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Art Therapy for Social Justice seeks to open a conversation about the cultural turn in art therapy to explore the critical intersection of social change and social justice. By moving the practice of art therapy beyond standard individualized treatment models, the authors promote scholarship and dialogue that opens boundaries; they envision cross disciplinary approaches with a focus on intersectionality through the lens of black feminism, womanism, antiracism, queer theory, disability studies, and cultural theory. In particular, specific programs are highlighted that re-conceptualize art therapy practice away from a focus on pathology towards "models of caring" based on concepts of self-care, radical caring, hospitality, and restorative practice methodologies. Each chapter takes a unique perspective on the concept of "care" that is invested in wellbeing. The authors push the boundaries of what constitutes art in art therapy, re-conceptualizing notions of care and wellbeing as an ongoing process, emphasizing the importance of self-reflexivity, and reconsidering the power of language and art in trauma narratives.
In a rapidly changing world with myriad conflicting voices, the library's role as a place of safety and inclusion and as a repository of knowledge cannot be overstated. Librarians must serve as community leaders with a mission to educate and inform, ready to model the principles they support. The question for many is: how? Experienced librarians offer ideas and guidance in seeking new creative paths, working to support change in library organizations and reexamining principles that may be taken for granted. Theoretical foundations are discussed, along with practical ideas such as the creation a book groups for the intellectually disabled and partnership with social workers or advocates for employees with disabilities.
This imaginative, practical, and engaging sourcebook offers inspiration and tools to craft critical, meaningful, transformative arts education curriculum and arts integration grounded within a clear social justice framework and linked to ideas about culture as commons.
Black, Indigenous, and Peoples of Color--reimagine library and information science through the lens of critical race theory. In Knowledge Justice, Black, Indigenous, and Peoples of Color scholars use critical race theory (CRT) to challenge the foundational principles, values, and assumptions of Library and Information Science and Studies (LIS) in the United States. They propel CRT to center stage in LIS, to push the profession to understand and reckon with how white supremacy affects practices, services, curriculum, spaces, and policies.
From Keith Haring to Extinction Rebellion, the civil rights movement to Black Lives Matter, what does a revolution look like? Discover the power of words and images in this thought-provoking look at protest art by highly acclaimed artivist De Nichols. From the psychedelic typography used in “Make Love Not War” posters of the '60s to the solitary raised fist, some of the most memorable and striking protest artwork from across the world and throughout history deserves a long, hard look. Readers can explore each piece of art to understand how color, symbolism, technique, and typography play an important role in communication. Guided by activist, lecturer, and speaker De Nichols's powerful narrative and stunningly illustrated by a collaboration of young artists, this volume also has plenty of tips and ideas for creating your own revolutionary designs. This is a fully comprehensive look at the art of protest.
Providing a lively snapshot of the state of art and social justice today on a global level, Entry Points accompanies the inaugural Vera List Center Prize for Art and Politics, launched at The New School on the occasion of the center’s twentieth anniversary. This book captures some of the most significant worldwide examples of art and social justice and introduces an interested audience of artists, policy makers, scholars, and writers to new ways of thinking about how justice is defined, advanced, and practiced through the arts. In so doing, it assembles some of the latest scholarship in this field while refining our vocabulary for speaking about social justice, social engagement, community enhancement, empowerment, and even art itself. The book's first half contains three essays by Thomas Keenan, João Ribas, and Sharon Sliwinski that map the field of art and social justice. These essays are accompanied by more than twenty profiles of recent artist projects that consist of brief essays and artist pages. This curated and carefully considered map of artists and projects identifies key moments in art and social justice. The book's second half consists of an in-depth analysis of Theaster Gates's The Dorchester Projects, which won the inaugural Vera List Prize for Art and Politics. Produced to complement the project’s exhibition at the Sheila C. Johnson Design Center, Parsons School of Design in September 2013, this analysis illuminates Gates's rich, complex, and exemplary work. This section includes an interview between Gates and Vera List Center director Carin Kuoni; essays by Horace D. Ballard Jr., Romi N. Crawford, Shannon Jackson, and Mabel O. Wilson; and a number of responses to The Dorchester Projects by faculty in departments across The New School. Published by Duke University Press and the Vera List Center for Art and Politics at The New School
From Library Journal: "A comprehensive book, providing information on the rationale for connecting pop culture to library services and offering a range of projects to get students into the library." Integrating Pop Culture into the Academic Library explores how popular culture is used in academic libraries for collections, instruction, and programming. This book describes the foundational basis for using popular culture and discusses how it ignites conversations between librarians and students, making not only the information relatable, but the library staff, as well. The use of popular culture in the library setting acknowledges the importance of students’ interests and how these interests can be used to understand their information needs in unique and interesting ways. By integrating popular culture into library collections, instruction, and programming, librarians present research and discovery in ways that connect with students and the broader community. This book demonstrates that academic libraries using popular culture find it to be an effective tool, both for instruction and programming. The editors are librarians who utilize popular culture in various ways to provide instruction and reinforce information literacy concepts in their own practice. Readers will find chapters written by a variety of authors from different types of academic libraries, including community colleges, comprehensive universities, research universities, and law schools. These unique perspectives offer readers different ways of thinking about how librarians can incorporate students’ interests in popular culture to promote the mission of the library. In addition to well-known examples such as Hamilton: The Musical, Pokémon, Harry Potter, Black Panther, and Barbie, readers will also encounter lesser-known library applications of popular culture, including cartoneras, zines, fantasy maps, gaming collectives, and paranormal walking tours. All of these examples highlight the multiple way libraries leverage popular culture to expand their reach and identity with students and the community at-large.
A book that acts both as library and exhibition space, selecting, arranging, and housing texts and images, aligning itself with printed matter in the process. Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas—as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others. The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.” Contributors Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska