9 Joel Sternfeld’s anti-photojournalistic images of Genoa J o e l Sternfeld’s Treading on Kings: Protesting the G8 in Genoa is a series of twenty-seven formal portraits, which form the basic body of a book, published on the occasion of an exhibition of Sternfeld’s project at the White Box Gallery in New York.1 The photographs were taken during the anti-globalisation protests in Genoa in 2001, and document the diversity of participants in the transnational movement against neoliberal globalisation. The movement, which took to the streets in Seattle, Prague
their lives preparing for it. (Apted, 2006) For Apted, then, the key question is not whether his subjects go through a mental rehearsal for the event but how articulate they become at expressing their thoughts on camera. Apted is of the opinion, indeed, that the facility that most of his participants have developed over the years for articulating their thoughts is one of the particular strengths of the series. In his own words: The fact that my subjects have turned out to be so articulate is in a way a tribute to what the programme is, which in a sense celebrates
, selected by the Museum of Modern Art curator William C. Seitz. Within the warehouse, Kaprow constructed two rooms. In one, he amassed a disorderly hodgepodge of ‘items that might have been stored in an attic or basement – boxes, barrels, a ladder, old clothes, old newspapers, a broken television set’. 21 The other was orderly and neat. Visitors were invited to move objects back and forth between the two, inhabiting them as they wished. Under Kaprow’s direction, participants faithfully adhered to these instructions. Schneemann’s iteration, however, released far more
EuroMayDay parades as spaces generated by a plurality of elements in relation to each other. In this plurality, design and culture are mobilisers of politics. The elements were intended both to politicise people and also to have a practical purpose as components of games that, when played during the parade, brought people together and generated social relations among participants. I ask specifically what objects produced by activists do as campaigning artefacts, by which, following Julier, I mean objects that have a utilitarian and politicising purpose.7 I review how
the only entrants for that inaugural French championship. The following year’s competition was contested between just five teams, amongst them a side from the art school Académie Julian. It is possible indeed that the scene depicts a friendly match or training between members of the same club. Some fraternal feeling between the opposing sides is evinced in the socks of the participants. One of Racing’s players wears red and yellow socks, which matches the kit of his opposition, while one of the red and yellow players wears blue socks that match the strip of his
, who was hired as superintendent, with painter Olin Dows as his assistant. Painter George Biddle did not receive executive responsibilities, but helped inspire the programme while being one of its first participants. With the exception of Rowan (born in Chicago), they were well-connected northeasterners, Ivy Leaguers, personal acquaintances of Franklin Delano Roosevelt, and had prior
, often leading to the omission of these damages – and those within their scope – from the historical record. I argue that one of the reasons why the complex histories of non-heterosexual, non-white participants in the feminist art movement often remain in the margins of history is that the desire to produce a positive, triumphalist narrative in the face of mainstream backlash against feminism resulted in
The Labour councils were amenable towards such projects, which were funded generously before the cuts that were implemented by the Thatcher administration. Punk culture was similarly facilitated through the ability of its progenitors and participants to live cheaply in squats, and the infrastructure created by their countercultural predecessors often supported them in their endeavours. Left-wing, independent co-operatives, such as Better Badges and the Islington Bus Company, largely staffed by older hippies, provided cheap services and a
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.
Attachments to historical and archival sources are at the center of Nayland Blake’s 2012 installation at the Yerba Buena Center for the Arts in San Francisco. Entitled FREE!LOVE!TOOL!BOX! the components of the exhibition, as well as one of its public programs (a piercing demonstration conducted by Blake and his long-time familiar Lolita Wolf), is the subject of the seventh chapter. As a young artist Blake was a participant in San Francisco’s changing arts landscape, and his relation to the massive development of the South of Market area (where YBCA is located, and also where many leather bars and institutions were established), structures his questions about San Francisco’s leather histories. By literally attaching himself to a reproduction of an iconic mural decorating one of San Francisco’s earliest leather bars, Blake stages an encounter with history, exhorting his audience to participate in claiming historical networks and lineages.