A highly original history of American portraiture that places the experiences of enslaved people at its center This timely and eloquent book tells a new history of American art: how enslaved people mobilized portraiture for acts of defiance. Revisiting the origins of portrait painting in the United States, Jennifer Van Horn reveals how mythologies of whiteness and of nation building erased the aesthetic production of enslaved Americans of African descent and obscured the portrait's importance as a site of resistance. Moving from the wharves of colonial Rhode Island to antebellum Louisiana plantations to South Carolina townhouses during the Civil War, the book illuminates how enslaved people's relationships with portraits also shaped the trajectory of African American art post-emancipation. Van Horn asserts that Black creativity, subjecthood, viewership, and iconoclasm constituted instances of everyday rebellion against systemic oppression. Portraits of Resistance is not only a significant intervention in the fields of American art and history but also an important contribution to the reexamination of racial constructs on which American culture was built.

Decades ago, Malcolm X eloquently stated that communities have the legitimate right to defend themselves "by any means necessary" with any tool or tactic, including guns. This wide-ranging anthology uncovers the hidden histories and ideas of community armed self-defense, exploring how it has been used by marginalized and oppressed communities as well as anarchists and radicals within significant social movements of the twentieth and twenty-first centuries. Far from a call to arms, or a "how-to" manual for warfare, this volume offers histories, reflections, and questions about the role of firearms in small collective defense efforts and its place in larger efforts toward the creation of autonomy and liberation. Featuring diverse perspectives from movements across the globe, Setting Sights includes vivid histories and personal reflections from both researchers and those who participated in community armed self-defense. Contributors include Dennis Banks, Kathleen Cleaver, Mabel Williams, Subcomandante Marcos, Kristian Williams, George Ciccariello-Maher, Ashanti Alston, and many more.

Through innovative and critical research, this anthology inquires and challenges issues of race and positionality, empirical sciences, colonial education models, and indigenous knowledges. Chapter authors from diverse backgrounds present empirical explorations that examine how decolonial work and Indigenous knowledges disrupt, problematize, challenge, and transform ongoing colonial oppression and colonial paradigm. This book utilizes provocative and critical research that takes up issues of race, the shortfalls of empirical sciences, colonial education models, and the need for a resurgence in Indigenous knowledges to usher in a new public sphere. This book is a testament of hope that places decolonization at the heart of our human community.

This book explores how street art has been used as a tool of resistance to express opposition to political systems and social issues around the world. Aesthetic devices such as murals, tags, posters, street performances and caricatures are discussed in terms of how they are employed to occupy urban spaces and present alternative visions of social reality. Based on empirical research, the authors use the framework of creative psychology to explore the aesthetic dimensions of resistance that can be found in graffiti, art, music, poetry and other creative cultural forms. Chapters include case studies from countries including Brazil, Canada, Chile, Denmark, Egypt, Ireland, Mexico and Spain to shed new light on the social, cultural and political dynamics of street art not only locally, but globally. This innovative collection will be of particular interest to scholars of social and political psychology, urban studies and the wider sociologies and is essential reading for all those interested in the role of art in social change.

This book explores the interactions between queer identity, experience, and activism and a range of communal and public spaces.