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Award winning poet Joshua Clover theorises the riot as the form of the coming insurrection Baltimore. Ferguson. Tottenham. Clichy-sous-Bois. Oakland. Ours has become an “age of riots” as the struggle of people versus state and capital has taken to the streets. Award-winning poet and scholar Joshua Clover offers a new understanding of this present moment and its history. Rioting was the central form of protest in the seventeenth and eighteenth centuries, and was supplanted by the strike in the early nineteenth century. It returned to prominence in the 1970s, profoundly changed along with the coordinates of race and class. From early wage demands to recent social justice campaigns pursued through occupations and blockades, Clover connects these protests to the upheavals of a sclerotic economy in a state of moral collapse. Historical events such as the global economic crisis of 1973 and the decline of organized labor, viewed from the perspective of vast social transformations, are the proper context for understanding these eruptions of discontent. As social unrest against an unsustainable order continues to grow, this valuable history will help guide future antagonists in their struggles toward a revolutionary horizon.
The fascinating story of Boston's violent past is told for the first time in this history of the city's riots, from the food shortage uprisings in the 18th century to the anti-busing riots of the 20th century.
"A buried part of history comes to light in this informative account of the Black Wall Street Massacre in Tulsa, Oklahoma in 1921"--
In 2012 Maria Alyokhina and other members of Pussy Riot performed a provocative 'Punk Prayer', taking on the Orthodox church and its support for Vladimir Putin's authoritarian regime. They were charged with 'organized hooliganism'. That trial and Alyokhina's subsequent imprisonment became an international cause. For Alyokhina, her two-year sentence launched a struggle against the Russian prison system and an iron-willed refusal to be deprived of her humanity. This book gives voice to Alyokhina's insistence on the right to say no, whether to a prison guard or to the president.
Nights of the Dispossessed brings together artistic works, political texts, and research projects from across the world in an endeavor to sense, chronicle, and think through recent riots and uprisings.
Rendering Violence explores the problems and possibilities that the subject of political violence presented to American painters working between 1830 and 1890, a turbulent period during which common citizens frequently abandoned orderly forms of democratic expression to riot, strike, and protest violently. Examining a range of critical texts, this book shows for the first time that nineteenth-century American aesthetic theory defined painting as a privileged vehicle for the representation of political order and the stabilization of liberal-democratic life. Analyzing seven paintings by Thomas Cole, John Quidor, Nathaniel Jocelyn, George Henry Hall, Thomas Nast, Martin Leisser, and Robert Koehler, Ross Barrett reconstructs the strategies that American artists developed to explore the symbolic power of violence in a medium aligned ideologically with lawful democracy. He argues that American paintings of upheaval ÒrenderÓ their subjects in divergent ways. By exploring the inner conflicts that structure these painterly projects, Barrett sheds new light on the politicized pressures that shaped visual representation in the nineteenth century and on the anxieties and ambivalences that have long defined American responses to political turmoil.
Drawing on insights from linguistics, multimodality and media studies, this book explores the ideological dimensions of media representation and its function in discursively constructing public understandings of, and attitudes toward, civil disorder.
"For many, the appearance of Occupy Wall Street seemed so sudden and so surprising it seemed to have come out of nowhere. But Occupy Wall Street was in some sense not unusual: it was part and parcel of a long history of riot, revolt, uprising, and sometimes even revolution that has shaped the city and the larger histories and geographies of which it is part. The history of New York is, in significant part, a history of revolt. Many citizens, activists, and scholars know pieces of that history, but nowhere has it been put together in something close to its entirety. The effect is that each revolt or uprising seems almost sui generis, always surprising, disconnected from both its long- and near-term history and social geography. Revolting New York brings together the historical geography of revolt in New York in its fullness, from the earliest uprisings of the Munsee against Dutch occupation of Manhattan to Occupy. All in a style accessible to a broad as well as academic audience The book will show that there is a continuous, if varied and punctuated, history of rebellion in New York that is at least as vital as the more standard histories of formal politics, planning, economic growth and restructuring that largely define our consciousness of New York's evolution and the structuring of life within it" --
A look at growing up African American in the oppressive conditions of the South and attending segregated schools.
The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.