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Journal Article
Cultural Politics (2016) 12 (2): 190–201.
Published: 01 July 2016
... of photographic images archived from media photography. Over time, the archive is refined. By the end, the images are solely composed of protest crowds. There is something about them alone—some other kind of energy—that keeps the brush in motion, which makes the marks. Ukraine. Egypt. Yemen. Occupy. The ink...
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Journal Article
Cultural Politics (2013) 9 (3): 263–279.
Published: 01 November 2013
...Pollyanna Ruiz This article examines the practical and theoretical implications raised by protesters' use of masks to conceal themselves from the eyes of the state. It argues that the refusal to be seen and categorized by the state is empowering in that it exposes, and then unsettles, the power...
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Journal Article
Cultural Politics (2020) 16 (2): 147–170.
Published: 01 July 2020
... remonstrance to present-day forms of creatively embodied protest in the era of Occupy. At the same time, though, these workers have also fashioned an aesthetic intervention that is very much of their own devising. This article draws on an empirical base of two dozen suicide shows posted on video-sharing sites...
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Published: 01 July 2016
Figure 1 Installation view of Protest Crowd , Peer, London, November 2015. Image shows Protest Crowd, Occupy, New York, USA . Japanese ink on linen, 290 × 190 cm, 2015. Image courtesy Stephen White and Peer UK
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Published: 01 July 2016
Figure 2 Detail of Protest Crowd, Kiev, Ukraine . Japanese ink on linen, 190 × 130 cm, 2015.
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Published: 01 July 2016
Figure 3 (Top) Detail of Protest Crowd, Moscow, Russia . Japanese ink on linen, 255 × 165 cm, 2015
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Published: 01 July 2016
Figure 4 (Bottom) Protest Crowd, Moscow, Russia . Japanese ink on linen, 255 × 165 cm, 2015
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Published: 01 July 2016
Figure 5 Protest Crowd, Rio de Janeiro (2013) . Ink on paper mounted on aluminum, 55 × 43 cm, 2015. Image courtesy the artist and Adrian O’Carroll
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Published: 01 July 2016
Figure 6 Protest Crowd, Yemen (2) . Ink on paper, 40 × 58 cm, 2013
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Published: 01 July 2016
Figure 7 Detail of Protest Crowd, Kiev, Ukraine . Japanese ink on linen, 190 × 130 cm, 2015
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Published: 01 July 2016
Figure 8 Installation view of Protest Crowd , Peer, London, November 2015. Image shows Protest Crowd, Kiev, Ukraine . Japanese ink on linen, 190 × 130 cm, 2015. Image courtesy Stephen White and Peer UK
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Published: 01 July 2016
Figure 9 Protest Crowd, Occupy New York . Ink on paper, 40 × 58 cm, 2013. Image courtesy the artist and Anne Sophie Moors
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Published: 01 November 2013
Figure 3 Gitmo protest, Washington 1, 2007. Photo by takomabibelot
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Published: 01 July 2014
Figure 1 Freee Art Collective, Protest Drives History . Photo courtesy of the artists
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Published: 01 July 2014
Figure 2 Freee Art Collective, Protest Is Beautiful . Photo courtesy of the artists
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Journal Article
Cultural Politics (2007) 3 (2): 231–248.
Published: 01 July 2007
...Geofrey Craig This article explores the increasing politicization of “lifestyles” and outlines an understanding of the concept of “lifestyle politics.” This is conducted through a case-study discussion of protest actions against the upgrading of the electricity grid on the north island of New...
Journal Article
Cultural Politics (2021) 17 (3): 347–361.
Published: 01 November 2021
... the equation of New Zealand with Middle-earth would spur protests when the local filming of The Hobbit was under threat. It is important to take Harley at her word: she very much does think that local cultural industries and New Zealand identity are coconstitutive. If correct, that would mean that LOTR...
Journal Article
Cultural Politics (2006) 2 (2): 245–254.
Published: 01 July 2006
...Elin O’Hara Slavick Protesting Cartography: Places the United States has Bombed is a series of protest drawings of US military interventions. Utilizing surveillance imagery, military websites such as the US Department of Defense battle plans, aerial photography, mass media, and maps, each drawing...
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in In Defense of Decolonial Philistinism: Jameson, Adorno, and the Redemption of the Hatred of Art
> Cultural Politics
Published: 01 November 2017
Figure 3 Artworks set alight by student protesters at the University of Capetown on February 16, 2016 . Photography by Ashleigh Furlong/GroundUp (CC BY-ND 4.0)
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in In Defense of Decolonial Philistinism: Jameson, Adorno, and the Redemption of the Hatred of Art
> Cultural Politics
Published: 01 November 2017
Figure 2 A student protester throws a painting by Keresemose Baholo on a burning pile of other artworks at the University of Capetown on February 16, 2016. Photography by Ashleigh Furlong/GroundUp (CC BY-ND 4.0)
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