Public protests are a vital tool for asserting grievances and creating temporary, yet tangible, communities as the world becomes more democratic and urban in the twenty-first century. While the political and social aspects of protest have been extensively studied, little attention has been paid to the physical spaces in which protests happen. Yet place is a crucial aspect of protests, influencing the dynamics and engagement patterns among participants. In The Design of Protest, Tali Hatuka offers the first extensive discussion of the act of protest as a design: that is, a planned event in a space whose physical geometry and symbolic meaning are used and appropriated by its organizers, who aim to challenge socio-spatial distance between political institutions and the people they should serve. Presenting case studies from around the world, including Tiananmen Square in Beijing; the National Mall in Washington, DC; Rabin Square in Tel Aviv; and the Plaza de Mayo in Buenos Aires, Hatuka identifies three major dimensions of public protests: the process of planning the protest in a particular place; the choice of spatial choreography of the event, including the value and meaning of specific tactics; and the challenges of performing contemporary protests in public space in a fragmented, complex, and conflicted world. Numerous photographs, detailed diagrams, and plans complement the case studies, which draw upon interviews with city officials, urban planners, and protesters themselves.

From Keith Haring to Extinction Rebellion, the civil rights movement to Black Lives Matter, what does a revolution look like? Discover the power of words and images in this thought-provoking look at protest art by highly acclaimed artivist De Nichols. From the psychedelic typography used in “Make Love Not War” posters of the '60s to the solitary raised fist, some of the most memorable and striking protest artwork from across the world and throughout history deserves a long, hard look. Readers can explore each piece of art to understand how color, symbolism, technique, and typography play an important role in communication. Guided by activist, lecturer, and speaker De Nichols's powerful narrative and stunningly illustrated by a collaboration of young artists, this volume also has plenty of tips and ideas for creating your own revolutionary designs. This is a fully comprehensive look at the art of protest.

Situated on Broadway between Fourteenth and Seventeenth Streets, Union Square occupies a central place in both the geography and the history of New York City. Though this compact space was originally designed in 1830 to beautify a residential neighborhood and boost property values, by the early days of the Civil War, New Yorkers had transformed Union Square into a gathering place for political debate and protest. As public use of the square changed, so, too, did its design. When Frederick Law Olmsted and Calvert Vaux redesigned the park in the late nineteenth century, they sought to enhance its potential as a space for the orderly expression of public sentiment. A few decades later, anarchists and Communist activists, including Emma Goldman, turned Union Square into a regular gathering place where they would advocate for radical change. In response, a series of city administrations and business groups sought to quash this unruly form of dissidence by remaking the square into a new kind of patriotic space. As Joanna Merwood-Salisbury shows us in Design for the Crowd, the history of Union Square illustrates ongoing debates over the proper organization of urban space—and competing images of the public that uses it. In this sweeping history of an iconic urban square, Merwood-Salisbury gives us a review of American political activism, philosophies of urban design, and the many ways in which a seemingly stable landmark can change through public engagement and design. Published with the support of Furthermore: a program of the J. M. Kaplan Fund.

A second edition of the classic introduction to arts in social movements, fully updated and now including Black Lives Matter, Occupy Wall Street, and new digital and social media forms of cultural resistance The Art of Protest, first published in 2006, was hailed as an “essential” introduction to progressive social movements in the United States and praised for its “fluid writing style” and “well-informed and insightful” contribution (Choice Magazine). Now thoroughly revised and updated, this new edition of T. V. Reed’s acclaimed work offers engaging accounts of ten key progressive movements in postwar America, from the African American struggle for civil rights beginning in the 1950s to Occupy Wall Street and Black Lives Matter in the twenty-first century. Reed focuses on the artistic activities of these movements as a lively way to frame progressive social change and its cultural legacies: civil rights freedom songs, the street drama of the Black Panthers, revolutionary murals of the Chicano movement, poetry in women’s movements, the American Indian Movement’s use of film and video, anti-apartheid rock music, ACT UP’s visual art, digital arts in #Occupy, Black Lives Matter rap videos, and more. Through the kaleidoscopic lens of artistic expression, Reed reveals how activism profoundly shapes popular cultural forms. For students and scholars of social change and those seeking to counter reactionary efforts to turn back the clock on social equality and justice, the new edition of The Art of Protest will be both informative and inspiring.

The history of the last fifty (or 100 or 150) years has been accompanied by a constant flow of statements, of practices, of declarations of dissatisfaction with regard to prevailing conditions. When something is able to reach from the margins of society into its very center - something mostly unorganized and unruly, sometimes violent, rarely controllable - it forges ahead in the form of a protest. This takes place in (real or virtual) spaces and is accomplished by (likewise real or virtual) bodies. The spaces and the bodies to which the protest relates are the spaces of politics and society. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control. From a position of powerlessness, irony, subversion, and provocation are its tools for pricking small but palpable pinholes into the controlling system of rule. This book presents and reflects on present and past forms of protest and looks at marginalized communities? practices of resistance from a wide variety of perspectives.

What do the recent urban resistance tactics around the world have in common? What are the roles of public space in these movements? What are the implications of urban resistance for the remaking of public space in the "age of shrinking democracy"? To what extent do these resistances move from anti- to alter-politics? City Unsilenced brings together a cross-disciplinary group of scholars and scholar-activists to examine the spaces, conditions, and processes in which neoliberal practices have profoundly impacted the everyday social, economic, and political life of citizens and communities around the globe. They explore the commonalities and specificities of urban resistance movements that respond to those impacts. They focus on how such movements make use of and transform the meanings and capacity of public space. They investigate their ramifications in the continued practices of renewing democracies. A broad collection of cases is presented and analyzed, including Movimento Passe Livre (Brazil), Google Bus Blockades San Francisco (USA), the Platform for Mortgage Affected People (PAH) (Spain), the Piqueteros Movement (Argentina), Umbrella Movement (Hong Kong), post-Occupy Gezi Park (Turkey), Sunflower Movement (Taiwan), Occupy Oakland (USA), Syntagma Square (Greece), Researchers for Fair Policing (New York), Urban Movement Congress (Poland), urban activism (Berlin), 1DMX (Mexico), Miyashita Park Tokyo (Japan), 15M Movement (Spain), and Train of Hope and protests against Academic Ball in Vienna (Austria). By better understanding the processes and implications of the recent urban resistances, City Unsilenced contributes to the ongoing debates concerning the role and significance of public space in the practice of lived democracy.

"Presenting case studies from around the world, this book offers the first extensive discussion of the act of protest as a designed event that uses public space to challenge the distance between institutional power"--Publisher's website.

The best examples of the posters, prints and other graphics that have been used for political protest throughout history and right to the present.

Exploring an unjustly overlooked figure in 20th-century British visual culture This book offers a comprehensive overview to the work and legacy of David King (1943-2016), whose fascinating career bridged journalism, graphic design, photography, and collecting. King launched his career at Britain's Sunday Times Magazine in the 1960s, starting as a designer and later branching out into image-led journalism. He developed a particular interest in revolutionary Russia and began amassing a collection of graphic art and photographs--ultimately accumulating around 250,000 images that he shared with news outlets. Throughout his life, King blended political activism with his graphic design work, creating anti-Apartheid and anti-Nazi posters, covers for books on Communist history, album artwork for The Who and Jimi Hendrix, catalogues on Russian art and society for the Museum of Modern Art in Oxford, and typographic covers for the left-wing magazine City Limits. This well-researched and finely illustrated publication ties together King's accomplishments as a visual historian, artist, journalist, and activist.

The Design of Dissent is a global collection of socially and politically driven graphics on issues including Black Lives Matter, Trump protests, refugee crises, and the environment. Dissent is an essential part of keeping democratic societies healthy, and our ability as citizens to voice our opinions is not only our privilege, it is our responsibility. Most importantly, it is a human right, one which must be fervently fought for, protected, and defended. Many of the issues and conflicts visited in the first edition of this book remain vividly present today, as simmering, sometimes throbbing reminders of how the work of democracy and pace of social change is often incremental, requiring patience, diligence, hope, and the continuing brave voices of designers whose skillful imagery emboldens, invigorates, and girds us in the face of struggle. The 160+ new works in this edition document the Arab Spring, the Obama presidency, Occupy Wall Street, Black Lives Matter, the election of Donald Trump, Putin's continuing influence, the Women's March, the ongoing refugee crises, immigration, environment and humanitarian issues, and much more. This powerful collection, totaling well over 550 images, stands not only as a testament to the power of design but as an urgent call to action.