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9780982879832 0982879830 In 1968, Chicago made headlines for the ferocity of its police response to protesters at the Democratic National Convention, prompting outrage in the art world. Some artists pulled their shows from the city and called for a boycott until the mayor left office. But others responded artistically, creating new works and even full exhibitions in reaction to the political and social issues raised by the summer's events. Despite the city's sometimes notorious political and social history, art practices that challenge authority have thrived in Chicago. "Art Against the Law" examines the creative tactics of the city's activist artists and their ways of addressing the broad definitions of the law--from responses to excessive policing to inequities in public policy. These include creative forms of protest, rebellion against the law through illegal art practices, and using the political system itself as an art medium to alter existing laws. The essays and conversations in this volume also address the boundaries between art and creative activism and question whether lines should be drawn at all. Through these texts and interviews, "Art Against the Law "proves that creative imagination can be formidable in challenging the status quo. "Art Against the Law" is part of the new Chicago Social Practice History series, edited by Mary Jane Jacob and Kate Zeller in the Department of Exhibitions and Exhibition Studies at the School of the Art Institute of Chicago (SAIC)., In 1968, Chicago, already known for its machine politics, became notorious for the ferocity of its police response to protesters at the Democratic National Convention, prompting artists from the east and west coasts to boycott the city. But despite, or perhaps because of, the city's reputation for extreme policing, art practices that challenge authority have thrived in Chicago. This volume examines how Chicago's activist artists have developed creative tactics to address "the law," broadly defined--whether it's excessive policing, the prison industrial complex, or inequities in public policy. These practices encompass open and surreptitious rebellion against the law (art practices that are actually illegal); art that attempts to change existing laws or their application or interpretation, and uses the political system as its medium; protest tactics that take creative inspiration from art in addressing the law in the broadest sense (the state and its agents); and art that addresses judicial structures (prisons, torture, surveillance, and the War on Terror). Some of these practices have come to be classed with "social practice," as that term has gained currency in the art world. Others have inspired social practice projects or look a lot like them once we abandon some of the arbitrary boundaries that separate art from creative activism. All of them imaginatively embed themselves within social life, expressing a vision of a better society and suggesting some ways to achieve it. This title is part of the Chicago Social Practice History Series, 2014.
9780982879832 0982879830 In 1968, Chicago made headlines for the ferocity of its police response to protesters at the Democratic National Convention, prompting outrage in the art world. Some artists pulled their shows from the city and called for a boycott until the mayor left office. But others responded artistically, creating new works and even full exhibitions in reaction to the political and social issues raised by the summer's events. Despite the city's sometimes notorious political and social history, art practices that challenge authority have thrived in Chicago. "Art Against the Law" examines the creative tactics of the city's activist artists and their ways of addressing the broad definitions of the law--from responses to excessive policing to inequities in public policy. These include creative forms of protest, rebellion against the law through illegal art practices, and using the political system itself as an art medium to alter existing laws. The essays and conversations in this volume also address the boundaries between art and creative activism and question whether lines should be drawn at all. Through these texts and interviews, "Art Against the Law "proves that creative imagination can be formidable in challenging the status quo. "Art Against the Law" is part of the new Chicago Social Practice History series, edited by Mary Jane Jacob and Kate Zeller in the Department of Exhibitions and Exhibition Studies at the School of the Art Institute of Chicago (SAIC)., In 1968, Chicago, already known for its machine politics, became notorious for the ferocity of its police response to protesters at the Democratic National Convention, prompting artists from the east and west coasts to boycott the city. But despite, or perhaps because of, the city's reputation for extreme policing, art practices that challenge authority have thrived in Chicago. This volume examines how Chicago's activist artists have developed creative tactics to address "the law," broadly defined--whether it's excessive policing, the prison industrial complex, or inequities in public policy. These practices encompass open and surreptitious rebellion against the law (art practices that are actually illegal); art that attempts to change existing laws or their application or interpretation, and uses the political system as its medium; protest tactics that take creative inspiration from art in addressing the law in the broadest sense (the state and its agents); and art that addresses judicial structures (prisons, torture, surveillance, and the War on Terror). Some of these practices have come to be classed with "social practice," as that term has gained currency in the art world. Others have inspired social practice projects or look a lot like them once we abandon some of the arbitrary boundaries that separate art from creative activism. All of them imaginatively embed themselves within social life, expressing a vision of a better society and suggesting some ways to achieve it. This title is part of the Chicago Social Practice History Series, 2014.