"Engaging with contemporary debates about the political role of art in an era of total market subsumption, this book shows how artists respond to the challenges of political authoritarianism, police violence, right-wing populism, 'post-truth' discourse, economic inequality, pandemics, and the environmental crisis, transforming the public sphere in new and unexpected ways. It argues that the best way to understand these new critical discourses and practices is through an updated political theory of anarchism - or what we call postanarchism - where the insurrection against power and the politics of singularity are central"--

Engaging with contemporary debates about the political role of art in an era of total market subsumption, this book shows how artists respond to the challenges of political authoritarianism, police violence, right-wing populism, 'post-truth' discourse, economic inequality, pandemics, and the environmental crisis, transforming the public sphere in new and unexpected ways. Going beyond sterile debates about identity politics, diversity and representation that beset the mainstream media, university campuses and other cultural domains, the volume illustrates the ways in which artists are opening up alternative sites of contestation, occupation, and autonomous political thought and action. Newman and Topuzovski examine here the artistic practices of multiple collectives and individuals deeply engaged with social and political activities such as Grupo de Arte Callejero (GAC) and Voina, arguing that the best way to understand these new critical discourses and practices is through an updated political theory of anarchism - or what we call postanarchism - where the insurrection against power and the politics of singularity are central. Featuring, for instance, an examination of significant movements such as Black Lives Matter, as well as its use of artistic tactics such as graffiti, graphic design and movement art, the book launches itself into a vibrant discussion of the extent to which art can produce a multiplicity of practices through the deconstruction of existing legal, political, and cultural identities. By developing an alternative way of exploring the nexus between art and politics through the idea of postanarchism, this book bridges the gap between the two, promoting an understanding of the political role that art can play today and introduces a theory of postanarchism to a non-specialist audience of artists, activists and those generally interested in new sites and directions for radical politics.

Anarchism and Political Modernity looks at the place of “classical anarchism” in the postmodern political discourse, claiming that anarchism presents a vision of political postmodernity. The book seeks to foster a better understanding of why and how anarchism is growing in the present. To do so, it first looks at its origins and history, offering a different view from the two traditions that characterize modern political theory: socialism and liberalism. Such an examination leads to a better understanding of how anarchism connects with newer political trends and why it is a powerful force in contemporary social and political movements. This new volume in the Contemporary Anarchist Studies series offers a novel philosophical engagement with anarchism and contests a number of positions established in postanarchist theory. Its new approach makes a valuable contribution to an established debate about anarchism and political theory. It offers a new perspective on the emerging area of anarchist studies that will be of interest to students and theorists in political theory and anarchist studies.

Recent decades have seen a renewed interest in the phenomenon of abstract art, particularly regarding its ability to speak to the political, social, and cultural conditions of our times. This collection of essays, which looks at historical examples of artistic practice from the early pioneers of abstraction to late modernism, investigates the ambivalent role that abstraction has played in the visual arts and cultures of the last hundred years. In addition, it explores various theoretical and critical narratives that seek to articulate new perspectives on its legacy in the visual arts. From metaphysical considerations and philosophical reflections to debates on interculturality and global perspectives, the contributors examine and reconsider abstraction in the visual arts from a contemporary point of view that acknowledges the many social, economic, cultural, and political aspects of artistic practice. As such, the volume progressively expands the boundaries of thinking about abstract art by engaging it in its increasingly diverse cultural environment.

'Institutional critique' is best known through the critical practice that developed in the late 1960s and early 1970s by artists who presented radical challenges to the museum and gallery system. Since then it has been pushed in new directions by new generations of artists registering and responding to the global transformations of contemporary life. The essays collected in this volume explore this legacy and develop the models of institutional critique in ways that go well beyond the field of art. Interrogating the shifting relations between 'institutions' and 'critique', the contributors to this volume analyze the past and present of institutional critique and propose lines of future development. Engaging with the work of philosophers and political theorists such as Michel Foucault, Judith Butler, Gilles Deleuze, Antonio Negri, Paolo Virno and others, these essays reflect on the mutual enrichments between critical art practices and social movements and elaborate the conditions for politicized critical practice in the twenty-first century.

What shape can radical politics take today in a time abandoned by the great revolutionary projects of the past? In light of recent uprisings around the world against the neoliberal capitalist order, Saul Newman argues that anarchism - or as he calls it postanarchism - forms our contemporary political horizon. In this book, Newman develops an original political theory of postanarchism; a form of anti-authoritarian politics which starts, rather than finishes, with anarchy. He does this by asking four central questions: who are we as subjects; how do we resist; what is our relationship to violence; and, why do we obey? By drawing on a range of heterodox thinkers including La Boétie, Sorel, Benjamin, Stirner and Foucault, the author not only investigates the current conditions for radical political thought and action, but proposes a new form of politics based on what he calls ontological anarchy and the desire for autonomous life. Rather than seeking revolutionary emancipation or political hegemony, we should affirm instead the non-existence of power and the ever-present possibilities of freedom. As the tectonic plates of our time are shifting, revealing the nihilism and emptiness of our political and economic order, postanarchism's disdain for power in all its forms offers us genuine emancipatory potential.

What is the relation of art to the practice of radical politics today? Strike Artexplores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new-if internally fraught-political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other-oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.