Protest! : a history of social and political protest graphics / Liz McQuiston.
By: McQuiston, Liz [author.]
Publisher: London : White Lion Publishing, 2019Description: 288 pages : illustrations ; 29 cmContent type: text | still image Media type: unmediated Carrier type: volume001: 43938ISBN: 9780711241299 (hbk.) :Subject(s): Political art | Protest movements | Political posters | Art and DesignDDC classification: 701.03 MCQ LOC classification: N8236.P5Summary: Social discontent and political protest have been expressed visually as well as verbally throughout the ages. Graffiti scribbles on a wall, pictures scattered in the street during marches, posters spread through the environment: all have played their part. For such agitational images represent a power struggle; a rebellion against an established order and a call to arms, or a passionate cry of concern for a cause. This book begins in the 16th century with the Reformation, when images could be produced in multiples. It then travels through decades and centuries of graphics: protesting against the miseries of war; satirising the foibles of royalty, politicians, religions, and society in general; calling for an end to racial discrimination and apartheid; demanding freedom from tyranny and dictatorships; struggling for LGBTQ+ rights; and, finally, attending to 21st-century concerns and Trumpisms.
| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|---|
| Book | MAIN LIBRARY Book | 701.03 MCQ (Browse shelf(Opens below)) | 1 | Checked out | 19/05/2023 | 113635 | ||
| Book | MAIN LIBRARY Book | 701.03 MCQ (Browse shelf(Opens below)) | 2 | Available | 113636 |
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Enhanced descriptions from Syndetics:
The best examples of the posters, prints and other graphics that have been used for political protest throughout history and right to the present.
Social discontent and political protest have been expressed visually as well as verbally throughout the ages. Graffiti scribbles on a wall, pictures scattered in the street during marches, posters spread through the environment: all have played their part. For such agitational images represent a power struggle; a rebellion against an established order and a call to arms, or a passionate cry of concern for a cause. This book begins in the 16th century with the Reformation, when images could be produced in multiples. It then travels through decades and centuries of graphics: protesting against the miseries of war; satirising the foibles of royalty, politicians, religions, and society in general; calling for an end to racial discrimination and apartheid; demanding freedom from tyranny and dictatorships; struggling for LGBTQ+ rights; and, finally, attending to 21st-century concerns and Trumpisms.
Reviews provided by Syndetics
Library Journal Review
In contrast, London-based arts writer Rippon leans on Amnesty International's large archive while thematically tracing different strands of dissent such as racism, feminism, war, labor, and the environment. Narrower in scope but similarly dense with images and fascinating context, it's a testament to how vast an artistic universe these authors had to select from that there's hardly any overlap between the two books. Nice also to see Amnesty's more organic accrual of protest art, although nothing predates 1904 here. In common are iconographic tropes such as raised fists and the superimposition of innocence on horror ("War Is Not Healthy for Children and Other Living Things"), observable over the years through diverse media and heterodox politics. Both titles are loaded with intensity and immediacy, guaranteed to inspire and agitate. McQuiston offers the grander view and deeper history, although Rippon provides a valuable supplement. VERDICT Stirring reminders, for the meme-fatigued, of the rich visual legacy of protest.--Douglas F. Smith, Oakland P.L.CHOICE Review
Graphic works that protest established political, economic, and other values have a long history. That history is beautifully brought to light in McQuiston's lavishly illustrated book. Protest! makes excellent use of the full-color large-format pages. This reviewer is unaware of another resource on the subject that combines depth of scholarship, care of reproduction, and extended timeline as this volume does. Starting with Martin Luther's Ninety-Five Theses (1517), picking up steam with the pamphleteers of the French Revolution, and coursing right through the tumultuous 1960s to the present day, McQuiston (a graphic artist and independent scholar) reminds the reader that protest is a graphic tradition that has always existed alongside the mainstream information channels. This is an invaluable resource for those in the social sciences as well for students and scholars of the graphic arts. Summing Up: Essential. All readers. --Steven Skaggs, University of LouisvilleThere are no comments on this title.