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Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon.The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it

Museology --- Colonisation. Decolonisation --- Art --- art [fine art] --- museology --- history [discipline] --- colonization --- art criticism --- Art museums --- Imperialism in art. --- Art, Colonial. --- Museum techniques --- Museum exhibits. --- Cultural property --- Human remains (Archaeology) --- Social aspects. --- Exhibition techniques --- Repatriation. --- Great Britain --- Colonies. --- Cultural policy. --- kunst --- kunstgeschiedenis --- postkolonialisme --- dekolonisering --- monumenten --- musea --- museologie --- kunst en activisme --- 7.03 --- Museum exhibits --- Art, Colonial --- art [discipline]

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'Feminisms' (as a plural) is widely used today to draw attention to inequalities and to critique the status quo in limiting women's roles/ positions/ lives/ potential. Art can offer a vision of future worlds, manifesting a desire for projecting change, playing with existing realities and conventions. Feminist Art Artivism and Activism, two sides of the same coin, arise where art approaches, develops or transforms into activism and vice versa, where activisms become artivisms. In both, art emerges in differing forms of political intervention, at both an individual, shared or collective level, apparent in actions, events, identifications and practices. This volume wants to reveal the diversity of these practices and realities. Representing a range of critical insights, perspectives and practices from artists, activists, curators, academics and writers, it explores and reflects on the enormous variety of feminist interventions in the field of contemporary art, social processes, the public sphere and politics. In doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecology, politics, sexual orientation, and the ways in which these intersect. " Féminismes " (au pluriel) est largement utilisé aujourd'hui pour attirer l'attention sur les inégalités et pour critiquer le statu quo en limitant les rôles/positions/vies/potentiels des femmes. L'art peut offrir une vision des mondes futurs, manifestant un désir de projeter le changement, jouant avec les réalités et les conventions existantes. Art féministe L'artivisme et l'activisme, les deux faces d'une même pièce, apparaissent là où l'art se rapproche, se développe ou se transforme en activisme et vice versa, où les activismes deviennent des artivismes. Dans les deux cas, l'art émerge sous différentes formes d'intervention politique, à la fois au niveau individuel, partagé ou collectif, se manifestant dans des actions, des événements, des identifications et des pratiques. Ce volume veut révéler la diversité de ces pratiques et réalités. Représentant une gamme d'idées critiques, de perspectives et de pratiques d'artistes, d'activistes, de conservateurs, d'universitaires et d'écrivains, il explore et réfléchit sur l'énorme variété d'interventions féministes dans le domaine de l'art contemporain, des processus sociaux, de la sphère publique et de la politique. Ce faisant, Feminist Art Activisms and Artivisms aborde des questions plus larges de différence culturelle, d'histoire, de classe, de position économique, d'écologie, de politique, d'orientation sexuelle et de la manière dont elles se recoupent.

Feminism and art --- Feminism in art --- Art, Modern --- kunst --- kunsttheorie --- kunstgeschiedenis --- kunst en feminisme --- feminisme --- activisme --- kunst en activisme --- cultuursociologie --- cultuurfilosofie --- fotografie --- film --- documentaire --- twintigste eeuw --- eenentwintigste eeuw --- 7.036/039 --- Modern art --- Nieuwe Ploeg (Group of artists) --- Art and feminism --- Art --- Feminism and art. --- Feminism in art. --- Art, Modern. --- economics --- ecology --- social stratification --- feminism --- emancipation --- maternity --- women [female humans] --- art [fine art] --- racial discrimination --- gender issues --- resistance [political activity] --- 7.01 --- Kunst en feminisme --- Kunst en activisme --- Kunst ; theorie, filosofie, esthetica --- #breakthecanon --- art [discipline] --- Feminismus. --- Frauenkunst. --- Féminisme dans l'art. --- Féminisme et art. --- Feminism --- Feminist art --- Gender --- Queer --- Body --- Menstruation --- Racism --- Film directors --- Sexism --- Theatre --- Telework --- Trauma --- Second feminist wave --- Care work --- Book --- Discrimination --- Intersectionality --- Empowerment --- Féminisme et art. --- Femmes artistes.

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A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Art and The Wretched of the ScreenOver the past 30 years, through video and installation, the immensely influential German artist and writer Hito Steyerl (born 1966) has been tracking the ways that images have mutated—from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image—and the implications these mutations have had for the representation of wars, genocides and the flow of capital. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents.At nearly 500 pages, this book—the first substantial overview on Steyerl—looks at multimedia installations and film projects of the past ten years, as well as earlier works, all of which are united by the artist’s unflagging interrogation of the politics of the image.

kunst --- video-installaties --- video --- kunst en politiek --- film --- eenentwintigste eeuw --- Steyerl Hito --- Duitsland --- 7.071 STEYERL --- Exhibitions --- Art --- video [art discipline] --- video art --- video artists --- multimediakunst --- Steyerl, Hito --- Installations (art) --- Installations vidéo (art) --- Art vidéo --- Art numérique --- Kunst en cultuur ; globalisering --- Kunst en activisme --- Kunst en politiek ; 21ste eeuw --- Beeldende kunst ; Duitsland ; 21ste eeuw --- Videokunst ; 21ste eeuw --- Steyerl, Hito °1966 (°München, Duitsland) --- 778.5.07 --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- video [discipline]

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"The first book devoted to the exploration of queer print cultures in Europe, illustrated throughout with unearthed material from archives and personal collections. Including manifestos, flyers, posters, zines and other forms of print media, it features interviews with those responsible for making, distributing or archiving queer print alongside theoretical essays that set particular publications and producers in context. This book examines how the production and dissemination of queer print intersected with the emergence of LGBTQ+ activism and identifies both the significant contribution that queer print has made to histories of LGBTQ+ struggle and to the history of print design"--

Gay press publications --- Gay press --- Prints, European --- Homosexuality and the arts --- Themes, motives. --- Underground ; grafische vormgeving ; tijdschriften --- Kunst en maatschappij ; underground cultuur --- Grafische vormgeving ; tijdschriften ; 20ste eeuw --- Kunst en activisme --- LGBTQ+ --- Queer --- Queer en kunst ; 20ste en 21ste eeuw --- 766(091) --- Gebruiksgrafiek ; geschiedenis --- grafisch design --- grafische vormgeving --- graphic design --- LGBTQIA+ --- twintigste eeuw --- 766.036 --- activisme --- 766.11.038(4) --- Grafische industrie en ontwerp ; drager ; papier & boek ; geschiedenis ; 1950 - 2000 (Europa) --- Gay culture --- Gay and lesbian studies --- Cultural awareness

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In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

Applied arts. Arts and crafts --- feminism --- textile materials --- textile art [visual works] --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- United States --- Chile --- Fiberwork --- Art --- Homosexuality and art --- Handicraft --- NAMES Project AIDS Memorial Quilt --- Textile crafts --- Feminism and art --- Art, Modern --- kunst --- textiel --- textielkunst --- twintigste eeuw --- activisme --- politiek --- gender studies --- kunst en politiek --- kunst en activisme --- Verenigde Staten --- Chili --- LGBTQIA+ --- AIDS --- feminisme --- 7.038/039 --- 745.52 --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and feminism --- Fabric crafts --- Textile arts --- Textile fiber crafts --- Fancy work --- AIDS Memorial Quilt --- NAMES Project Quilt --- Memorials --- Quilts --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Art and homosexuality --- Political aspects --- History --- Vicuña, Cecilia. --- Vicuña Ramírez, Cecilia --- Ramírez, Cecilia Vicuña --- Textielkunst ; theorie --- Kunst en politiek --- Kunst en activisme --- 746.01 --- Fiber work --- Fibers in art --- Textielkunst ; theorie, filosofie, esthetica --- cultuurfilosofie --- United States of America