Download Voicing Dissent: American Artists and the War on Iraq by Violaine Roussel PDF

By Violaine Roussel

Voicing Dissent provides a unique and unique sequence of interviews with American artists (including Guerrilla ladies on travel, Tony Shalhoub, Shepard Fairey, Sean Astin, and so on) who've voiced their competition to the struggle in Iraq. Following Pierre Bourdieu's instance, those discussions are approached sociologically and supply an intensive research of the relationships among arts and politics in addition to the limits and conditions of political speech and motion. those painters and photo artists, musicians, actors, playwrights, theatre administrators and filmmakers exhibit their perceptions of politics, conflict, defense and terrorism concerns, the center East, their reviews with activism, in addition to their definition of the artist's function and their perform of citizenship. Addressing the crucial questions for modern democracies - akin to artists' functionality in society, the drawback of political legitimacy and illustration, the increase of recent modes of contestation, and the boundaries to loose public speech - this booklet might be of curiosity to students in sociology, politics, and the humanities.

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Extra info for Voicing Dissent: American Artists and the War on Iraq (Routledge Studies in Law, Society and Popular Culture)

Sample text

Reproduced by kind permission of the artist. 14 His parents’ constant efforts appeared to him as oriented toward the defense of workers and their education, valuing the arts and museums as tools for emancipation. ”15 This early socialization to activism led to the naturalization of a very politicized representation of the world (and one sensitive to social inequalities), on one hand, and to some practical learning regarding the modalities of organized action, on the other hand (which probably helped to shape his “street art strategy” later on).

Against the stereotype, it takes more than the rebellion through graffiti of a kid from a poor suburb to become a leading figure of activist art. The connections he built with the entertainment industry, in which the recourse to legal counselors and lawyers has become routinized, allowed him to build, over time, a protective environment, securing his street art practice as much as possible from the risks of being arrested and brought to court. 17 Although publicizing one’s arrest during an activist initiative may be an efficient strategy to attract the media attention and make a cause visible,18 Conal has chosen another option: he tends to play on legal limits, pushing them to the extreme and exploiting their potential contradictions (using the constitutional amendments and the rule of free speech against ordinary laws), without going to the point where he would have to remain in jail, or even go on trial.

What Robbie Conal negatively pointed to as the “monetization” of postering and graffiti. By contrast, his relation to activism, politicization and social critique is also much more sophisticated, grounded in theoretical references and academic sources (he quoted Marx, and Marcuse who had become one of his father’s friends), much more intellectualized and backed up by the authority of science. A. system of “popular culture” to form there his “power base” is also only understandable if one keeps in mind the particular resources that Robbie Conal accumulated early on.

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