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DATE 11/1/2018

Talk About a Revolution

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STAFF PICKS | FROM THE SHELVES

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AVERY LOZADA | DATE 11/1/2018

Talk About a Revolution

Protest: The Aesthetics of ResistanceLars Müller Publishers
Ethics of the UrbanLars Müller Publishers
Whitewalling: Art, Race & Protest in 3 ActsBadlands Unlimited
Dimensions of CitizenshipInventory Press
Jim Marshall: PeaceReel Art Press
Jill Freedman: Resurrection City, 1968Damiani
See Red Women's WorkshopFour Corners Books
Poster Workshop 1968–1971Four Corners Books
Builder Levy: Humanity in the StreetsDamiani
Christopher Anderson: StumpRM

Protest: The Aesthetics of ResistanceProtest: The Aesthetics of Resistance

Published by Lars Müller Publishers.
Edited by Basil Rogger, Jonas Vögeli, Ruedi Widmer. Text by Michelle Akanji, Friedrich von Borries, Delphine Chapuis, Teju Cole, Hans-Christian Dani, Steven Duncombe, Anna Feigenbaum, Philipp Felsch, Marleen Fitterer, Meret Fischli, Corinne Gisel, Johannes Hedinger, Knut Henkel, Henriette Herm, Larissa Holaschke, Ines Kleesattel, Wolfgang Kraushaar, Wong Chi Lui, Elisio Macamo, Eva Mackensen, Franziska Meierhofer, Tine Melzer, Rabih Mroué, Maybell Eequay Reiter, et al.

Resistance: aesthetic tactics from the suffragettes to 1968 to our tumultuous present

"Make Love Not War," "Soyez réalistes, demandez l'impossible," "Keine Macht für Niemanden," "We are the 99%": the history of the last 50 years has been accompanied by a constant flow of statements, practices and declarations of dissatisfaction with regard to the prevailing order.

These slogans mark moments when dissent has been able to reach from the margins of society into its very center—beginning as something mostly unorganized and unruly in real or virtual space, sometimes violent, rarely controllable and suddenly erupting into the mainstream. Masterfully and creatively drawing on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, the legendary moments of 20th-century protest opened up spaces that eluded control. Irony, subversion and provocation pricked small but palpable pinholes in the controlling systems of rule.

Protest takes a wide-ranging approach to the practice of protest, bringing together contributors from different disciplines and from around the globe. Social, historical, sociological and political-scientific perspectives play as much of a role in this publication as approaches that draw on image theory, popular culture, cultural studies and the arts. Simultaneously historical and contemporary, the book also explores such present-day developments as the virtualization of activism, the relationship of the virtual and the fictional, and the exploitation of these trends in politics by power-holders of all shades. A timely publication, Protest: The Aesthetics of Resistance explores marginalized communities' practices of resistance and reflects on the past, present and future of protest.



PUBLISHER
Lars Müller Publishers

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Paperback, 6.25 x 9.5 in. / 448 pgs / 126 color / 73 bw.

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Ethics of the UrbanEthics of the Urban

The City and the Spaces of the Political

Published by Lars Müller Publishers.
Edited by Mohsen Mostafavi.

Is democracy spatial? How are the physical aspects of our cities, houses, streets, and public spaces—the borders, the neighborhoods, the monuments—bearers of our values? In a world of intensifying geo-economic integration, extreme financial and geopolitical volatility, deepening environmental crises, and a dramatic new wave of popular protest against both authoritarian government and capitalist speculation, cities have become leading sites for new claims on state power and new formations of political subjectivity. This volume brings together perspectives from history, sociology, art, political theory, planning, law, and design practice to explore the urban spaces of the political. A selection of contemporary photography from around the world offers a visual refl ection of this timely investigation.



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Whitewalling: Art, Race & Protest in 3 ActsWhitewalling: Art, Race & Protest in 3 Acts

Published by Badlands Unlimited.
By Aruna D'Souza.

In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York’s Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art’s exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.

Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world—no less than the country at large—has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three “acts” in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?

Aruna D’Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.



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Badlands Unlimited

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Paperback, 6 x 9 in. / 160 pgs.

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Dimensions of CitizenshipDimensions of Citizenship

Published by Inventory Press.
Foreword by Bill Brown. Preface by Jonathan Solomon. Introduction by Niall Atkinson, Ann Lui, Mimi Zeiger. Essays by Ingrid Burrington, Dan Handel, Ana María León, Nicholas de Monchaux, Jennifer Scappettone, Imre Szeman.

Globalization, technology and politics have altered the definition and expectations of citizenship and the right to place. Dimensions of Citizenship documents contributions from the seven firms selected to represent the United States in the 2018 Venice Architecture Biennale. This highly readable, visually led paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale.

Drawing inspiration from the Eames' Power of Ten, Dimensions of Citizenship provides a view of belonging across seven stages starting with the individual (Citizen), then the collective (Civic, Region, Nation) and expanding to include all phases of contemporary society, real and projected (Globe, Network, Cosmos). With contributions by Amanda Williams and Andres L. Hernandez in collaboration with Shani Crowe; Design Earth; Diller Scofidio + Renfro, Laura Kurgan and Robert Pietrusko, with Columbia Center for Spatial Research; Estudio Teddy Cruz + Fonna Forman; Keller Easterling; SCAPE; Studio Gang; exhibition curators Niall Atkinson, Ann Lui, Mimi Zeiger; and others. The book is published with seven different covers.



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Inventory Press

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Paperback, 4.25 x 7 in. / 264 pgs / 40 color / 50 duotone / 50 bw.

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Jim Marshall: PeaceJim Marshall: Peace

Published by Reel Art Press.
Foreword by Shepard Fairey. Text by Peter Doggett. Afterword by Joan Baez.

The life of a symbol, in the streets and on the subway—a plea for a peaceful world

Jim Marshall: Peace collects the beloved photographer’s previously unseen “peace” photographs, taken mainly between 1961 and 1968. Photographing across America, Marshall charted the life of a symbol, documenting how the peace sign went from holding a specific anti-nuclear meaning to serving as a broad, internationally recognized symbol for peace. Marshall captured street graffiti in the New York subway, buttons pinned to hippies and students, and West Coast peace rallies held by a generation who believed, for a brief moment, they could make a difference.

The Campaign for Nuclear Disarmament (CND) symbol, also known as the peace sign, was designed in 1958 by Gerald Holtom for the British Campaign for Nuclear Disarmament. When the design spread from the UK to the American anti-war campaign, it caught the eye of Marshall, who saw himself as an anthropologist and journalist documenting the changing times of the 1960s. In between official assignments, Marshall started photographing the symbol and peace rallies as a personal project. He tabled these images on an index card in his archives labeled “Peace,” where they remained, until now.



Born in Chicago, Jim Marshall (1936–2010) grew up in San Francisco, teaching himself photography by portraying musicians in the coffeehouses of North Beach. After a brief stint in New York, Marshall returned to San Francisco, where he continued to cement his reputation as a formidably talented music photographer. Marshall holds the distinction of being the only photographer ever honored by the Grammys with a Trustees Award for his life’s work.

Shepard Fairey was born in Charleston, SC and received his Bachelor of Fine Arts in Illustration at the Rhode Island School of Design in Providence, RI. As a student there he created the “Andre the Giant has a Posse” sticker that transformed into the OBEY GIANT art campaign, which has changed the way people see art and the urban landscape. His work which includes the 2008 "Hope" portrait of Barack Obama, now owned by the Smithsonian’s National Portrait Gallery. In addition to his guerrilla street-art presence, the artist has executed more than 75 large-scale painted public murals around the world. His works are in the permanent collections of The Museum of Modern Art, the Victoria and Albert Museum, the Smithsonian’s National Portrait Gallery, the Boston Institute of Contemporary Art, the San Francisco Museum of Modern Art and many others.

PUBLISHER
Reel Art Press

BOOK FORMAT
Hardcover, 6.75 x 9.25 in. / 128 pgs / 120 bw.

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Jill Freedman: Resurrection City, 1968Jill Freedman: Resurrection City, 1968

Published by Damiani.
Edited by Steven Kasher. Text by Jill Freedman, John Edwin Mason, Aaron Bryant.

The climax of Martin Luther King's Poor People's Campaign

Published in 1970, Jill Freedman’s Old News: Resurrection City documented the culmination of the Poor People’s Campaign of 1968, organized by Martin Luther King, Jr. and the Southern Christian Leadership Conference, and carried out under the leadership of Ralph Abernathy in the wake of Dr King’s assassination. Three thousand people set up camp for six weeks in a makeshift town that was dubbed Resurrection City, and participated in daily protests. Freedman lived in the encampment for its entire six weeks, photographing the residents, their daily lives, their protests and their eventual eviction.

This new 50th-anniversary edition of the book reprints most of the pictures from the original publication, with improved printing and a more vivid design. Alongside Freedman’s hard-hitting original text, two introductory essays are included, by John Edwin Mason, historian of African history and the history of photography at the University of Virginia, and by Aaron Bryant, Curator of Photography at the National Museum of African American History and Culture.

The photographs of Jill Freedman (born 1939) are held in the permanent collections of major art institutions including The Museum of Modern Art, New York; the International Center of Photography, New York; the New York Public Library; the Jewish Museum, New York; the George Eastman House, Rochester; the Smithsonian American Art Museum, Washington, DC; and the Museum of Fine Arts, Houston. She has had solo exhibitions at numerous museums, including the International Center of Photography, New York; the Museum of Contemporary Photography, Chicago; and the George Eastman House. Seven monographs of her work have been published: Old News: Resurrection City (Grossman, 1970); Circus Days (Harmony, 1975); Firehouse (Doubleday, 1977); Street Cops (Harper & Row, 1982); A Time That Was: Irish Moments (Friendly Press, 1987); Jill’s Dogs (Pomegranate Art Books, 1993); and Ireland Ever (Harry Abrams, 2004). Freedman is represented by Steven Kasher Gallery.



PUBLISHER
Damiani

BOOK FORMAT
Hardcover, 9.75 x 12 in. / 176 pgs / 141 bw.

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See Red Women's WorkshopSee Red Women's Workshop

Feminist Posters 1974–1990

Published by Four Corners Books.
Foreword by Sheila Rowbotham. Text by Prudence Stevenson, Susan Mackie, Anne Robinson, Jess Baines.

"Girls are powerful": the ‘70s feminist posters of See Red Women’s Workshop
A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humor and bold, colorful graphics, See Red expressed the personal experiences of women as well as their role in wider struggles for change.
Written by See Red members, detailing the group’s history up until the closure of the workshop in 1990, and with a foreword by celebrated feminist historian Sheila Rowbotham, See Red Women’s Workshop features all of the collective’s original screenprints and posters. Confronting negative stereotypes, questioning the role of women in society, and promoting women’s self-determination, the power and energy of these images reflect an important and dynamic era of women’s liberation—with continued relevance for today.

PUBLISHER
Four Corners Books

BOOK FORMAT
Paperback, 8.75 x 12.25 in. / 184 pgs / 90 color / 25 bw.

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Poster Workshop 1968–1971Poster Workshop 1968–1971

Published by Four Corners Books.
Foreword by Jess Baines. Text by Sam Lord, Peter Dukes, Jo Robinson, Sarah Wilson.

In the revolutionary fervor of 1968, activists beat a path to London's Poster Workshop

From 1968 to 1971, anyone could drop in to the basement in Camden Town, London, and commission a poster from the Poster Workshop. In walked workers on strike, tenants associations, civil rights groups and liberation movements from all over the world. Inspired by the Atelier Populaire (protagonists of May '68), the workshop created posters that could be made quickly to respond to what was needed, on a great number of themes: Vietnam, Northern Ireland, South Africa, housing, workers' rights and revolution. The Poster Workshop existed at an exceptional time. It thrived on the energy generated by the belief that huge changes were possible, through movements for equality, civil rights, freedom and revolution. The posters made there show the extraordinary diversity of those who came to the workshop and provide a microcosm of much that was happening nationally and internationally.

Including many unseen and previously unpublished screen prints by 1960s activists, this book gives a unique perspective on the key political issues of the 1960s as told through the protest posters of artists and activists.



PUBLISHER
Four Corners Books

BOOK FORMAT
Hardcover, 6.25 x 8.75 in. / 128 pgs / 140 color / 100 bw.

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Builder Levy: Humanity in the StreetsBuilder Levy: Humanity in the Streets

New York City 1960s–1980s

Published by Damiani.
Foreword by Deborah Willis.

Marching for their lives: three decades of civil rights in America

Builder Levy: Humanity in the Streets documents the resilience and power of the multiracial population that American photographer Builder Levy encountered in New York City between the 1960s and 1980s. In these turbulent decades, people around the world struggled for freedom and independence; across the United States, people marched in the streets to improve their lives. On the streets of New York, Levy saw all this and more.

This comprehensive monograph gathers images of spectacular events and daily life alike. Included are photographs of Civil Rights and anti–Vietnam War protests in the 1960s, the peace march held in 1962 in response to the Cuban Missile Crisis and images of Martin Luther King after his 1968 speech at Carnegie Hall. Also included are shots of the poverty-ravaged Brooklyn of the 1960s, '70s and '80s; the innercity communities where Levy worked as a public school teacher for almost 35 years; and marches and demonstrations in support of local causes like quality education for all NYC children and an end to police killings.

Combining the humanist spirit of social documentary photography with street photography's sense of timing and wit, the photographs in Builder Levy: Humanity in the Streets offer a poignant document of a chapter in a city and a nation's history.

Builder Levy (born 1942) was born in Tampa, Florida, and raised in Brooklyn; he studied photography at Brooklyn College. His photographs are included in more than 80 public collections, including that of the International Center of Photography, the Brooklyn Museum, the Smithsonian National Museum of African American History and Culture, the High Museum of Art, the Ringling Museum of Art and the Victoria and Albert Museum. Levy lives in New York.



Builder Levy (born 1942) was born in Tampa, Florida, and raised in Brooklyn; he studied photography at Brooklyn College. His photographs are included in more than 80 public collections, including that of the International Center of Photography, the Brooklyn Museum, the Smithsonian National Museum of African American History and Culture, the High Museum of Art, the Ringling Museum of Art and the Victoria and Albert Museum. Levy lives in New York.

PUBLISHER
Damiani

BOOK FORMAT
Hardcover, 9.75 x 12 in. / 124 pgs / 100 bw.

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Christopher Anderson: StumpChristopher Anderson: Stump

Published by RM.
Text by John Heilemann.

As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson’s work.

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RM

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Flexi, 9.25 x 12 in. / 96 pgs / 84 color.

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