| Zapantera Negra: An Artistic Encounter Between Black Panthers and Zapatistas Contributor(s): Léger, Marc James (Editor), Tomas, David (Editor), Douglas, Emory (With) |
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ISBN: 1942173059 ISBN-13: 9781942173052 Publisher: Common Notions OUR PRICE: $18.00 Product Type: Paperback Published: March 2017 |
| Additional Information |
| BISAC Categories: - Political Science | Political Ideologies - Radicalism - Art | Art & Politics - History | African American |
| Dewey: 322.420 |
| Physical Information: 0.5" H x 5.4" W x 8.5" (0.60 lbs) 240 pages |
| Themes: - Ethnic Orientation - African American - Cultural Region - Mexican - Ethnic Orientation - Native American |
| Descriptions, Reviews, Etc. |
| Publisher Description: What is the role of revolutionary art in times of distress? When Emory Douglas, former Minister of Culture of the Black Panther Party, accepted an invitation from the art collective EDELO and the Rigo 23 to meet with autonomous Indigenous and Zapatista communities in Chiapas, Mexico, they addressed just this question. Zapantera Negra is the result of their encounter. It unites the bold aesthetics, revolutionary dreams, and dignified declarations of two leading movements that redefine emancipatory politics in the twentieth and twenty-first century. The artists of the Black Panthers and the Zapatistas were born into a centuries-long struggle against racial capitalism and colonialism, state repression and international war and plunder. Not only did these two movements offer the world an enduring image of freedom and dignified rebellion, they did so with rebellious style, putting culture and aesthetics at the forefront of political life. A powerful elixir of hope and determination, Zapantera Negra provides a galvanizing presentation of interviews, militant artwork, and original documents from these two movements' struggle for dignity and liberation. |
Contributor Bio(s): Tomas, David: - David Tomas is an artist, anthropologist, and writer. His production in the visual arts has its roots in a post-1970s critique of conceptual art's disciplinary infrastructure. For the last forty years, Tomas' work has explored the nature and functions of different forms of knowledge that are produced at the interface of the history of contemporary art, the history and the anthropology of media and the cultures and transcultures of imaging technologies. Both in visual work and his writings Tomas has conducted this exploration within a framework in which art is considered to be a discipline that operates in tension with the other disciplines that constitute the university's knowledge matrix. He has exhibited in Canada, the US, and Europe and has held visiting research and fellowship positions at the California Institute of the Arts, Goldsmiths College, and the National Gallery of Canada. He is the author of several books, including Transcultural Space and Transcultural Beings (1996), A Blinding Flash of Light: Photography Between Disciplines and Media (2004), Beyond the Image Machine: A History of Visual Technologies (2004), and more recently, Escape Velocity: Alternative Instruction Prototype for Playing the Knowledge Game (2012) and Vertov, Snow, Farocki: Machine Vision and the Posthuman (2013). Tomas is Professor in Visual Arts at the Universite du Quebec a Montreal. |