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About the author
Betti-Sue Hertz became Director and Chief Curator at Columbia University’s Wallach Art Gallery in 2019. Her curatorial and scholarly work focuses on the intersection of critical visual culture, transnational exchange, and socially relevant issues. Hertz was Director, Longwood Arts Project, Bronx (1992–98); Curator of Contemporary Art, San Diego Museum of Art (2000–2008); Director of Visual Arts, Yerba Buena Center for the Arts (2008–15); and Public Arts Consultant, TLS Landscape Architecture (2015–20). Hertz has organized more than sixty exhibitions during her career. She was a member of Stanford Art Institute’s Creative Cities Working Group (2016–19) and a founding member of RepoHistory (1989–2000). Hertz received a B.A. from Goddard College, an M.F.A. from Hunter College, and a Ph.D. in Art History from the City University of New York. She has taught social art history and theory at Stanford University, San Francisco Art Institute, and University of California, Berkeley.Betti-Sue Hertz became Director and Chief Curator at Columbia University’s Wallach Art Gallery in 2019. Her curatorial and scholarly work focuses on the intersection of critical visual culture, transnational exchange, and socially relevant issues. Hertz was Director, Longwood Arts Project, Bronx (1992–98); Curator of Contemporary Art, San Diego Museum of Art (2000–2008); Director of Visual Arts, Yerba Buena Center for the Arts (2008–15); and Public Arts Consultant, TLS Landscape Architecture (2015–20). Hertz has organized more than sixty exhibitions during her career. She was a member of Stanford Art Institute’s Creative Cities Working Group (2016–19) and a founding member of RepoHistory (1989–2000). Hertz received a B.A. from Goddard College, an M.F.A. from Hunter College, and a Ph.D. in Art History from the City University of New York. She has taught social art history and theory at Stanford University, San Francisco Art Institute, and University of California, Berkeley.
Summary
What can be said for the radical aesthetics and the performativity, whether visual or gestural, that have become central to the many progressive protests in recent years? The Protest and The Recuperation ponders that question with a survey of artistic perspectives on, and responses to, global protests that have taken place during the past decade from the Arab Spring through Covid-19, as well as the recuperative strategies of resistance.
