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Activism is a critical point of contention for institutions and genealogies of contemporary art around the world. Yet artists have consistently engaged in activist discourse, lending their skills to social movements, and regularly participating in civil and social rights campaigns while also boycotting cultural institutions and exerting significant pressure on them. This timely volume, edited by Tom Snow and Afonso Ramos, addresses an extraordinary moment in debates over the institutional frameworks and networks of art including large-scale direct actions, as well as a radical rethinking of art venues and urban spaces according to racial, class, or gender-based disparities, including demonstrations against the extractive and exploitative practices of neoliberal accumulation and climate catastrophe. From ACT UP and its affiliate groups since the dawn of the AIDS crisis to the counter-spectacle and street theatrics of the so-called Arab Spring and Occupy, to ongoing protest movements such as Black Lives Matter, Rhodes Must Fall, and Decolonize This Place, activist aesthetics has proven increasingly difficult to define under traditional classifications. Resurgent campaigns for decolonial reckoning, ecological justice, gender equality, indigenous rights and antiracist pedagogies indicate that the role of activism in contemporary art practice urges a critical reassessment. One pressing question is whether contemporary art's most radical politics now takes place outside, against, or in spite of, conventional sites of display such as museums, biennials, and galleries

In this work, brand activism is defined as a strategy that seeks to influence citizen-consumers by means of campaigns created and sustained by political values. It involves a transformation in corporate communication management and social responsibility practices, which borrows from those of social movements to contribute to the social production of identity of citizen-consumers. This corporate political shift involves the use of messages, slogans and content based on final (of common interest) or instrumental (linked to the industry in which they are applied) political values. Political behaviour does not operate in a vacuum but is the response to a change in values of the young generations employing digital technologies and demanding a different behaviour from global firms. However, these political advertising practices have been heavily criticised in the field of political economy, insofar as it is contended that they are impostures lacking authenticity. Thus, 45 campaigns were analysed to determine the characteristics of brand activism in this new socio-political context. From the results it follows that this activist practice, of Anglo-Saxon origin, is a relevant trend in political communication because it aligns individual identity, the management of public assets and corporate action in the political sphere.

"Presents a form of activism based on kindness and a response to cruelty, violence, and injustice. Elaborates on Love Activism through a description of its eight elements: service, empathy, non-violence, self-care, hope, creativity, feminism, and mindfulness. Includes interviews with ten activists throughout the United States who are involved in various types of activism in their communities"--

"While Colin Kaepernick's 2016 protests reignited the debate surrounding athletes and political activism, the relationship between the two is a longstanding tradition. The athletic field has long been a site for protests against racism, hosting key events in the fight for equality, such as legendary African American baseball player Jackie Robinson's 1947 induction into the MLB. Recent protests have expanded to issues like sexism, LGBT rights, and immigration, and have made use of social media and other modern developments. This volume examines the controversies surrounding athlete activism as well as its place in history and contemporary politics"--

Introduction -- The Jordanian regime -- Becoming an activist -- The student experience -- Activism, a way of life -- Repression and dissidence -- Professional activism as an alternative -- New forms of mobilization -- Disillusioned Islamists -- Conclusion.

Models -- Why it takes a whole social movement to raise an issue -- Public communication models -- Communication activism for social change -- Practices -- Learning communities as movement safe spaces -- From organizing strategy to communication strategy -- Framing stories -- Sustaining communication activism -- Continuous inquiry : learning from experience -- Learning through research collaborations -- Sustaining communication activism : lessons & unresolved challenges -- Appendix -- Strategic communication practices -- Communication assessment tool -- Strategic communication planning worksheet -- Message development worksheet.

Only a decade ago, the notion that museums, galleries and heritage organisations might engage in activist practice, with explicit intent to act upon inequalities, injustices and environmental crises, was met with scepticism and often derision. Seeking to purposefully bring about social change was viewed by many within and beyond the museum community as inappropriately political and antithetical to fundamental professional values. Today, although the idea remains controversial, the way we think about the roles and responsibilities of museums as knowledge based, social institutions is changing. Museum Activism examines the increasing significance of this activist trend in thinking and practice. At this crucial time in the evolution of museum thinking and practice, this ground-breaking volume brings together more than fifty contributors working across six continents to explore, analyse and critically reflect upon the museum's relationship to activism. Including contributions from practitioners, artists, activists and researchers, this wide-ranging examination of new and divergent expressions of the inherent power of museums as forces for good, and as activists in civil society, aims to encourage further experimentation and enrich the debate in this nascent and uncertain field of museum practice. Museum Activism elucidates the largely untapped potential for museums as key intellectual and civic resources to address inequalities, injustice and environmental challenges. This makes the book essential reading for scholars and students of museum and heritage studies, gallery studies, arts and heritage management, and politics. It will be a source of inspiration to museum practitioners and museum leaders around the globe.

This article analyzes the interaction between the digital (online) and physical (offline) activism of Front Harsien ODZ, a Maltese environmental movement organization. It looks into how Front activists perceive these forms of activism and verifies how important each form is to the organization. Consequently, the research presented herein is operationalized through interviews with Front activists and through participant observation from an insider's point of view. This article concludes that activists within Front Harsien ODZ feel that they are part of a social network. The organization's recruitment, mobilization and activism techniques are at once digital and physical. Most Front activists were already part of preexisting social networks before joining the Front, and the new Front network made good use of Malta's political opportunity structures, including the Zonqor controversy; Malta's small size; and the country's vibrant media landscape. ; peer-reviewed