Activist New York surveys New York City's long history of social activism from the 1650's to the 2010's. Bringing these passionate histories alive, Activist New York is a visual exploration of these movements, serving as a companion book to the highly-praised Museum of the City of New York exhibition of the same name. New York's primacy as a metropolis of commerce, finance, industry, media, and ethnic diversity has given it a unique and powerfully influential role in the history of American and global activism. Steven H. Jaffe explores how New York's evolving identities as an incubator and battleground for activists have made it a "machine for change." In responding to the city as a site of slavery, immigrant entry, labor conflicts, and wealth disparity, New Yorkers have repeatedly challenged the status quo. Activist New York brings to life the characters who make up these vibrant histories, including David Ruggles, an African American shopkeeper who helped enslaved fugitives on the city's Underground Railroad during the 1830s; Clara Lemlich, a Ukrainian Jewish immigrant who helped spark the 1909 "Uprising of 20,000" that forever changed labor relations in the city's booming garment industry; and Craig Rodwell, Karla Jay, and others who forged a Gay Liberation movement both before and after the Stonewall Riot of June 1969. Permanent exhibition: Puffin Foundation Gallery, Museum of the City of New York, USA.

In the last three decades of the twentieth century, government cutbacks, stagnating wages, AIDS, and gentrification pushed ever more people into poverty, and hunger reached levels unseen since the Depression. In response, New Yorkers set the stage for a nationwide food justice movement. Whether organizing school lunch campaigns, establishing food co-ops, or lobbying city officials, citizen-activists made food a political issue, uniting communities across lines of difference. The charismatic, usually female leaders of these efforts were often products of earlier movements: American communism, civil rights activism, feminism, even Eastern mysticism. Situating food justice within these rich lineages, Lana Dee Povitz demonstrates how grassroots activism continued to thrive, even as it was transformed by unrelenting erosion of the country's already fragile social safety net. Using dozens of new oral histories and archives, Povitz reveals the colorful characters who worked behind the scenes to build and sustain the movement, and illuminates how people worked together to overturn hierarchies rooted in class and race, reorienting the history of food activism as a community-based response to austerity. The first book-length history of food activism in a major American city, Stirrings highlights the emotional, intimate, and interpersonal aspects of social movement culture.

Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledge based, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice. At this crucial time in the evolution of museum thinking and practice, this ground-breaking volume brings together more than fifty contributors working across six continents to explore, analyse and critically reflect upon the museum’s relationship to activism. Including contributions from practitioners, artists, activists and researchers, this wide-ranging examination of new and divergent expressions of the inherent power of museums as forces for good, and as activists in civil society, aims to encourage further experimentation and enrich the debate in this nascent and uncertain field of museum practice. Museum Activism elucidates the largely untapped potential for museums as key intellectual and civic resources to address inequalities, injustice and environmental challenges. This makes the book essential reading for scholars and students of museum and heritage studies, gallery studies, arts and heritage management, and politics. It will be a source of inspiration to museum practitioners and museum leaders around the globe.

The Art of Activism is an all-purpose guide to artistic activism, combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change. With contemporary case studies and historical examples, chapters on cultural and cognitive theory, sections on what can be learned from unlikely sources like popular culture and marketing techniques, along with investigations into ethics and evaluation, explorations of the creative process and the importance of utopian thinking, and an attached workbook with over fifty exercises to practice, the co-founders of the Center for Artistic Activism take readers step-by-step through the process of becoming, or becoming even better, artistic activists.

Analyzing the confluence between coloniality and activist art, Art Activism for an Anticolonial Future argues that there is much to gain from approaching contemporary politically committed art practices from the angle of anticolonial, postcolonial, and decolonial struggles. These struggles inspired a vast yet underexplored set of ideas about art and cultural practices and did so decades before the acceptance of radical artistic practices by mainstream art institutions. Carlos Garrido Castellano argues that art activism has been confined to a limited spatial and temporal framework—that of Western culture and the modernist avant-garde. Assumptions about the individual creator and the belated arrival of derivative avant-garde aesthetics to the periphery have generated a narrow view of “political art” at the expense of our capacity to perceive a truly global alternative praxis. Garrido Castellano then illuminates such a praxis, focusing attention on socially engaged art from the Global South, challenging the supposed universality of Western artistic norms, and demonstrating the role of art in promoting and configuring a collective critical consciousness in postcolonial public spheres. This book is freely available in an open access edition thanks to Knowledge Unlatched—an initiative that provides libraries and institutions with a centralized platform to support OA collections and from leading publishing houses and OA initiatives. Learn more at the Knowledge Unlatched website at: https://www.knowledgeunlatched.org/, and access the book online at the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7166.

Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

Examines the culture, politics, and history of the movement for environmental justice in New York City, tracking activism in four neighborhoods on issues of public health, garbage, and energy systems in the context of privatization, deregulation, and globalization. Racial minority and low-income communities often suffer disproportionate effects of urban environmental problems. Environmental justice advocates argue that these communities are on the front lines of environmental and health risks. In Noxious New York, Julie Sze analyzes the culture, politics, and history of environmental justice activism in New York City within the larger context of privatization, deregulation, and globalization. She tracks urban planning and environmental health activism in four gritty New York neighborhoods: Brooklyn's Sunset Park and Williamsburg sections, West Harlem, and the South Bronx. In these communities, activism flourished in the 1980s and 1990s in response to economic decay and a concentration of noxious incinerators, solid waste transfer stations, and power plants. Sze describes the emergence of local campaigns organized around issues of asthma, garbage, and energy systems, and how, in each neighborhood, activists framed their arguments in the vocabulary of environmental justice. Sze shows that the linkage of planning and public health in New York City goes back to the nineteenth century's sanitation movement, and she looks at the city's history of garbage, sewage, and sludge management. She analyzes the influence of race, family, and gender politics on asthma activism and examines community activists' responses to garbage privatization and energy deregulation. Finally, she looks at how activist groups have begun to shift from fighting particular siting and land use decisions to engaging in a larger process of community planning and community-based research projects. Drawing extensively on fieldwork and interviews with community members and activists, Sze illuminates the complex mix of local and global issues that fuels environmental justice activism.

Counter Institution is a history of three re-purposed buildings in the Lower East Side--Peace Pentagon, ABC No Rio, and El Bohio--that have been used by activists as their headquarters to launch various actions over the past forty years.

In the midst of current debates about the accessibility of public spaces, resurfacing as a result of highly visible demonstrations and occupations, this book illuminates an overlooked domain of civic participation: the office, workshop, or building where activist groups meet to organize and plan acts of political dissent and collective participation. Author Nandini Bagchee examines three re-purposed buildings on the Lower East Side that have been used by activists to launch actions over the past forty years. The Peace Pentagon was the headquarters of the anti-war movement, El Bohio was a metaphoric “hut” that envisioned the Puerto Rican Community as a steward of the environment, and ABC No Rio, appropriated from a storefront sign with missing letters, was a catchy punk name that appealed to the anarchistic sensibility of the artists that ran a storefront gallery in a run-down tenement. In a captivating discussion of buildings and urban settings as important components of progressive struggles in New York City over more than a century, Bagchee reveals how these collectively organized spaces have provided a venue for political participation while existing as a vital part of the city’s civic infrastructure. The “counter institution” explored in this book represents both a conceptual and a literal struggle to create a space for civic action in a city that is built upon real estate speculation. The author reveals the fascinating tension between the impermanence of the insurgent activist practices and the permanent but maintenance heavy aspects of architecture. The actors she vividly describes—the war resisters, the Puerto Rican organizers, the housing activists, the punks and artists—all seized the opportunity to create what are seen as “activist estates,” at a time and in a place where urban life itself was under attack. And now, when many such self-organized “activist” buildings are imperiled by the finance-driven real estate market that is New York City, this book takes stock and provides visibility to these under recognized citizens’ initiatives. Counter Institution is an innovative work that intersects architecture, urban design practices, and geography (cartography) on the one hand, with history, politics, and sociology on the other. It is a must-read for anyone interested in the history of activism in New York City and how the city can inspire and encourage political engagement. Through its beautifully illustrated pages—where drawings, maps, timelines, and photographs underline the connections between people, politics, and space—readers will discover new ways to imagine buildings as a critical part of the civic infrastructure and a vital resource for the future.

Becoming Activist is a revolutionary study of youth human rights activism and literacy learning. The book follows five urban youth organizers from the Drop Knowledge Project in New York City and offers insight into conducting literacy work to promote positive youth and community development.