Why do we need art?

What Art Does is an invitation to explore this vital question. It is a chance to understand how art is made by all of us. How it creates communities, opens our worlds, and can transform us.

Curious and playful, richly illustrated, full of ideas and life, it is an inspiring call to imagine a different future.

Progressive crafters will be galvanized by this celebration of homespun resistance. -Publishers Weekly

From beloved craftivist Diana Weymar, creator of the brilliantly subversive Tiny Pricks Project, a collection of projects, actions, and essays to transform your anxiety into action during troubled times.

Ever feel like you're hanging on by a thread?

From the climate crisis, to racism, to gun violence, to attacks on LGBTQ+ rights, the list of issues facing this country goes on and on, and it's only natural to feel anxious about the state of our union. Even if you vote, march, volunteer, and donate, feelings of hopelessness (and helplessness) still creep in.

Crafting a Better World is a new kind of call to action: a guidebook for combatting fatigue and frustration with the handmade. Whether that's sewing a welcome blanket for new immigrants, or making a batch of vulva chocolates to raise money at a bake sale for abortion access, this book will teach you how to transform your anxiety into action.

Curated by Diana Weymar, the creator of the Tiny Pricks Project, who knows what it means to meld craft and activism. On Jan. 8, 2018, she stitched I am a very stable genius (a Donald Trump quote) into a piece of her grandmother's abandoned needlework from the 1960s and posted it to Instagram. Since then, she's turned her embroidery practice into a material record of the trials facing this country and become a leading voice in the movement to save our democracy.

Featuring essays, exclusive profiles of well-known creatives, and projects that readers can create by themselves or with their communities, this book is a means to stay engaged, make stuff, and hold ourselves together as we navigate this uncertain personal and political landscape. With contributions from artists and activists, including:

Jamie Lee CurtisRoz ChastGisele FettermanPEN AmericaNadya Tolokonnikova (founding member, Pussy Riot)Guerilla Girls

Crafting a Better World is a response to this unique moment in time when so many feel, in equal measure, deep anxiety and deep hope. So pick up a needle, a pen, a spatula--anything--and craft the change you want to see in the world.

What is the purpose of art in a world on fire? In this exhilarating and deeply inspiring work, Amber Massie-Blomfield considers the work of artists, writers, musicians, and filmmakers--such as Gran Fury, Billie Holiday, Alexis Wright, Claude Cahun, Rick Lowe, and Joseph Beuys--alongside collectives, communities, and organizations that have used protest sites as their canvas and spearheaded political movements. From writer Ken Saro Wiwa combatting oil pollution in Nigeria and Susan Sontag directing Waiting for Godot in besieged Sarajevo to the women stitching subversive patchworks in Pinochet's Chile and the artist-activists who blocked the building of a new airport in France, with stories drawn from environmentalism, feminism, anti-fascism, and other movements, Acts of Resistance brings together remarkable acts of creativity that have shifted history on its axis.

The West Wing premiered in 1999. That's a long time ago. Back then, we were worrying about the Millennium Bug, paying $700 for DVD players, and using pagers. 1999: a century ago.



And yet, the show continues to have an impact that is arguably unique. If you live or work in DC, references to it are inescapable. People have walked down the aisle to the theme music. Or they've named children, pets, GPS systems, and even an iPhone app after the characters. Or they've started Twitter accounts as the characters to continue the storyline and comment on current political events. Or they credit it for closer relationships with their family members or a way out of depression.



In this anthology of quotes and essays, contributors from six countries, ranging in age from twenty to seventy years old, tell their West Wing stories.

In this remarkable, inspiring collection of essays, acclaimed writer and critic Olivia Laing makes a brilliant case for why art matters, especially in the turbulent political weather of the twenty-first century.

Funny Weather brings together a career's worth of Laing's writing about art and culture, examining their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O'Keeffe, reads Maggie Nelson and Sally Rooney, writes love letters to David Bowie and Freddie Mercury, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, she celebrates art as a force of resistance and repair, an antidote to a frightening political time.

We're often told that art can't change anything. Laing argues that it can. Art changes how we see the world. It makes plain inequalities and it offers fertile new ways of living.

How technology and the politics of attention changed the way we look at art

The ways we encounter contemporary art and performance has changed. How are we expectedto engage with today's diverse practice? Is the old model of close-looking still the ideal, or has itgiven way to browsing, skimming, and sampling?

Across four provocative and insightful essays, art historian and critic Claire Bishop identifies trends in contemporary practice. Charting a critical path through the last three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.

She explores how researched-based exhibitions have proliferated turning the artist into an investigator or archivist with mixed results. Spatial performance can now involve the artist, dancers, or even the audience as participants, often framed with Instagram in mind. The political event is not longer activated without an understanding of the media that will record and distribute it. The proliferation of works that use modernist architecture is noticeable; but has this become a shorthand for something else?

Disordered Attention is a vital survey of 21st century art, from one of the leading art thinkers ofour times.

A well-researched, concise guide to protest art, exploring what happens when artists join forces with radical political movements to foster change. The works and movements discussed in this book emerged at times of great upheaval including war, colonialism, independence, and changes of government. They reveal how art and politics have been intertwined throughout the twentieth and early twenty-first centuries.

Jessica Lack adopts an inclusive and international approach, presenting examples from nations and societies around the globe, including Sylvia Pankhurst's paintings depicting the harsh realities faced by women manual workers in early 1900s Britain; the revolutionary aesthetic created by Emory Douglas for the Black Panthers in the 1960s, which documented and galvanized the campaign for the rights of Black Americans; Nandalal Bose's portrait of Mahatma Gandhi, which became the iconic symbol of the Indian nonviolence movement in the 1930s; and the Chilean direct action work that contributed to the collapse of General Pinochet's government.

Each of the nine chapters addresses different ways in which art has been used to effect political transformation, taking in humor and satire; performance and propaganda; art's relationships to institutions, the media, conflict, and the state; and its uses as a weapon, a galvanizing force, and a way of refusing the status quo. Artistic acts, collectives, and movements are examined in their context, revealing how they have influenced other artists and changed the wider political and artistic world.

From the Pulitzer Prize winner and bestselling author of How to Be an Artist a deliciously readable survey of the art world in turbulent times

Jerry Saltz is one of our most-watched writers about art and artists, and a passionate champion of the importance of art in our shared cultural life. Since the 1990s he has been an indispensable cultural voice: witty and provocative, he has attracted contemporary readers to fine art as few critics have. An early champion of forgotten and overlooked women artists, he has also celebrated the pioneering work of African American, LGBTQ+, and other long-marginalized creators. Sotheby's Institute of Art has called him, simply, the art critic.

Now, in Art Is Life, Jerry Saltz draws on two decades of work to offer a real-time survey of contemporary art as a barometer of our times. Chronicling a period punctuated by dramatic turning points--from the cultural reset of 9/11 to the rolling social crises of today--Saltz traces how visionary artists have both documented and challenged the culture. Art Is Life offers Saltz's eye-opening appraisals of trailblazers like Kara Walker, David Wojnarowicz, Hilma af Klint, and Jasper Johns; provocateurs like Jeff Koons, Richard Prince, and Marina Abramovic; and visionaries like Jackson Pollock, Bill Traylor, and Willem de Kooning. Saltz celebrates landmarks like the Obama portraits by Kehinde Wiley and Amy Sherald, writes searchingly about disturbing moments such as the Ankara gallery assassination, and offers surprising takes on figures from Thomas Kinkade to Kim Kardashian. And he shares stories of his own haunted childhood, his time as a failed artist, and his epiphanies upon beholding work by Botticelli, Delacroix, and the cave painters of Niaux.

With his signature blend of candor and conviction, Jerry Saltz argues in Art Is Life for the importance of the fearless artist--reminding us that art is a kind of channeled voice of human experience, a necessary window onto our times. The result is an openhearted and irresistibly readable appraisal by one of our most important cultural observers.

Walter Benjamin discusses whether art is diminished by the modern culture of mass replication, arriving at the conclusion that the aura or soul of an artwork is indeed removed by duplication. In an essay critical of modern fashion and manufacture, Benjamin decries how new technology affects art. The notion of fine arts is threatened by an absence of scarcity; an affair which diminishes the authenticity and essence of the artist's work. Though the process of art replication dates to classical antiquity, only the modern era allows for a mass quantity of prints or mass production. Given that the unique aura of an artist's work, and the reaction it provokes in those who see it, is diminished, Benjamin posits that artwork is much more political in significance. The style of modern propaganda, of the use of art for the purpose of generating raw emotion or arousing belief, is likely to become more prevalent versus the old-fashioned production of simpler beauty or meaning in a cultural or religious context.

Named one of The Progressive magazine's Favorite Books of the Year

An inside look at the organizers and artists on the front lines of political mobilization and social change

Ken [Grossinger] is one of the smartest strategists I know. --John Sweeney, AFL-CIO president, 1995-2009

An artist's mural of George Floyd becomes an emblem of a renewed movement for racial equality. A documentary film injects fuel into a popular mobilization to oust a Central American dictator. Freedom songs course through the American civil rights movement.

When artists and organizers combine forces, new forms of political mobilization follow--which shape lasting social change. And yet few people appreciate how much deliberate strategy often propels this vital social change work. Behind the scenes, artists, organizers, political activists, and philanthropists have worked together to hone powerful strategies for achieving the world we want and the world we need.

In Art Works, noted movement leader Ken Grossinger chronicles these efforts for the first time, distilling lessons and insights from grassroots leaders and luminaries such as Ai Weiwei, Courtland Cox, Jackson Browne, Shepard Fairey, Jane Fonda, Elizabeth Alexander, Bill McKibben, JR, Jose Antonio Vargas, and more. Drawing from historical and present-day examples--including Black Lives Matter, Standing Rock, the Hip Hop Caucus, the Legacy Museum, and the Art for Justice Fund--Grossinger offers a rich tapestry of tactics and successes that speak directly to the challenges and needs of today's activists and of these political times.

A powerful elixir of hope and determination, Zapantera Negra provides a galvanizing presentation of interviews, militant artwork, and original documents from two movements' struggle for dignity and liberation. When Emory Douglas, former Minister of Culture of the Black Panther Party, accepted an invitation from the art collective EDELO and Rigo 23 to meet with autonomous Indigenous and Zapatista communities in Chiapas, Mexico, they explored the role of revolutionary art in times of distress. Zapantera Negra is the result of their encounter. It unites the bold aesthetics, revolutionary dreams, and dignified declarations of two leading movements that redefine emancipatory politics in the twentieth and twenty-first century.

The artists of the Black Panthers and the Zapatistas were born into a centuries-long struggle against racial capitalism and colonialism, state repression and international war and plunder. Not only did these two movements offer the world an enduring image of freedom and dignified rebellion, they did so with rebellious style, putting culture and aesthetics at the forefront of political life.

An essay-length argument for the autonomy of art in the present.

Over recent decades, a post-critical theoretical and methodological paradigm has become increasingly dominant in the human sciences. Proponents of this approach have come to dismiss the idea--central to all modern aesthetics--of the autonomy of art.

Written by critic and researcher Kim West, this book is a defence of art's autonomy and addresses some of the major arguments against it in recent post-critical writings. West critiques three key positions: first, that the concept of art's autonomy equals a myth of objective independence; second, that it is inextricably tied to traditions of formalist elitism; and third, that the ideal of autonomy reinforces the illusion of the inherently free and rational subject. From within this critique, West advances principles for how the autonomy of art could be understood today.

Published in partnership with the Centre for Research in Artistic Practice under Contemporary Conditions at Aarhus University.

Life's stories are always prone to disruption and digression, thwarting the neat storybook narrative we love so much.

Almost all of our stories follow the same basic pattern: beginning, middle, end: exposition, action and climax. It's a neat and tidy way of telling a story. But life's not like that, is it? Life is not neat and tidy, it doesn't obey the rules. Life's stories--like the stories told here in But, personal and impersonal, historical and contemporary--are punctuated by disruption, derailment, and digression.

Stories where the good guys lose. Stories where the bad girls win. Stories that just stop in the middle. Stories that fizzle out or simply never get going. Stories that don't make sense. Stories that start where they should end and end where they start. Stories that go round in a cyclical loop, forever. Unfinished stories. Unstarted stories. Stories that stutter and mumble, that cough and splutter.

That's what we have here in this book: real stories, that do all of the above. That's why this book is called But. Because the but is there to disrupt the easy normality of the way we tell our stories. This book is a collection of stories about real lives, real people, and real life. Stuttering, wayward, disjointed, funny, ridiculous, and unplanned.

Winner of the National Book Critics Circle Award
A Smithsonian Book of the Year
A New York Review of Books Best of 2020 Selection
A New York Times Best Art Book of the Year
An Art Newspaper Book of the Year

A powerful document of the inner lives and creative visions of men and women rendered invisible by America's prison system.

More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America's prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them.

Based on interviews with currently and formerly incarcerated artists, prison visits, and the author's own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions--including solitary confinement--these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art.

As the movement to transform the country's criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century.

Essays, portraits, and profiles of fifty American peace activists

This third volume in the Americans Who Tell the Truth series features Robert Shetterly's striking color portraits and profiles of fifty peace activists as well as essays by Chris Hedges, Kali Rubaii, Paul K. Chappell, Medea Benjamin, Alice Rothchild, and David Swanson. The people honored in this book approach peacemaking in manifold ways. They have told the truth about the lies enabling war, they have protested, they have gone to jail for peace, made art imbued with the suffering of war, the stupidity of war and its cruelty, taught the curricula of peace, exposed the unspeakable wounds and trauma visited on children in war, and shown how environmentally historically, and psychologically wars never end. They have also shown how warmongers promote and profit obscenely from the business of industrial killing, how atrocity is celebrated as heroic. They resist, resist, resist. They act with love.

Those Passions unpicks the nature of capitalist societies since the fifteenth century and the art produced within them. It evaluates the central politics of appearance--the building of consumerism, the arrival of the 24-hour image-led world, the continuously changing methods of symbolic production, and the ongoing saturation of life by pictures and data. It reveals our guilty love affair with the imagery of violence, the true nature of the advertising dream world, and the power and pathos of screen time.

Written across four decades, these essays focus on a line of painting and sculpture that was thought from the start to be responsive to the new condition. One key feature of the emerging modern was the liberation of art and politics from their previous established positions. Politics increasingly became a separate form of life, no longer so firmly allied to Church and State. Art floated free, at least partially, from the sacred age-old deference to the powerful. What art and politics would turn out to be became a question in itself; for some, the question on which art's future depended. With case studies drawn from across the centuries, from Hieronymus Bosch to Jacques-Louis David, Eugène Delacroix to Gerhard Richter, T. J. Clark asks what answers--or evasions--modernism was capable of. Radical and provocative, Those Passions engages with issues that continue to confront us today.

Why should an artist's way of looking at the world have any meaning for us? Any artwork reflects the artist's intentions, but also its times: therefore all art is political

In Permanent Red, John Berger argues that the contemporary artist should strive for a realism that aims for hope, to transform the world. Surveying the work of historical artists as well as that of near contemporaries such as Picasso, Léger and Matisse, he explores the role of the artist, dividing these figures into those that struggle, those that fail, and the true masters. He explains why we should study the work of the past: in order to understand the present and to rethink the future.

First published in 1960, Permanent Red established John Berger as a firebrand critic willing to broadcast controversial opinions on some of the most important British artists of the day, including Henry Moore and Barbara Hepworth.

The canonical work of cultural criticism by the profoundly influential critic (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas

Sharp and persuasive. --The New York Times Book Review on the original publication of Art on My Mind

Art on My Mind, one of the country's most influential feminist thinkers (Artforum) offers a tender yet potent suite of writings for a world increasingly concerned with art and identity politics. This collection of bell hooks's essays, each with art at its center, explores both the obvious and obscure: from ruminations on the fraught representation of Black bodies, to reflections on the creative processes of women artists, to analysis of the use of blood in visual art.

bell hooks has been instrumental in cracking open the white, western canon for Black artists (Artnet), with searing essays complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie. Featuring full-color artwork from giants such as Jean-Michel Basquiat, Lorna Simpson, and Alison Saar, Art on My Mind examines the way race, sex and class shape who makes art, how it sells and who values it (The New York Times), while questioning how art can be instrumental for Black liberation. In doing so, hooks urges us to unravel the forces of oppression that colonize our imaginations.

With a new foreword from acclaimed contemporary artist Mickalene Thomas, this thirtieth-anniversary edition passes the torch to a new generation of artists, capturing hooks's simple yet evergreen affirmation: art matters--it is a life force in the struggle for freedom. Art on My Mind is essential reading for anyone looking to find lessons on liberation and creativity in the world of color--the free world of art.

Postmodernism is dead.

Discover Remodernism, a new art movement of the people,

by the people, for the people

Remodern America

How the Renewal of the Arts

Will Change the Course of Western Civilization

Art reminds us of who we are, and shows what we can be. But the visual arts are undergoing a crisis of relevance. Elitists have weaponized art into an assault on the foundations of our culture.

Art is a more enduring and vital human experience than the power games of a greedy and fraudulent ruling class. The story of the 21st Century will be the dismantling of centralized power. As always, this course of history was prophesied by artists--those who are intuitively aware of the path unfolding ahead. Their works become maps so that others may find the way. Enduring changes start in the arts.

Remodern America provides an historical overview of how art shapes society and politics. This book exposes how the contemporary art world is used as a tool of oppression. Most importantly, Remodern America provides the solution, and reveals how the power of art can be reclaimed as a force for liberty.