"Art for Amnesty is a global community of artists of all disciplines and nationalities who share Amnesty International’s vision of a world where human rights are enjoyed by all." ~ Art for Amnesty website
"Artists for Human Rights (AFHR) was formed as a non-profit organization with the purpose of promoting the Universal Declaration of Human Rights and thus raising human rights awareness around the world by knowing them, demanding them and defending them. AFHR welcomes all peoples of the world to join us - the only prerequisite - support and affirmation of the Universal Declaration of Human Rights. We work with like-minded individuals from all walks of life, all disciplines, races, creeds and nationalities and allied organizations to bring the full force of artistic expression to bear in the human rights arena. As a united front, our intention is to enlighten and elevate the culture by raising our voices together thus bringing about increased sanity and tolerance in our troubled world." ~ Mission Statement
"Art+Feminism is a campaign improving coverage of cis and transgender women, non-binary folks, feminism and the arts on Wikipedia. From coffee shops and community centers to the largest museums and universities in the world, Art+Feminism is a do-it-yourself and do-it-with-others campaign teaching people of all gender identities and expressions to edit Wikipedia." ~ From the Art & Feminism website
"The International Human Rights Art Festival is an ongoing series of art-activist events, festivals, workshops, and community programs at the intersection of art, advocacy, and society. At each of our events, we bring together social and political leaders and the general public to challenge audiences through sincerity, beauty and talent, to imagine a better way and help implement a more open-minded, inclusive and caring world." ~ Mission Statement
In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice. Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that "one of the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts," Dewhurst outlines core strategies for an "activist arts pedagogy" and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. Social Justice Art seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development.
Most people outside of the art world view art as something that is foreign to their experiences and everyday lives. A People’s Art History of the United States places art history squarely in the rough-and-tumble of politics, social struggles, and the fight for justice from the colonial era through the present day. Author and radical artist Nicolas Lampert combines historical sweep with detailed examinations of individual artists and works in a politically charged narrative that spans the conquest of the Americas, the American Revolution, slavery and abolition, western expansion, the suffragette movement and feminism, civil rights movements, environmental movements, LGBT movements, antiglobalization movements, contemporary antiwar movements, and beyond. A People’s Art History of the United States introduces us to key works of American radical art alongside dramatic retellings of the histories that inspired them. Stylishly illustrated with over two hundred images, this book is nothing less than an alternative education for anyone interested in the powerful role that art plays in our society.
Philadelphia's community muralism movement is transforming the City of Brotherly Love into the Mural Capital of the World. This remarkable groundswell of public art includes some 3,500 wall-sized canvases: On warehouses and on schools, on mosques and in jails, in courthouses and along overpasses. In If These Walls Could Talk, Maureen O'Connell explores the theological and social significance of the movement. She calls attention to some of the most startling and powerful works it has produced and describes the narratives behind them. In doing so, O'Connell illustrates the ways that the arts can help us think about and work through the seemingly inescapable problems of urban poverty and arrive at responses that are both creative and effective. This is a book on American religion. It incorporates ethnography to explore faith communities that have used larger-than-life religious imagery to proclaim in unprecedented public ways their self-understandings, memories of the past, and visions of the future. It also examines the way this art functions in larger public discourse about problems facing every city in America. But If These Walls Could Talk is also theological text. It considers the theological implications of this most democratic expression of public art, mindful of the three components of every mural: the pieces themselves, those who create them, and those who interpret them. It illuminates a kind of beauty that seeks after social change or, in other words, the largely unexplored relationship between theological aesthetics and ethics.
Art and Social Justice Education offersnbsp;inspiration and tools for educatorsnbsp;to craft critical, meaningful, and transformative arts education curriculum and arts integration projects. The images, descriptive texts, essays, and resources are grounded within a clear social justice framework and linked to ideas about culture as commons. Essays and a section written by and for teachers who have already incorporatednbsp;contemporary artistsnbsp;and ideas into their curriculums help readers to imagine ways to use the content in their own settings.nbsp;This book is enhanced by anbsp;Companion Website (www.routledge.com/cw/quinn) featuring artists and artworks, project examples, and dialogue threads for educators. Proposing that art can contribute in a wide range of ways to the work of envisioning and making a more just world, this imaginative, practical, and engaging sourcebooknbsp;of contemporary artists'nbsp;works and education resources advances the field of arts education, locally, nationally, and internationally, by moving beyond models of discipline-based or expressive art education. It will be welcomed by all educators seeking to include the arts and social justice in their curricula.
During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as "art workers." In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period--American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard--Bryan-Wilson frames an engrossing new argument around the double entendre that "art works." She traces the divergent ways in which these four artists and writers rallied around the "art worker" identity, including participating in the Art Workers' Coalition--a short-lived organization founded in 1969 to protest the war and agitate for artists' rights--and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics. A Best Book of 2009, Artforum Magazine