Contains primary source material.

With the international take-up of new technology in the 1990s, designers and typographers reassessed their roles and jettisoned existing rules in an explosion of creativity in graphic design. This book tells that story in detail, defining and illustrating key developments and themes from 1980-2000.

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

In modern Syria, a contested territory at the intersection of differing regimes of political representation, artists ventured to develop strikingly new kinds of painting to link their images to life forces and agitated energies. Examining the works of artists Kahlil Gibran, Adham Ismail, and Fateh al-Moudarres, Beautiful Agitation explores how painters in Syria activated the mutability of form to rethink relationships of figure to ground, outward appearance to inner presence, and self to world. Drawing on archival materials in Syria and beyond, Anneka Lenssen reveals new trajectories of painterly practice in a twentieth century defined by shifting media technologies, moving populations, and the imposition of violently enforced nation-state borders. The result is a study of Arab modernism that foregrounds rather than occludes efforts to agitate against imposed identities and intersubjective relations.

An accessible and richly illustrated exploration of how art and design have driven major social and political change in the 21st century. Visual Impact highlights the extraordinary power of art and graphic design to effect social and political change. Richly illustrated with over 400 images, this is a visual guide to the most influential and highly politicised imagery of the digital age. Organised thematically by global issues and events, Visual Impact's generously illustrated spreads, clearly present and explain the most influential and highly politicised imagery of the twenty-first century. Themes and issues include popular uprisings (the Arab Spring, the London Riots), social activism (marriage equality), and environmental crises (Hurricane Katrina), as well as the recent Je Suis Charlie protests. Showcasing over 200 artists and designers, ranging from internationally renowned names such as Ai Wei Wei and Shepard Fairey to anonymous internet users distributing work across Twitter and Facebook, Visual Impact features exciting graphics from emerging economies such as Brazil, Russia and China, and recent work created in response to the Arab Spring. Complements Phaidon titles Graphic Agitation and Graphic Agitation 2 by providing insight to the art and design shaping today's global political landscape.

The political collages of John Heartfield (1891-1968) have earned him a reputation as one of the most innovative graphic artists of the Weimar Republic. His photomontages and book covers based on collages which had their origins in Berlin's Dada scene were directed against Fascism and made him internationally famous. Their explosive power has lost none of its impact. Heartfield was a sharp and uncompromising observer who subverted the documentary character of the press photograph. He employed his art as political propaganda, and fought against war and Fascism with gripping pictures and trenchant humour. This catalogue will include not only the working materials which reveal Heartfield's method but also his trick films, work for the theatre and book design. The original art-works and documents all derive from his personal estate in Berlin. Statements by contemporary artists formulate positions and pose questions, which Heartfield's work raises in the age of fake news. Exhibition: Akademie der Künste, Berlin, Germany (21.03. - 21.06.2020) / Museum de Fundatie, Zwolle, The Netherlands (27.09.2020 - 03.01.2021) / Royal Academy of Arts, London, UK (27.06. - 26.09.2021).

This engaging book is the first full study of the satirical print in seventeenth-century England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism, and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets, and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions. Published for the Paul Mellon Centre for Studies in British Art

Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture. Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history.

An Analysis Of How emotion functions cooperatively with reason & contributes to a healthy democratic politics.

In the turbulent era of late 1950s Manhattan—with jazz, the burgeoning Civil Rights Movement, and the Red Scare as the volatile ingredients—three groundbreaking black cartoonists defy convention and pay the price. Cliff Murphy is matinee handsome, a light-skinned, straight-haired black man and a comics artist known for his glamour girl art. He’s black uptown and white downtown, and he has an eye for the ladies, and they for him—including his boss’ wife, who knows Cliff’s creation, the Phantom Avenger, is about to be stolen from him. Though Stephaney “Stef” Rawls has her own romance-adventure strip for the largest black newspaper, she still has to work brutal hours as a maid to make ends meet. When she gets a lucrative offer to write and draw a “Negroes must reject agitation” flyer for the FBI, can she pass up the opportunity? Then there’s Oliver “Ollie” Jefferson, a decorated Korean War vet who writes and draws editorial cartoons under the pseudonym Attucks, for the daily Red newspaper The Struggle. But when a cop beats him down while walking his pregnant Korean wife-to-be home one night, Ollie becomes a symbol of oppression and the streets threaten to explode. These three friends will be tested and tried, will work in solidarity, and, just maybe, betray each other, in this explosive graphic novel—with prose by crime fiction author Gary Phillips and images by acclaimed artist-writer Dale Berry.