Table of Contents

LIST OF ILLUSTRATIONS
LIST OF CONTRIBUTORS
ACKNOWLEDGEMENTS

INTRODUCTION TO THE ANTHOLOGY, Darcy White and Stephanie Hartle (Sheffield Hallam University, UK)

PART ONE: THE POLITICS OF PERFORMANCE: ACTING/ RE-ENACTING AND ALTERNATIVE HISTORIES

1. Making Sense and Claiming a Presence: the Social Semiotics of Visual Activism, Eve Kalyva (University of Kent, UK)

2. A Total Performance: Invisibility, Respectability and Resistance in Corporate Capitalism, Jill Gibbon (Leeds Beckett University, UK)

3. By a Thread: the Space Left to Activism when Fashion Deals with the Refugee ‘crisis’, Elsa Gomis (University of East Anglia, UK)

4. Digging up the Left-Wing Corpse? Visual Activism and Melancholia in Jeremy Deller’s The Battle of Orgreave, Stephanie Hartle (Sheffield Hallam University, UK)

5. Imperialism, Empathy and Healing in Rajkamal Kahlon’s Artistic Activism, Margaret Tali (Estonian Academy of Arts)

6. Shooting Back / Speaking Forward: Decolonial Strategies in the work of Sasha Huber, Temi Odumosu (Malmö University, Sweden) and Sasha Huber (Independent Researcher, Finland)

PART TWO: PLACES OF PROTEST: PUBLIC SPACE AND CITIZENSHIP

7. Visible Speechlessness: A Critical Approach to Image Acts of Lip Sewing, Ana Lena Werner (Independent Scholar, Germany) and Amelie Ochs (University of Bremen, Germany)

8. ‘Ripples in water’. Minor Episodes of Feminist Visual Activism by Three Women Artists in the PRC (2007–2015), Monica Merlin (Virginia Commonwealth University School of the Arts in Qatar)

9. ‘America is Black, Indigenous, and Muslim’: Tatyana Fazlalizadeh’s Public Challenges to White Nationalism, Stefanie Snider (Kendall College of Art and Design in Grand Rapids, Michigan, USA)

10. Farida Batool: A Pakistani Visual Activist, Amina Ejaz (National College of Arts, Pakistan)

11. Jason deCaires Taylor’s Submerged Sculptures and the Iconography of Slow Violence, Karen Stock (Winthrop University, USA)

12. Keeping the Peace: the Visual in the ‘struggle’ of Nonviolent Activism in a Global Existential Crisis, Darcy White (Sheffield Hallam University, UK)

PART THREE: CONNECTIVITY ONLINE: DIGITAL ACTIVISM AND THE NETWORKED IMAGE

13. Montage and Vernacular Spectatorship: the Role Played by YouTube Channel AnarChnowa as a Tool of Visual Activism in Post-14 January 2011 Tunisia, Mariana Liosi (The Free Fine Arts Academy in Rimini, Italy)

14. Sociality, Appearance, and Surveillance in Digital Political Activism, Stefka Hristova (Michigan Technological University, USA)

15. Rendering the Invisible Visible: Menstrual Activism in Contemporary India, Sugandha Sehgal (University of Delhi, India)

16. Unruly Images: The Activist Visuality of Glitches and Disabilities on Instagram, Vendela Grundell Gachoud (Stockholm University, Sweden)

INDEX

Promotional Information

Global case studies in 21st-century visual activism.

About the Author

Stephanie Hartle is Senior Lecturer in Media Arts at Sheffield Hallam University, UK.

Darcy White is Principal Lecturer in Visual Culture at Sheffield Hallam University, UK.

Reviews

With its 16 chapters, this exciting volume introduces readers to a fresh series of contemporary visual practices and, importantly, a valuable range of perspectives that invite us to reflect on what visual activism is, and what it can achieve at a time of multiple crises.
An insightful contribution to understanding visual politics in the 21st century.
*Paula Serafini, Queen Mary University of London, UK*

A valuable contribution to the urgent ongoing debates about the contradictions and paradoxes stemming from activism in the field of visual culture, and art in the field of socio-political action. The book offers some newly-produced critical and theoretical discourses in the context of socially-engaged art that can inform artists, critics, curators, scholars, and activists who are invested in endorsing art as an important and potent social medium.
*Suzana Milevska, Independent Curator, Researcher and Art Theorist, North Macedonia/Austria*