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This book highlights the use of art in human rights, specifically within Africa. It advances an innovative pattern of thinking that explores the intersection between art and human rights law. In recent years, art has become an important tool for engagement on several human rights issues. In view of its potency, and yet potential to be a danger when misused, this book seeks to articulate the use of arts in the human rights discourse in its different forms. Chapters cover how music, photography, literature, photojournalism, soap opera, commemorations, sculpting and theatre can be used as an expression of human rights. This book demonstrates how arts have become a formidable expression of thoughts and a means of articulating reality in a form that simplifies truth and congregates resolve to advance change.
As video becomes an important tool to expose injustice, an examination of how human rights organizations are seeking to professionalize video activism. Visual imagery is at the heart of humanitarian and human rights activism, and video has become a key tool in these efforts. The Saffron Revolution in Myanmar, the Green Movement in Iran, and Black Lives Matter in the United States have all used video to expose injustice. In Seeing Human Rights, Sandra Ristovska examines how human rights organizations are seeking to professionalize video activism through video production, verification standards, and training. The result, she argues, is a proxy profession that uses human rights videos to tap into journalism, the law, and political advocacy. Ristovska explains that this proxy profession retains some tactical flexibility in its use of video while giving up on the more radical potential and imaginative scope of video activism as a cultural practice. Drawing on detailed analysis of legal cases and videos as well as extensive interviews with staff members of such organizations as Amnesty International, Human Rights Watch, WITNESS, the International Criminal Tribunal for the former Yugoslavia (ICTY), and the International Criminal Court (ICC), Ristovska considers the unique affordances of video and examines the unfolding relationships among journalists, human rights organizations, activists, and citizens in global crisis reporting. She offers a case study of the visual turn in the law; describes advocacy and marketing strategies; and argues that the transformation of video activism into a proxy profession privileges institutional and legal spaces over broader constituencies for public good.
This timely book builds bridges between the notions of art and aesthetics, human rights, universality, and dignity. It explores a world in which art and justice enter a discussion to answer questions such as: can art translate the human experience? How does humanity link individuality and community building? How do human beings define and look for their identity? The fields of human rights and art are brought together in order to open the discussion and contribute to the promotion and protection of human rights.
Provides a deeply researched account of contemporary Asian art movements, focusing on the work of a select group of internationally renowned and politically engaged artists.
From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, Human Rights In Camera takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, Human Rights In Camera is a novel take on this potent political ideal.
This book highlights the use of art in human rights, specifically within Africa. It advances an innovative pattern of thinking that explores the intersection between art and human rights law. In recent years, art has become an important tool for engagement on several human rights issues. In view of its potency, and yet potential to be a danger when misused, this book seeks to articulate the use of arts in the human rights discourse in its different forms. Chapters cover how music, photography, literature, photojournalism, soap opera, commemorations, sculpting and theatre can be used as an expression of human rights. This book demonstrates how arts have become a formidable expression of thoughts and a means of articulating reality in a form that simplifies truth and congregates resolve to advance change.
Art, Cultural Heritage, and the Law is one of the first and most comprehensive legal casebooks to address the rapidly emerging fields of art and cultural heritage law. It is also distinctive in its extensive use of an interdisciplinary approach, with accompanying images to illustrate the artworks discussed in the legal materials. The fourth edition continues the tradition of the earlier editions in focusing on the meaning of the art works and cultural objects that are at the heart of an increasing number of legal disputes. This book addresses artists' rights (freedom of expression, copyright, and moral rights), the functioning of the art market (dealers and auction houses, warranties of quality and authenticity, transfer of title and recovery of stolen art works, and the role of museums), and cultural heritage (including the fate of art works and cultural objects in time of war; the international trade in art works and cultural objects; the historic, archaeological, and underwater heritage of the United States; and indigenous cultures, focusing on restitution of Native American cultural objects and human remains and the appropriation of indigenous culture). The inclusion of images of many of the art works and cultural objects at issue helps students to understand why these disputes occur and why the litigants feel so strongly about the outcomes. The fourth edition retains the basic structure of the earlier editions while updating all relevant case law, legislation, and policies. It includes cutting-edge legal developments, such as Cariou v. Prince, the Berkshire Museum deaccessioning decision, Trustees of the Corcoran Gallery v. District of Columbia, the Knoedler Gallery cases, Foreign Sovereign Immunities Act cases (Williams v. National Gallery of Art, Philipp v. Federal Republic of Germany, Rubin v. Iran, and DeCsepel v. Hungary), Konowaloff v. Metropolitan Museum of Art, Okinawa Dugong v. Mattis, Navajo Nation v. Dep't of Interior, and Navajo Nation v. Urban Outfitters. Treatment of new legislation includes the Holocaust Era Art Recovery Act, the Foreign Cultural Exchange Jurisdictional Immunity Clarification Act, and the Protect and Preserve International Cultural Property Act. A new section examines the intersection of human rights and cultural heritage, while expanded sections address the use of civil forfeiture in art recovery cases, museum policies on acquisition of antiquities and the use of proceeds realized from the sale of art works from museum collections, and comparative analysis of market country implementation of the 1970 UNESCO Convention.
The first English-language publication of writings by the collective artist Claire Fontaine, addressing our complicity with anything that limits our freedom. This anthology presents, in chronological order, all the texts by collective artist Claire Fontaine from 2004 to today. Created in 2004 in Paris by James Thornhill and Fulvia Carnevale, the collective artist Clare Fontaine creates texts that are as as experimental and politically charged as her visual practice. In. these writings, she uses the concept of “human strike” and adopts the radical feminist position that can be found in Tiqqun, a two-issue magazine cofounded by Carnevale. Human strike is a movement that is broader and more radical than any general strike. It addresses our inevitable subjective complicity with everything that limits our freedom and shows how to abandon these self-destructive behaviors through desubjectivization. Human strike, Claire Fontaine writes, is a subjective struggle to separate from the inevitable harm we do to ourselves and others simply by living within postindustrial neoliberalism. Human Strike is the first English-language publication of Claire Fontaine's influential and important theoretical writings.