This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.
Crowds, Community and Contagion in Contemporary Britain presents the COVID-19 pandemic as an opportunity to re-assess the neoliberal politics, xenophobia and racism that have undermined community cohesion in the United Kingdom since 1979, and which have continued largely unchecked through the last four decades. Guided by three interconnected ideas used throughout to scrutinise the meaning of culture as a way of life – Welsh cultural theorist Raymond Williams’ structure of feeling, Jamaican-British sociologist Stuart Hall’s conception of the conjuncture and Belgian political philosopher Chantal Mouffe’s agonistic pluralism – Sarah Lowndes finds that a renewed sense of mutual regard and collective responsibility are necessary to meet the unprecedented challenges of the COVID-19 pandemic. She begins by reflecting on public gatherings in Britain from 1945 to 2019, moving on to analyse five key examples of public gatherings affected by the pandemic in 2020 onwards: Chinese New Year, the UEFA Champions League Final, VE Day street parties, Black Lives Matter demonstrations, and the cancellation of Eid ul-Adha celebrations. A thorough examination of how ideas proliferate and spread through our society, public sphere and collective consciousness, this book will appeal to scholars and upper-level students of cultural studies, cultural history, sociology and politics.
Since the 1990s, performative art has been increasingly accepted into the cultural mainstream, becoming a familiar and popular feature of art galleries and museums, as shown by the Tate Modern's recent 'Collecting the Performative' project. As art historian Roselee Goldberg notes, 'The term "performative", used to describe the unmediated engagement of viewer and performer in art, has also crossed over into architecture, semiotics, anthropology and gender studies. 'But what is performative art? What about its radical origins? How does it remain politically engaged? Writer, curator and lecturer at the Glasgow School of Art, Sarah Lowndes, takes us through the world of performative art, using five case studies spanning from the 1960s to the present day. A series of essays and conversations, All Art is Political explores the work of artist-musicians Mayo Thompson and Keith Rowe, Berlin-based artist Thea Djordjadze, Glasgowbased Turner Prize winner Richard Wright, American conceptual artist Susan Hiller and German-Swiss artist and writer Dieter Roth. What is a literature sausage? How do you transform reading coffee grinds into contemporary art? How do you incorporate live radio broadcasts into a musical performance? What does it mean to draw attention to the marks accidentally left behind by previous uses of the exhibition space? How do you bring out the latent brutality of Punch and Judy shows? For the answers to these questions and many more, indulge in the pages of All Art is Political. REVIEWS An interesting and insightful collection of thoughts about the urgency of vision, how audiences work together with artists to enact the bodily labour of seeing and understanding, and how politics and the performative can be embedded in the material presence of art. Dr FIONA BRADLEY, DIRECTOR, FRUITMARKET GALLERY In her observant close readings of artists' practices and interviews with artists, Sarah Lowndes shows how artists themselves have navigated this territory, giving attention to the question of politics from the perspective both of theory and of the artwork itself. MELISSA GRONLUND, EDITOR, AFTERALL
This book reflects on the motivations of creative practitioners who have moved out of cities from the mid-1960s onwards to establish creative homesteads. The book focuses on desert exile painter Agnes Martin, radical filmmaker and gardener Derek Jarman, and iconoclastic conceptual artist Chris Burden, detailing their connections to the cities they had left behind (New York, London, Los Angeles). Sarah Lowndes also examines how the rise of digital technologies has made it more possible for artists to live and work outside the major art centers, especially given the rising cost of living in London, Berlin, and New York, focusing on three peripheral creative centers: the seaside town of Hastings, England, the midsized metro of Leipzig, Germany, and post-industrial Detroit, USA.
Appointed by President Ronald Reagan in 1981, Sandra Day O�Connor was the first woman to be appointed to the Supreme Court. This book celebrates the pioneering force Ms. O'Connor had during her service in the Supreme Court between 1981 - 2006. In 2009, her accomplishments were honored when President Obama presented her with the Presidential Medal of Freedom. A native Texan, Ms. O'Connor is considered to be a tough moderate conservative. This book examines all aspects of Sandra Day O�Connor's life including her childhood, education, and early influences. A timeline of events is included along with a glossary of terms which defines history-specific terms. This bright and engaging volume includes primary source photos, quote and excerpts which round out his must-have book about this highly important and worldly individual.
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