Artists in communities in crises the world over are working to resolve conflict, promote peace, and rebuild civil society. Here are six remarkable stories of artists in Northern Ireland, Cambodia, South Africa, the United States (Watts, Los Angeles), aboriginal Australia, and Serbia, who heal unspeakable trauma, give voice to the forgotten and disappeared, and re-stitch the cultural fabric of their communities. Author Bill Cleveland is an activist, teacher, facilitator, lecturer, and director of the Center for the Study of Art & Community. He is the author of Art in Other Places, which explores the emerging community arts movement in the United States.
Citizen artists successfully rebuild the social infrastructure in six communities devastated by war, repression and dislocation. Author William Cleveland tells remarkable stories from Northern Ireland, Cambodia, South Africa, United States (Watts, Los Angeles), aboriginal Australia, and Serbia, about artists who resolve conflict, heal unspeakable trauma, give voice to the forgotten and disappeared, and restitch the cultural fabric of their communities. Art can be a powerful agent of personal, institutional and community change. The stories in this book have valuable implications for artists, academics, educators, human service providers, philanthropists, and community leaders throughout the world. The artists documented in the book have generated new technologies for advocacy, organizing, peacemaking, healing trauma and the rebuilding of community. Creativity is our most powerful capacity, and it can mitigate and heal our most destructive tendencies.
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.
A "riveting and illuminating" Bill Gates Summer Reading pick about how and why some nations recover from trauma and others don't (Yuval Noah Harari), by the Pulitzer Prize-winning author of the landmark bestseller Guns, Germs, and Steel. In his international bestsellers Guns, Germs and Steel and Collapse, Jared Diamond transformed our understanding of what makes civilizations rise and fall. Now, in his third book in this monumental trilogy, he reveals how successful nations recover from crises while adopting selective changes -- a coping mechanism more commonly associated with individuals recovering from personal crises. Diamond compares how six countries have survived recent upheavals -- ranging from the forced opening of Japan by U.S. Commodore Perry's fleet, to the Soviet Union's attack on Finland, to a murderous coup or countercoup in Chile and Indonesia, to the transformations of Germany and Austria after World War Two. Because Diamond has lived and spoken the language in five of these six countries, he can present gut-wrenching histories experienced firsthand. These nations coped, to varying degrees, through mechanisms such as acknowledgment of responsibility, painfully honest self-appraisal, and learning from models of other nations. Looking to the future, Diamond examines whether the United States, Japan, and the whole world are successfully coping with the grave crises they currently face. Can we learn from lessons of the past? Adding a psychological dimension to the in-depth history, geography, biology, and anthropology that mark all of Diamond's books, Upheaval reveals factors influencing how both whole nations and individual people can respond to big challenges. The result is a book epic in scope, but also his most personal yet.
How will America's colleges and universities adapt to remarkable technological, economic, and demographic change? The United States is in the midst of a profound transformation the likes of which hasn't been seen since the Industrial Revolution, when America's classical colleges adapted to meet the needs of an emerging industrial economy. Today, as the world shifts to an increasingly interconnected knowledge economy, the intersecting forces of technological innovation, globalization, and demographic change create vast new challenges, opportunities, and uncertainties. In this great upheaval, the nation's most enduring social institutions are at a crossroads. In The Great Upheaval, Arthur Levine and Scott Van Pelt examine higher and postsecondary education to see how it has changed to become what it is today—and how it might be refitted for an uncertain future. Taking a unique historical, cross-industry perspective, Levine and Van Pelt perform a 360-degree survey of American higher education. Combining historical, trend, and comparative analyses of other business sectors, they ask • how much will colleges and universities change, what will change, and how will these changes occur? • will institutions of higher learning be able to adapt to the challenges they face, or will they be disrupted by them? • will the industrial model of higher education be repaired or replaced? • why is higher education more important than ever? The book is neither an attempt to advocate for a particular future direction nor a warning about that future. Rather, it looks objectively at the contexts in which higher education has operated—and will continue to operate. It also seeks to identify likely developments that will aid those involved in steering higher education forward, as well as the many millions of Americans who have a stake in its future. Concluding with a detailed agenda for action, The Great Upheaval is aimed at policy makers, college administrators, faculty, trustees, and students, as well as general readers and people who work for nonprofits facing the same big changes.
Earth in Upheaval - a very exactly investigated and easily understandable book - contains material that completely revolutionizes our view of the history of the earth. In this epochal book, Immanuel Velikovsky, one of the great scientists of modern times, puts the complete histories of our Earth and of humanity on a new basis.
In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.
