Admired by Charles and Ray Eames, Buckminster Fuller and Saul Bass, Sister Corita Kent (1918–1986) was one of the most innovative and unusual pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and encouraging the creativity of thousands of people – all while living and practising as a Catholic nun in California. Mixing advertising slogans and poetry in her prints and commandeering nuns and students to help make ambitious installations, processions and banners, Sister Corita's work is now recognized as some of the most striking – and joyful – American art of the 60s. But, at the end of the decade and at the height of her fame and prodigious work rate, she left the convent where she had spent her adult life. Julie Ault's book is the first to examine Corita's life and career, containing more than 90 illustrations, many reproduced for the first time, capturing the artist's use of vibrant and day-glo colours.

In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile, examining what it means to be an immigrant artist from a country in crisis. Inspired by Albert Camus' lecture, "Create Dangerously," and combining memoir and essay, Danticat tells the stories of artists, including herself, who create despite, or because of, the horrors that drove them from their homelands and that continue to haunt them. Create Dangerously is an eloquent and moving expression of Danticat's belief that immigrant artists are obliged to bear witness when their countries of origin are suffering from violence, oppression, poverty, and tragedy.

What is the function of art in the era of digital globalisation? In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production

In these newly collected essays, interviews and speeches, world-renowned activist and scholar Angela Y. Davis illuminates the connections between struggles against state violence and oppression throughout history and around the world. Reflecting on the importance of black feminism, intersectionality and prison abolitionism for today's struggles, Davis discusses the legacies of previous liberation struggles, from the Black Freedom Movement to the South African anti-Apartheid movement. She highlights connections and analyses today's struggles against state terror, from Ferguson to Palestine. Facing a world of outrageous injustice, Davis challenges us to imagine and build the movement for human liberation. And in doing so, she reminds us that 'Freedom is a constant struggle.'

‘Intellectual Intifada’ traces the steps of the Prophetic model for the establishment of just governance—stepping round the misconceptions and misrepresentations of Islam, laying bare the collective responsibility of each believer to bring the Caliphate into being. Far from becoming an autocratic tyranny, Rashid shows that a concerted attempt—under the guidance of ijtihād and the ahl al-ḥall wa al-ʿaqd—to eliminate the unjust taxes, the punishment by inflation through usurious banking mechanisms, and the wastefulness of warmongering military budgets, may produce something close to the perfect example of society as established in Madinah. The intelligent way to change the disastrous state of affairs, or affairs of the state—Rashid never shies from calling a spade a spade—is to change oneself. To shake off the shackles of the monocultural consumer slavery that binds us requires—not in violent reaction—but an acute grasp of how things are.

Throughout history, artists and citizens have turned to protest art as a means of demonstrating social and political discontent. From the earliest broadsheets in the 1500s to engravings, photolithographs, prints, posters, murals, graffiti, and political cartoons, these endlessly inventive graphic forms have symbolized and spurred on power struggles, rebellions, spirited causes, and calls to arms. Spanning continents and centuries, Protest! presents a major new chronological look at protest graphics. From the French, Mexican, and Sandinista revolutions to the American civil rights movement, nuclear disarmament, and the Women’s March of 2017, Protest! documents the integral role of the visual arts in passionate efforts for change.

We Rise: Voice and Survivorship began as a series of workshops led by vocal practitioner Marged Siôn in collaboration with We Rise Hub in the London Borough of Barking and Dagenham.

The project explores the possibilities of Voice as an embodiment practice to support women and non-binary people, who have experienced or are experiencing domestic abuse and gender-based violence. Through different exercises, we connected with our breath, resonance, body alignment, and imagination, as resources for vocal liberation.

Below are some of the questions that emerged from the project:

- How do we speak from our hearts?
- When is telling our stories healing and transformative?And when is it re-traumatising? And how can we create capacity within ourselves to know the difference?
- How can voicing and sounding together enable us to find strength in collectivity?
- How can working with the voice lead to personal and social transformation?

Following a two year collaborative process, we decided to create a free resource to share our experiences and exercises with other survivors, organisers, and practitioners, who are working towards futures free from intimate, interpersonal and state violence.

We Rise resource image:
We Rise: Voice and Survivorship resource. Commissioned by Serpentine Civic in collaboration with We Rise Domestic Abuse Hub. Photo: Matthew Ritson