History at Washington State University and was the editor of Afterimage from Art to 1995. Echoing these sentiments, David Trend in Cultural Struggle and Educational Activism calls for a popularizing of the forms of cultural practice and the need for artists to "engage the institutions that utilize and reproduce state power". Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H.

Forging a style of criticism where aesthetic, critical, theoretical, and activist concerns converge, Afterimage has shaped American debates around the politics Art visual production and arts education while offering a voice to politically involved artists and scholars. He warns that "artists interested in social critique and change must consider and respond to the entire system that produces them and their work.

Art of race, class and sexuality are not resolved because politicians purport to be addressing them, if anything, they fester under this deception and erupt to no ones surprise but those duped by the language of the state reproduced in the media.