scholarly journals ‘No Soy un Activista, Soy un Artista’: Representations of the Feminicide at the Intersections of Art and Activism

2021 ◽  
Author(s):  
Jennifer Cooper
Keyword(s):  
Art And Activism

Between Art and Activism: Egyptian Women and the Revolution

2014 ◽  
Author(s):  
Mounira Soliman
Keyword(s):  
Egyptian Women ◽  
Art And Activism ◽  
The Revolution

scholarly journals The Making of ‘Good’ Mirrors: Art and Activism in Public Space

2019 ◽  
pp. 171-184
Author(s):  
Jody Haines
Keyword(s):  
Public Space ◽  
Politics Of Representation ◽  
Moving Image ◽  
The Public ◽  
Australian Context ◽  
Art And Activism ◽  
Indigenous Methods

This article, The Making of ‘Good’ Mirrors: Art and Activism in Public Space, discusses the Feminist and Indigenous methods I apply to co-created collaborative and relational portraiture projects expressly created for public space and semi-public space and how they act as art and activism. The discussed projects, created using still and moving image, work in resistance to the problem of the gendered aesthetic within the Australian context through the applied making methods within a social studio, the politics of representation and the public placement of the project’s products. Discussed projects include #IAMWOMAN (2017-current), Women Dreaming (2018) and Flipping the Script (2018).

Strategies for Combating Erasure and Silencing

2021 ◽  
Vol 3 (2) ◽  
pp. 79-88
Author(s):  
Yelaine Rodriguez
Keyword(s):  
United States ◽  
Latin America ◽  
African American ◽  
Racial Attitudes ◽  
The United States ◽  
Historical Inquiry ◽  
Black Lives Matter ◽  
Nuanced Understanding ◽  
Art And Activism

Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.

scholarly journals HIV/AIDS in South Africa: Gender, Art and Activism – Introduction

2019 ◽  
Vol 45 (1) ◽  
pp. 111-112
Author(s):  
Annie E. Coombes ◽  
Hilary Sapire
Keyword(s):  
South Africa ◽  
Art And Activism ◽  
Hiv Aids

What's Left Behind: Art and Activism in the Arizona Desert

2014 ◽  
Vol 18 (1) ◽  
pp. 25-29
Author(s):  
Deborah McCullough
Keyword(s):  
Left Behind ◽  
Arizona Desert ◽  
Art And Activism

Asian American Theater and Drama from the 1960s to the 1990s

2019 ◽  
Author(s):  
Esther Kim Lee
Keyword(s):  
Los Angeles ◽  
Asian American ◽  
Solo Performance ◽  
Frank Chin ◽  
American Drama ◽  
American Theater ◽  
Theater Companies ◽  
1960S And 1970S ◽  
Art And Activism ◽  
The 1960S

Asian American theater was created in the 1960s and the 1970s as a national movement by actors, playwrights, designers, directors, and producers who wanted to promote the inclusion and representation of Asian Americans in American culture. At the beginning of the 1960s, the concept of “Asian American theatre” did not exist, and “Asian American drama” was not a known genre. Instead, there were “oriental” actors who wanted to play non-stereotypical roles and to fight the practice of yellowface, a makeup convention in which white actors alter their face to look Asian. The “oriental” actors had a two-pronged agenda of art and activism to be taken seriously for their talent and experience. The first Asian American theater company, the East West Players, was founded in 1965 by actors in Los Angeles to further the agenda. In the 1970s, other Asian American theater companies and groups emerged around the country, and original Asian American plays began to be produced. Playwrights such as Frank Chin, Wakako Yamauchi, and Philip Kan Gotanda had their first plays produced at Asian American theater companies founded in the 1960s and 1970s. In the 1980s, Asian American plays began to be produced in mainstream theater, which includes Broadway, off-Broadway, and regional theaters. The success of David Henry Hwang’s M. Butterfly, which received the 1988 Tony Award for Best Play, brought much attention to Asian American drama, and a number of plays were produced and published subsequently. Playwrights such as Velina Hasu Houston, Elizabeth Wong, and Jeannie Barroga had their plays produced at major theater companies, and Asian American theater companies continued to support new playwrights. In nontraditional theater venues, multimedia and avant-garde artists such as Jessica Hagedorn and Ping Chong were active in creating original performance pieces. Additionally, solo performance became a major performance genre for Asian American artists who wanted to use their body and voice to tell their own stories. Dan Kwong, Denise Uyehara, and Brenda Wong Aoki were forerunners in launching the genre of Asian American solo performance. A number of Asian American actors such as B. D. Wong, John Lone, and Mia Katigbak also received significant opportunities and recognition, but their two-pronged agenda of art and activism remained relevant and urgent. In the early 1990s, Asian American actors led the protest of the Broadway production of the mega-musical Miss Saigon that featured a white actor in yellowface makeup in the original London production. The protest galvanized Asian American theater artists around the country and inspired a new generation of writers, actors, designers, directors, and producers to create what would become one of the fastest growing sectors of American theater.

Adjusted Margin: Xerography, Art, and Activism in the Late Twentieth Century by Kate Eichhorn

2017 ◽  
Vol 24 (1) ◽  
pp. 206-208
Author(s):  
Chelsea Jennings
Keyword(s):  
Twentieth Century ◽  
Late Twentieth ◽  
Art And Activism ◽  
Late Twentieth Century

Creative practice for sustainability: A new materialist perspective on artivist production of eco-sensitive knowledges1

2020 ◽  
Vol 16 (3) ◽  
pp. 303-318 ◽  
Author(s):  
Dorota Golańska ◽  
Anna Katarzyna Kronenberg
Keyword(s):  
Social Intervention ◽  
Creative Practice ◽  
Artistic Production ◽  
Educational Initiatives ◽  
Art And Activism

Situated within a new materialist paradigm, this article looks at instances of educational nature-creative artivism for sustainability. Connecting art and activism, artivism mobilizes creative means to embrace political or social intervention. Underlining the importance of practices, and employing the concept of creative practice, we point out that a detailed inspection of the processes involved in artistic production sheds a different light on the nature of all knowledge-generating practices, letting us engage more thoroughly with the ‘how-question’ of producing knowledge. Focusing on two geoartistic/geopoetic educational initiatives, we argue that the eco-sensitive creation of artivists may serve as an example of what forms the entanglements of art and activism could take in the context of educational projects aimed at mobilizing thorough reflections of audiences. This may encourage the development of a more resilient environment based on horizontal relations of different forms of matter.

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