In a time of continual anxiety over climate change, political unrest, and an ongoing global health crisis, this well-considered collection reminds us of the power of political action through public art and the importance of socially engaged practice to challenge societal differences and discords. Through historical perspectives, case studies, and engaging critical analysis, this anthology serves as both a site of reflection and an inspiration of future activist art actions.
Professor Cameron Cartiere, Emily Carr University, Canada
Martin Zebracki and Z. Zane McNeills Politics as Public Art makes a valuable contribution to the emerging literature on socially engaged art. It is notable for establishing a productive linkage between the concept of a "choreopolitics," developed by André Lepecki, and the aesthetics of engaged art practice and social movements more broadly. Equally importantly, the contributors outline a series of key dialogical interfaces, between the disciplines of art history, performance studies, and social movement studies, which will do much to enrich ongoing debates in the field. Crucially, the essays foreground the essential role played by the performative and the somatic in engaged art practices which seek to understand the body as both a "signifying agent" and a matrix of social and political resistance.
Professor Grant Kester, University of California, San Diego, US
This is a terrific set of analyses probing the aesthetics and politics of contemporary protests. Drawing on voices from diverse locations and perspectives, including artists, curators, and scholars, this anthology lends new weight to the argument that confronting injustice requires people to choreograph multiple creative practices of synergetic collaboration.
Distinguished Professor Susan Leigh Foster, University of California, Los Angeles, US
This book is a pleasure. It makes new global claims about activism and public space. It shows the reader how life and freedom are made and destroyed by the capacities of bodies. This collective enacts how politics regulates bodies and how bodies perform alterity through radical art making. Every contribution honors public art in the service of public interest and reminds us that to do so is our birthright.
Professor Emeritus D. Soyini Madison, Northwestern University, US
