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  • Acknowledgments vii

    Ongoing Negotiations: Afterimage and the Analysts of Activist Art / Grant H. Kester 1

    The Politics of Patronage

    Enlightened Self-Interest: The Avant-Garde in the '80s / Richard Bolton 23

    White Men Can't Program: The Contradictions of Multiculturalism / Darrell Moore 51

    Fantasies of Oppositionality / Coco Fusco 60

    The Mythology of Difference: Vulgar Identity Politics at the Whitney / Charles A. Wright Jr. 76

    Theses on Defunding / Martha Rosler 94

    Rhetorical Questions: The Alternative Arts Sector and the Imaginary Public / Grant H. Kester 103

    Whose Multiculturalism? PBS, the Public, and Privilege / Mable Haddock and Chiquita Mullins Lee 136

    Video Activism and Critical Pedagogy: Sexuality at the End of the Rainbow Curriculum / Brian Goldfarb 148

    Activism and Oppositionality

    Cultural Struggle and Educational Activism / David Trend 169

    Video, AIDS, and Activism / Ann Cvetkovich 182

    Early Newsreel: The Construction of a Political Imaginary for the Left / Michael Renov 199

    Interview with Adrian Piper / Maurice Berger 215

    Video and Electoral Appeal / Patricia Thomson 232

    Fetal Tissue: Reproductive Rights and Activist Video / Patricia R. Zimmerman 248

    Olympia's Maid: Reclaiming Black Female Subjectivity / Lorraine O'Grady 268

    Fault Lines: Homophobic Innovation in Gay Rights, Special Rights / Ioannis Mookas 287

    Contributors 305

    Index 307
  • Grant H. Kester

    Richard Bolton

    Darrell Moore

    Coco Fusco

    Charles A. Wright

    Martha Rosler

    Mable Haddock

    Brian Goldfarb

    David Trend

    Ann Cvetkovich

    Michael Renov

    Maurice Berger

    Patricia Thomson

    Patricia Zimmermann

    Ionnais Mookas

    Chiquita Mullins Lee

  • “This collection is a real testimonial to the intelligence of the editing of Afterimage, a journal that has showcased throughtful critics and commentators for years.” — Patricia Aufderheide, American University

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  • Description

    There is a common perception in the arts today that overtly activist artæoften seen to sacrifice an aesthetic pleasure for a subversive oneæis no longer in fashion. In bringing together sixteen of the most important essays on activist and community-based art from the pages of Afterimageæone of the most influential journals in the media and visual arts fields for more than twenty-five yearsæGrant H. Kester demonstrates that activist art, far from being antithetical to the true meaning of the aesthetic, can be its most legitimate expression.

    Forging a style of criticism where aesthetic, critical, theoretical, and activist concerns converge, Afterimage has shaped American debates around the politics of visual production and arts education while offering a voice to politically involved artists and scholars. Art, Activism, and Oppositionality insists not only on the continuing relevance of an activist stance to contemporary art practice and criticism, but also on the significance of an engaged art practice that is aligned with social or political activism. With essays that span fifteen yearsæroughly from Ronald Reagan’s 1980 presidential win to the 1994 Republican victories in Congress, a period marked by waning public support for the arts and growing antagonism toward activist art æArt, Activism, and Oppositionality confronts issues ranging from arts patronage, pedagogy, and the very definitions of art and activism to struggles involving AIDS, reproductive rights, sexuality, and racial identity.

    Art, Activism, and Oppositionality will interest students and scholars of contemporary art history, media studies, cultural studies, and the fine arts, as well as, arts activists, critics, and arts administrators.

    Contributors. Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H. Kester, Ioannis Mookas, Chiquita Mullins Lee, Darrell Moore, Lorraine O’Grady, Michael Renov, Martha Rosler, Patricia Thomson, David Trend, Charles A. Wright Jr., Patricia R. Zimmerman

    About The Author(s)

    Grant H. Kester is Assistant Professor of Art History at Washington State University and was the editor of Afterimage from 1990 to 1995.

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