Download Free Tear Gas Epiphanies Book in PDF and EPUB Free Download. You can read online Tear Gas Epiphanies and write the review.

Museums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account political conflict and protest as key ingredients in museum life. The sheer number of protest actions Robertson uncovers is compelling. Ambitious and wide-ranging, Tear Gas Epiphanies provides a thorough and conscientious survey of key points of intersection between museums and protest – a valuable resource for university students and scholars, as well as arts professionals working at and with museums.
Moments of clarity and insight offer a taste of connection, peace, and meaning. Toso has made it his business to notice these moments, and, if he is lucky, to record some of them in words. Essays explore the possibility that resides in the mystery of raw experience. In the weaving of reflection and story, Toso makes his way toward what he finds good and true and worthy of wonder. It's a rocky path, but offers up gold in tiny, random nuggets. He offers up these ruminations as a bit of comfort to those who listen and wander.

Tear Gas

California. Legislature. Assembly. Committee on Criminal Procedure

Published: 1968

Total Pages: 7


Get eBook

For years Elle Dowd considered herself an advocate for justice, but her well-meaning support always took a back burner to what Martin Luther King Jr. called the tension-free, ordered "negative peace" of white moderates. Then Michael Brown, a Black man, was murdered by a white police officer in Ferguson, Missouri, and the subsequent Uprising changed everything. In Baptized in Tear Gas, minister and activist Elle Dowd tells the gripping story of her transformation into an Assata Shakur-reading, courthouse-occupying abolitionist with an arrest record, hungry for the revolution. Thanks to deep relationships with people in Ferguson and St. Louis, and to experiencing a fraction of the system for herself--including the fear of rubber bullets, the shock of sound cannons, and running from tear gas--Dowd fully committed to the work of anti-racism and abolition. Now she wants to help other white allies do the same. Like in baptism, this transformation requires parts of us to die: our lack of power analysis, our commitment to white niceness, our tone policing, our respectability politics--all of those impulses we have been socialized by since birth must die so that something new can be resurrected in our lives and in the world. The uprising in Ferguson changed Dowd, and through it, God made her into something new. Now it's our turn.
Taking place examines feminist and queer alternative art spaces across Canada and the United States from the late-1960s to the present. It looks at how queer and feminist artists working in the present day engage with, respond to and challenge the institutions they have inherited. Through a series of regional case studies, the book interrogates different understandings of ‘alternative’ space and the possibilities the term affords for queer and feminist artistic imaginaries.
Why LGBTQ+ people must resist the seduction of dignity In 2015, when the Supreme Court declared that gay and lesbian couples were entitled to the “equal dignity” of marriage recognition, the concept of dignity became a cornerstone for gay rights victories. In Disrupting Dignity, Stephen M. Engel and Timothy S. Lyle explore the darker side of dignity, tracing its invocation across public health politics, popular culture, and law from the early years of the HIV/AIDS crisis to our current moment. With a compassionate eye, Engel and Lyle detail how politicians, policymakers, media leaders, and even some within LGBTQ+ communities have used the concept of dignity to shame and disempower members of those communities. They convincingly show how dignity—and the subsequent chase to be defined by its terms—became a tool of the state and the marketplace thereby limiting its more radical potential. Ultimately, Engel and Lyle challenge our understanding of dignity as an unquestioned good. They expose the constraining work it accomplishes and the exclusionary ideas about respectability that it promotes. To restore a lost past and point to a more inclusive future, they assert the worthiness of queer lives beyond dignity’s limits.
Museums and Social Responsibility examines inherent contradictions within and effecting museum practice in order to outline a museological theory of how museums are important cultural practices in themselves and how museums shape the socio-cultural dynamics of modern societies, especially our attitudes and understandings about human agency and creative potential. Museums are libraries of objects, presenting thematic justification that dominant concepts of normativity and speciality, as well as attitudes of cultural deprecation. By sorting culture into hierarchies of symbolic value, museums cloak themselves in supposed objectivity, delivered with the passion of connoisseurship and the surety of scholarly research. Ulterior motives pertaining to socio-economic class, racial and ethnic othering, and sexual subjugation, are shrouded by that false appearance of objectivity. This book highlights how the socially responsive practitioner can challenge and subvert taken-for-granted motivations by undertaking liberatory museum work that engages subaltern narratives, engages historically disadvantage populations, and co-creates with them dialogical practices of collecting, preserving, exhibiting and interpreting. It points to examples in Africa, Asia, Europe, and the Americas, not as self-contained entities but as practices within a global web of relationships, and as microcosms that define normality and abnormality, that engage users in critical dialogue, and that influence, are conditioned by, and disrupt taken-for-granted understandings and practices of class, ethnicity, sex, gender, thinking and being. Suitable for students, researchers, and museum professionals, Museums and Social Responsibility presents a comprehensive argument and proposes critical, reflective processes to the practitioner, so that their museum work may more effectively engage with and change their societies and the world.
What does it mean to live in a post-atomic world? Photography and contemporary art offer a provocative lens through which to comprehend the by-products of the atomic age, from weapons proliferation, nuclear disaster, and aerial surveillance to toxic waste disposal and climate change. Confronting cultural fallout from the dawn of the nuclear age, Through Post-Atomic Eyes addresses the myriad iterations of nuclear threat and their visual legacy in the twentieth and twenty-first centuries. Whether in the iconic black-and-white photograph of a mushroom cloud rising over Nagasaki in 1945 or in the steady stream of real-time video documenting the 2011 meltdown at the Fukushima Daiichi nuclear power plant, atomic culture - and our understanding of it - is inextricably constructed by the visual. This book takes the image as its starting point to address the visual inheritance of atomic anxieties; the intersection of photography, nuclear industries, and military technocultures; and the complex temporality of nuclear technologies. Contemporary artists contribute lens-based works that explore the consequences of the nuclear, and its afterlives, in the Anthropocene. Revealing, through both art and prose, startling new connections between the ongoing threat of nuclear catastrophe and current global crises, Through Post-Atomic Eyes is a richly illustrated examination of how photography shapes and is shaped by nuclear culture.