Theory of art Books

Book SynopsisWhat can creativity achieve in an era of ecocide? How are people using creative and artistic practices to engage with (and resist) the destruction of life on earth? What are the relationships between creativity and repair in the face of escalating global environmental crises? Across twelve compelling case studies, this book charts the emergence of diverse forms of artistic practice and brings together accounts of how artists, scholars and activists are creatively responding to environmental destruction. Highlighting alternative approaches to creativity in both conventional art settings and daily life, the book demonstrates the major influence that ecological thought has had on contemporary creative practices. These are often more concerned with subtle processes of feeling, experience and embodiment than they are with charismatic eco-art' works. In doing so, this exploratory book develops a conception of creativity as an anti-ecocide endeavour, and provides timely theoretical and pracTrade ReviewThis book address some of the most urgent ecological issues of our time from a wide range of creative perspectives. As such, it offers readers a variety of valuable prompts to alternative and much needed ways of thinking and acting. * Iain Biggs, Visiting Research Fellow, Environmental Humanities Research Centre, Bath Spa University, UK *‘A real gem which can immediately be taken to the classroom and into one’s own writing. The myriad disciplinary voices work exceptionally well here, all trying to look through and beyond ecocidal gloom, violence and mourning towards something more attentive, feeling and radically grounded. It adds something urgent yet subtle to the scholarship.' * Andrew Patrizio, Professor of Scottish Visual Culture, University of Edinburgh, UK, and author of The Ecological Eye: Assembling an Ecocritical Art History (2018) *Table of ContentsList of Illustrations Introduction, Anna Pigott (Swansea University, UK), Owain Jones (Bath Spa University, UK) and Ben Parry (Bath Spa University, UK) 1. A conversation through listening to everyday walks, Michelle Duffy (University of Newcastle, Australia), Kaya Barry (Aalborg University, Denmark), Caroline Scarles (University of Surrey, UK), Peter Varley (Northumbria University, UK) and Michele Lobo (Deakin University, Australia) 2. Entangled encounters with an estuary: Making-with, making as coping,Lydia Halcrow(Independent researcher, UK) 3.Behavioural adaptation through reflective imagination via artistic experience in an era of ecocide, Alejandra Wah (University of Groningen, Netherlands) 4. Deep materialism and care-taking: A study of material relationships for the twenty-first century, Alison Harper (Independent researcher, UK) and Sarah Chave (University of Exeter, UK) 5. Willow, weaving, worlding and a politics of change, Anna Pigott (Swansea University, UK) 6. Be mindful: Plant intelligence, art and patience,Sue Spaid (Independent researcher) 7.The beckoning silence: Reconnecting humanity and nature on the Silent Trail, Laila Chin-Hui Fan (Ph.D. candidate at National Normal University, Taiwan) 8.Ancient boglands and the Irish peat industry: Does culture mitigate ecocide? Tim Collins (Collins & Goto Studio, UK) and Reiko Goto (Collins & Goto Studio, UK) 9.Interim Bangalore: Bodies as Sensory Data Collectors, Laura Denning (Independent researcher) 10.Rewriting the machinic Capitalocene: Using speculative fictional methods, Charlie Tweed (Bath Spa University, UK) 11. Incendiary: Curating art protest in the toxic airs of Stroud’s rural green idyll, Patricia Brien(Ph.D. candidate at Bath Spa University, UK) 12. A zone to defend: The role of art and ritual in prefiguration, Ben Parry (Bath Spa University, UK) 13. Did the sky used to be full of birds? Claire Loder (Independent researcher, UK) Index

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Book SynopsisThe artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art. Bussmann has internalized the relationship between art and philosophy. In this exploration of the history of German aesthetics through Bussmann's work, David Carrier places the philosophical tradition in the context of contemporary visual culture. Each chapter focuses on the arguments of a major philosopher whose concerns Bussmann has dealt with as an artist: Kant, Hegel, Merleau-Ponty, Wittgenstein and Arendt. Offering comparative accounts of artists and philosophers whose work is of especial relevance, Carrier shows how Bussmann responds visually to writings of philosophers in art that has an elusive but essential relationship to theorizing. Tackling the question of whether philosophical subjects can be presented visually, Carrier offers a fresh perspective on the German idealist position through the visual art ofTrade ReviewFew contemporary artists have opened up the dialogue between the conceptual and the visual more insistently than Maria Bussmann. Carrier takes the reader boldly into the challenging world of her philosophically-inspired, genre-defying drawings as he probes her engagement with philosophers from Spinoza, Kant and Hegel to Wittgenstein, Merleau-Ponty and Arendt. * Allen Speight, Professor of Philosophy, Boston University, USA *David Carrier’s singular and fascinating book provides its readers with a philosopher-art historian-art critic’s stimulating reflections on aesthetics and also detailed interpretations of numerous works of a visual artist, also a philosopher, whose visual representations engage in dialogue with philosophic theories. This makes for a rich brew of ideas, philosophical and interpretative, all presented with clarity and reasoned argument. It provides both pleasure and illumination from its beginning to its end. * Herbert Morris, Emeritus Professor of Philosophy, Emeritus Professor of Law and Emeritus Dean of Humanities, UCLA, USA *Table of ContentsPersonal Preface Introduction: Philosophy as a Subject for Visual Art 1. Identity/Metamorphosis/Translation 2. An Introduction to Maria Bussmann’s Translations 3. Are Translations of Philosophy into Visual Art Possible? 4. Ludwig Wittgenstein, Tractatus Logico-Philosophicus 5. Maurice Merleau-Ponty, The Visible and the Invisible 6. Hannah Arendt 7. Lawrence Carroll and Maria Bussmann 8. Illustrations, Graphic Novels, Diagrams 9. An Art History Made by Bussmann 10. the Composition and Interpretation of Bussmann’s Art Conclusion: The Contribution of Bussmann’s Art to Philosophical Aesthetics Maria Bussmann: Selected Solo and Group Exhibitions Maria Bussmann: Selected Public and Private Collections Bibliography Index

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Book SynopsisIris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

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Book SynopsisLouis Netter is Senior Lecturer in Illustration at the University of Portsmouth, UK.Trade ReviewIt looks at the subject broadly, with an eye on the contemporary practice and possible futures -- Fred Lynch * Rhode Island School of Design, USA *This insightful volume charts the history of why reportage drawings have been used to discover, detail and document life into immediate statements that define our being -- Andrew Selby * University of Loughborough, UK *Table of ContentsIntroduction 1. Reportage Drawing: History and the Contemporary Act 2. The graphic construct of Reportage Drawing and the re-creative experiences 3. The perception and reception of drawing 4. The Reductive Line: caricature and comment 5. Experience, place and meaning making 6. The Graphic Construct - Jill Gibbon 7. The Graphic Construct - Mapping my own practice 8. The Graphic Construct - Gary Embury 9. Artist spotlight - Mario Minichiello 10. Artist spotlight - Loup Blaster 11. Artist spotlight - Mercy Kagia 12. Artist spotlight - Dominika Wroblewska 12. The currency of reportage drawing 14. Concluding Comments Bibliography Index

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Book SynopsisDialogues with Degas demonstrates the ongoing relevance of Edgar Degas to 20th- and 21st-century ideas and art practices.The first in-depth examination of this major artist's impact on contemporary art, this book explores how contemporary practitioners have used Degas's creativity as a springboard to engage imaginatively and critically with themes of colonialism, gender, race and class. Individual chapters are devoted to dialogues between Degas's art and works produced by Frank Auerbach, Cecily Brown, Xinyi Cheng, Ryan Gander, Maggi Hambling, Damien Hirst, Howard Hodgkin, Chantal Joffe, Leon Kossoff, R.B. Kitaj, Juan Muñoz, Paula Rego, Jenny Saville, Yinka Shonibare, Cy Twombly and Rebecca Warren.Through close analyses of selected paintings, drawings, prints and sculptures, Kathryn Brown explores how Degas's technical and compositional experiments have been extended or challenged in innovative ways. By experimenting with the materials and methods of exiTrade ReviewThoughtfully positioning the work of Edgar Degas in dialogue with that of certain contemporary artists, Brown compellingly reveals not just his ongoing relevance, but also the rich possibilities presented by an art history that is global, diverse, non-linear and inclusive. * MARNI KESSLER, Professor and Director of Graduate Studies, Kress Foundation Department of Art History, University of Kansas, USA *Kathryn Brown makes an adventurous charting of the cultural, social, and aesthetic loops and swoops of Degas’s art through the practices of leading contemporary artists. Dialogical and tantalisingly transversal in its sights and insights, vivid in its writing, this book is a major advance in art criticism. * SUSAN HARROW, Ashley Watkins Professor of French, University of Bristol, UK *Exhilarating in her focus on women and ‘minority’ painters, Kathryn Brown recalibrates our understanding of Degas through the prism of modern art. Brown’s vivid analysis of post-WWII artists’ engagement with Degas – including Kitaj, Rego, Hambling, Xinyi Cheng and Twombly – explores the enduring impact of Degas’s provocative art. * ANTHEA CALLEN, Professor Emeritus of Visual Culture, and Professor Emeritus, The Australian National University, Australia *Bringing Degas’ oeuvre thrillingly to life, this book demonstrates how, in grappling with his more problematic aspects, contemporary artists have added a whole range of complexities of their own. * REBECCA FORTNUM, Professor of Fine Art and Head of the School of Fine Art, The Glasgow School of Art, UK *Table of ContentsAcknowledgements List of Colour Plates List of Figures Introduction Influence and Antagonism Art out of Time Structure and Approach 1. Degas and the School of London R. B. Kitaj and the Anxious Condition of Art Making The Anti-Dreyfusard Master Leon Kossoff and Frank Auerbach Draw Degas 2. Influence as Excess Misogyny Paula Rego’s Dog Women Cecily Brown: New Provocations 3. Vitrines, Vacancy, and Immanent Things: Little Fourteen-Year-Old Dancer Medicine and Moral Judgment: Damien Hirst Entangled Histories: Yinka Shonibare Ryan Gander’s Empathetic Storytelling 4. Degas Doubled Rebecca Warren as Twin Juan Muñoz and Miss La La’s Legacy 5. Pearl Divers: Prying Loose the Past Maggi Hambling’s Monotypes: Queer Phenomenology and the Gaze Chantal Joffe’s Bathers: Self and Other Xinyi Cheng: Modern Masculinities 6. The Final Act Jenny Saville: Colour Shock Howard Hodgkin’s Hero Conclusion Cy Twombly and Degas’s Hat Degas Unbound Notes Bibliography Index

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Book SynopsisThings change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverTrade ReviewWith ten vibrant studies that treat a striking array of media across an ambitious geographic scope, this volume charts some of the liveliest directions in today’s eighteenth-century art history, which has decisively embraced the everyday object and the dynamism of change as a generative critical lens. * Nancy Um, Associate Director for Research and Knowledge Creation, Getty Research Institute, USA *A new history of eighteenth-century art is being written in books like Material Cultures of the Global Eighteenth Century. Ten highly original, meticulously researched, and conceptually exciting essays encourage us to think expansively about material culture’s role in shaping global history. * Stacey Sloboda, Paul H. Tucker Professor of Art History, University of Massachusetts Boston, USA *This important volume puts material culture and its protean meaning-making at the center of eighteenth-century art history. Bellion's and Smentek's lucid introduction, and the innovative scholars they bring into conversation, are united by their admirable attentiveness to objects and voices from around the globe. * Amy Freund, Associate Professor and The Kleinheinz Family Endowed Chair in Art History, Southern Methodist University, USA *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Introduction, “Things Change”, Wendy Bellion, University of Delaware, USA; Kristel Smentek, MIT, USA 1. ‘A Sort of Picture or Image of my Self’: Amoy Chinqua’s Almost Ancestral Portrait of Joseph Collet, Winnie Wong, University of California, Berkeley, USA 2. Shooting for Freedom: Examining the Material World of Self-Emancipated Persons, Tiffany Momon, Sewanee: The University of the South, USA 3. Something Old, Something New: Repurposing and the Production of Ephemeral Festival Architecture in 18th-Century Paris, Matthew Gin, University of North Carolina at Charlotte, USA 4. Botanical Fantasy in Silk: Transformations of A Rococo Floral Design from England to China, Mei Mei Rado, Los Angeles County Museum of Art, USA 5. Making Marble Edible: Madame de Pompadour, Friendship, and the Multiple Lives of Porcelain, Susan M. Wager, University of New Hampshire, Durham, USA 6. The Sovereign Betel in Eighteenth-Century Bengal and Bihar, Zirwat Chowdhury, University of California, Los Angeles, USA 7. Isaiah Thomas’s Stamp Acts at the Halifax Gazette: Printers and Tacit Protest in Revolutionary America, Jennifer Y. Chuong, Humboldt-Universität zu Berlin, Germany 8. Between Art and Nature: The Dauphin’s Treasure at the Royal Cabinet of Natural History in Madrid, Tara Zanardi, Hunter College, CUNY, USA 9. California Indian Basket Weavers, Spanish Imperialism, and Eighteenth-Century Global Networks, Yve Chavez, University of California, Santa Cruz, USA 10. British Prints between Caricature and Ethnography, Douglas Fordham, University of Virginia, USA Index

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Book SynopsisWendy Bellion is Sewell C. Biggs Chair in American Art History and Associate Dean for the Humanities at the University of Delaware, USA. Her research focuses on North American art and the Atlantic World in the eighteenth and nineteenth centuries. She is the author of Citizen Spectator: Art, Illusion, and Visual Perception in Early National America (2011) and Iconoclasm in New York: Revolution to Reenactment (2019).Kristel Smentek is Associate Professor of Art History in the Department of Architecture at the Massachusetts Institute of Technology, USA. Her research engages eighteenth-century European graphic and decorative arts in their transcultural contexts. She is the author of Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (2014), co-editor of Dare to Know: Prints and Drawings in the Age of Enlightenment (2022), and co-curator of the accompanying exhibition at the Harvard Art Museums.

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Book SynopsisArt as Organism shows that the digital image was a rich and expansive artistic medium of modernism. Linking its emergence to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s, Charissa Terranova uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions, and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Unearthing a forgotten narrative of modernism, one which charts the influence that biology, General Systems Theory, and cybernetics had on modern art, Terranova interprets new major art movements such as the Bauhaus, Op Art, and Experiments in Art and Technology by referencing contemporary insights from architects, embryologists, electrical engineers, and computer scientists. From kinetic and interactive art to early computer art and installations spanning an entire cTable of ContentsPreface Introduction: The Haptic Unconscious: László Moholy-Nagy’s Organismic Aesthetics 1. Bauhaus Biology: The Beginnings of Biofunctionalism 2. Gyorgy Kepes and the Light image as Bio-Image: Pop Art-and-Science, Integration, and Distribution 3. The Distributed Image of the City: The Collaboration between Gyorgy Kepes and Kevin Lynch 4. Wet Perception: Op Art and New Tendencies, between the Gestalt and Ecological Psychology 5. The Digital Image in Art: The Generative Turn, Computational and Biological

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Book SynopsisIzabel Galliera is Assistant Professor of Art History in the Department of Art & Design at Susquehanna University in Pennsylvania, USA. Her research has been published in the Journal of Curatorial Studies and appears in the forthcoming collections Collaborating Now: Art in the Twenty First Century (2016) and Redefining Creativity: Multi-Layered Collaborations in Art and Art Historical Practice (2016).Trade ReviewSocially Engaged Art after Socialism is the first comprehensive scholarly treatment of the important new forms of socially engaged art that emerged in Central and Eastern Europe following the demise of the USSR. Its publication represents an important intervention in the emerging critical and theoretical debate around socially engaged art, and will allow us to further broaden the geopolitical scope of this important research. * Grant Kester, Professor of Art History, University of California, San Diego, USA and author of 'Conversation Pieces: Community and Communication in Modern Art' *Table of ContentsList of Illustrations Acknowledgements Introduction 1. Points of Contention: Socially Engaged Art Practice in Contemporary Theory 2. Civil Society, and Social, Cultural and Political Capital 3. Historical Antecedents: Participatory Art under Socialism, 1956–89 PART I FROM SECOND SOCIETY TO CIVIL SOCIETY 4. Civil Society in a Period of Post-Socialist Transition 5. Antipolitics: Exhibitions at the Soros Centres for Contemporary Art 6. Sofia: Participatory Public Art and Emerging Contemporary Art Institutions PART II FROM LOCALIZED PUBLIC SITES TO EU TRANSNATIONAL PUBLIC SPHERES 7. Place-Making: Framing Art in Public Spaces Curatorially 8. Representing Counterpublics in Bucharest, Budapest and Sofia 9. Contesting the Politics of Belonging in the Post-1989 EU Community PART III INSTITUTIONALIZED AND INSTITUTIONALIZING 10. Institutionalized Community Arts Programmes 11. Big Hope: Reviving Leftist Activism in Budapest 12. Self-Institutionalizing as Political Agency Conclusion Notes Bibliography Index

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Book SynopsisMitchell B. Frank, Director of the School for Studies in Art and Culture at Carleton University, Canada, is the author of German Romantic Painting Redefined (2001) and Central European Drawings from the National Gallery of Canada (2007). He co-edited German Art History and Scientific Thought (2012) and History and Art History: Looking Past Disciplines (2020). He is currently editor-in-chief of the Canadian art historical journal RACAR (Revue d'art canadienne / Canadian Art Review).Trade ReviewA salutary reminder that museums were developing creative ways of engaging audiences beyond their walls decades before the internet. Frank's study of the Metropolitan's Miniatures and Seminars will interest not only historians of Cold War-era American culture, but all those in museums attempting to reconcile an inclusion agenda with commercial partnerships. * Jonathan Conlin, author of The Nation's Mantelpiece: A History of the National Gallery (2006) and Civilisation (2009) *Table of ContentsList of Illustrations Preface Acknowledgements Introduction 1. The Metropolitan Miniatures: Culture and Commerce 2. The Metropolitan Seminars: Middlebrow Culture 3. The Met and Art Education in Postwar America 4. Rembrandt’s Aristotle Contemplating the Bust of Homer: Reproduction and Quality 5. The Met, Popular Art Education, and the Problem of Abstract Art Appendices Bibliography Index

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Book SynopsisThis book tells the story of the unifying of two major institutions during a turning point in American public art education. Traditionally separated in the hierarchy of ''highbrow'' and ''middlebrow'' culture, the Metropolitan Museum of Art and the Book-of-the-Month Club joined forces between 1948 and 1962 to bring art from the Met's collections right into the homes of subscribers. This democratic approach transformed the way art was consumed and gave the public newfound agency as collectors and museum visitors.Using never before published archival material, the book demonstrates how the Met sought to bring art to the masses in postwar America, whilst upholding its reputation as an institution of high culture. By describing this egalitarian programme in depth, the book offers new insights into the history of museum outreach and provides fascinating examples of successful audience engagement for contemporary practitioners. The Met and the Masses in Po

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Book SynopsisDavid Mather is an art historian of early twentieth-century and interwar European art. He lives and works in Southern California, USA.Trade ReviewDavid Mather’s Futurist Conditions is an essential contribution to the study of Italian Futurism. Replacing the machine with the camera and temporal contingency as central themes, Mather produces highly original new readings of well-known Futurist works, including Boccioni’s Unique Forms. * Linda Dalrymple Henderson, David Bruton, Jr. Centennial Professor in Art History, The University of Texas at Austin, USA *Offering a fresh perspective on Italian futurism, David Mather argues that critics have overplayed the movement’s reputed interest in the destructive effects of technology. It was through the camera that futurists turned towards more spiritual aims. Utilizing Giacomo Balla and Umberto Boccioni as exemplars, Mather imaginatively rethinks their inventions through the lens of photography. * Nancy Perloff, Curator, Modern & Contemporary Collections, Getty Research Institute, USA *With exceptional care and concern, David Mather offers us a brilliant yet moving eulogy for modern art by revealing the violent creativity of a future fixated on the past and the deep wrinkles connecting art and technology with authoritarianism and reactionary politics. * Jimena Canales, author of A Tenth of a Second: A History (2009) and others *Table of ContentsList of Plates List of Figures Acknowledgements Introduction: Temporal Imagination 1. The Bragaglias’ Unreality 2. Balla’s Transformation 3. Boccioni’s Body-Buildings Conclusion: Collective Condition Index

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Book SynopsisBlack Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new waysTrade ReviewBlack Art and Aesthetics is an important collection of cutting-edge essays that explore the possibility of "revalorizing" Black aesthetics in ways that embrace both complex continuities and ruptures in the freighted history of aesthetics. The volume assembles writing by some of the most innovative artists and thinkers at the core of black contemporary art history, criticism and practice. * Tina Campt, Professor of Humanities, Princeton University, USA *This impressive and vibrant assemblage of artists, poets, and theorists showcases the beauty and brilliance of Black aesthetics. Each investigation buzzes with strategies for creating, living, and being despite difficulty. As a gathering, Black Art and Aesthetics promises to remake how we see the world. * Amber Jamilla Musser, Professor of English, CUNY Graduate Center, USA *The essays collected in Black Art and Aesthetics represent a comprehensive statement on the continuing vitality of Black aesthetics and a revaluation of the cultural forces that have been driving the production of art in the Black diaspora. Drawing from a gallery of distinguished scholars, poets, and artists, this volume will serve as a model of critical thinking about Black aesthetics for a long time. * Simon Gikandi, Professor of English, Princeton University, USA *Finally, we have a book that explores and tracks the fugitive, complicated, intractable, and vital idea of Black Aesthetics with the expansive critical and intellectual sophistication that the scholarship has been waiting for since the 1960s. Finally. * Chika Okeke-Agulu, Professor of Art and Archaeology and African-American Studies, Princeton University, USA *Now that this wonderful anthology of Black Art and aesthetics is finally here, we can see just how necessary and long-awaited it was. And it's not just a juxtaposition of texts and works of art in a still tableau. It is, fortunately, a powerful expression of the movement and life force of the inexhaustible fountain of black aesthetics: fons africanus and fons americanus all at once. * Souleymane Bachir Diagne, Professor of French and of Philosophy, and Director of the Institute of African Studies, Columbia University, Columbia University, USA *Kelly and Roelofs’s collection is a welcome and much needed contribution to the philosophically-informed study of Black Art and aesthetic practices. The range of insight is impressive and the acuity of the analyses even more so. Artists and theorists alike will draw inspiration from these essays. * Robert J. Gooding-Williams, Professor of African-American Studies and of Philosophy, Columbia University, USA *Table of ContentsList of Illustrations Acknowledgments Preface: Blackness, Whiteness, and Curatorial Care, Michael Kelly (University of North Carolina at Charlotte, USA) and Monique Roelofs (University of Amsterdam, the Netherlands) Introduction: Revalorizing Black Aesthetics, Michael Kelly (University of North Carolina at Charlotte, USA) and Monique Roelofs (University of Amsterdam, the Netherlands) PART I. Blackness as Aesthetic Strategy 1. Coloring History, Theory, and Painting, Meleko Mokgosi (Artist, Yale University, USA) 2. From the new black and from semiautomatic, Evie Shockley (Poet and Theorist, Rutgers University, USA) 3. Art and Negative Dialectics: On Soft Aesthetics, Angela Y. Davis (UC Santa Cruz, USA) 4. Embracing Injury: Black Queer Bodies and Poetic Experimentation, GerShun Avilez (University of Maryland, USA) 5. Afrodiasporic Aesthetics in Classical and Experimental Music After 1960, George E. Lewis (Musician and Theorist, Columbia University, USA) PART II. Black Art Spaces 6. See Me Here: Defining Black Space at the Intersection of Artistic and Curatorial Practices in Privy, Deborah Goffe (Dancer and Theorist, Trinity College, USA) 7. The Black Image Corporation: When History Isn’t Enough. The Need for Corporate Practices Within the Archive, Theaster Gates (Artist, Chicago, USA) 8. elevators, Simone White and Benjamin Krusling (Poets, University of Pennsylvania and New York City, USA) 9. Aesthetic Form in the New Thing: Aesthetic Sociality of Musique Informelle, Fumi Okiji (Musician and Theorist, University of California, Berkeley, USA) 10. White by Design, Mabel O. Wilson (Architect and Theorist, Columbia University, USA) PART III. History Making 11. Swampy Land by the River Don, Nell Painter (Artist and Historian, Princeton University, USA) 12. Addressing the World? Aesthetics of Resistance, Difference, and Relationality in Aimé Césaire’s Plays, Mickaella Perina (University of Massachusetts at Boston, USA) 13. Making Histories: Wangechi Mutu in Conversation with Isaac Julien and Claudia Schmuckli, Wangechi Mutu (Artist, New York City, USA); Isaac Julien (Filmmaker, London and UC Santa Cruz, USA); and Claudia Schmuckli (Curator, Fine Arts Museums of San Francisco, USA) 14. Aliveness and Aesthetics, Kevin Quashie (Brown University, USA) 15. Two Images: Fons Americanum and The Right Side, Kara Walker (Artist, New York City, USA) PART IV. Groundings, Transpositions, Breaks 16. From the black maria and from Kingdom Animalia, Aracelis Girmay (Poet, Stanford University, USA) 17. Groundwork: Race and Aesthetics in the Era of Stand Your Ground Law, Sarah Elizabeth Lewis (Harvard University, USA) 18. “Survival is not a theory”: Afro-Pessimism Transposed, Paul C. Taylor (University of California, Los Angeles, USA) 19. Imitation of Life/A Box Full of Darkness, James B. Haile, III (University of Rhode Island, USA) PART V. Callings 20. Tracy K. Smith's Ordinary Life: Enfleshing a Theory of Post-Soul, Daphne Lamothe (Smith College, USA) 21. From Citizen and from Don’t Let Me Be Lonely, Claudia Rankine (Poet, New York University, USA) 22. Dance On, Thomas F. DeFrantz (Dancer and Theorist, Northwestern University, USA) 23. ‘One-eyed’ Immersive Particularities, Jeremy Matthew Glick (Hunter College, USA) 24. On Black Speculative Musicalities, Vijay Iyer (Musician and Theorist, Harvard University, USA) Index

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Book SynopsisMartino Stierli is Chief Curator of Architecture and Design at the Museum of Modern Art (MoMA) in New York, USA. He was previously SNSF Professor for the History of Architecture & Art at the Art History Institute, University of Zurich, Switzerland.Mechtild Widrich is Professor of Art History at the School of the Art Institute of Chicago, USA. She was previously Postdoctoral Fellow and Lecturer at the Department for the History and Theory of Architecture at ETH Zurich, Switzerland.Trade ReviewMarking out a knowingly complex field of contemporary scholarship on 'participation' in art and architecture, this volume is testament not only to the multiple valences of the term - artistic, social, political, civic, urban, economic, and more - and the distinct contexts in which participatory acts and forms of agency have appeared or been strategically mobilized, but also of the term’s rich and ongoing potential as a critical and artistic lens. Inviting us to continue to 'think' through participation, it will be a welcome addition to contemporary debates on the ethical and political dimensions of art and architecture. * Felicity D Scott, Associate Professor of Architecture and Director of the Program in Critical, Curatorial & Conceptual Practices in Architecture, Columbia University, USA *Intervening in vibrant debates on participation in the public sphere, Participation in Art and Architecture ranges widely over continents and cases: Sarajevo under siege, Sao Paulo between moving bodies and opened urbanism, the Acropolis and architectural erotics, Google Street View, Cairo, Mexico, and various European and American heterotopias. Tactics are examined in exhilarating historical detail, as theatrical and performative possession converts the spaces of the state into sites of contestation, and as design from the bottom up, immaterial labor, and theaters of memory are mobilized by users on the ground. This provocative collection hybridizes the disciplinary concerns of art and architecture, enriching them both. * Caroline A. Jones, Professor of Art History, History Theory & Criticism of Architecture & Art Program, MIT School of Architecture and Planning, USA *Table of ContentsList of Illustrations Acknowledgements Whose Participation? Introductory Remarks - Martino Stierli and Mechtild Widrich Part I: Agency 1. The Infrastructure of Participation: Cultural Centres in Postwar Europe - Kenny Cupers 2. Occupied Sites: Tlatelolco and Metropol Parasol - Ana María León 3. Aesthetics and Politics of Participation in 1960s Brazil: From Hélio Oiticica’s ‘Parangolés’ to the Paulista School of Architecture - Martino Stierli 4. Putting on the Map: Suzanne Lacy’s International Dinner Party - Elke Krasny 5. Exhibitions in Damaged and Destroyed Architectural Objects in Besieged Sarajevo: Spaces of Gathering and Socialization - Asja Mandic 6. City of Revolution: On the Politics of Participation and Municipal Management in Cairo - Mohamed Elshahed 7. Disobedient Objects - Gavin Grindon Part II: Display 8. Between Theatre and Agora: Thoughts on Exhibition, Drama and Participation - Werner Hanak-Lettner 9. 1912 – Hellerau as Spielraum - Lutz Robbers 10. Participatory Aesthetics: Alexander Dorner’s Reorganization of the Provinzialmuseum Hannover (1923–1926) - Sandra Löschke 11. ‘The Ultimate Erotic Act’: On the Performative in Architecture - Mechtild Widrich 12. Echo-Logy: Working with Allan Kaprow - Philip Ursprung 13. Documentary (Non-)Interventions: Mediated Presence in Public Space and its Artistic Reflection - Katja Kwastek Author Biographies Index

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Book SynopsisElisabeth Bronfen is Professor of English & American Studies at the University of Zurich, Switzerland, and, since 2007, Global Distinguished Professor at New York University, USA. She is a specialist in 19th- and 20th-century literature and her books on psychoanalysis, film, cultural theory and visual culture include Over Her Dead Body: Death, Femininity and the Aesthetic; The Knotted Subject: Hysteria and its Discontents; Night Passages: Philosophy, Literature and Film; Home in Hollywood: The Imaginary Geography of Cinema; and Mad Men, Death and the American Dream.Trade ReviewBrilliant essays on the female nude, on images not just of chess games but of chess queens in recent film and television ... full of marvelous and disturbing ideas ... Summing Up: Recommended. * CHOICE *Table of ContentsIntroduction Part I. Travelling Image Formulas Chapter 1. Facing Defacement. Degas' Portraits of Women Chapter 2. Naked Touch. Disfiguration, Recognition and the Female Nude Chapter 3. Leaving an Imprint. Francesca Woodman's Photographic tableaux vivants Chapter 4. Pop Cinema. Hollywood's Critical Engagement with America's Culture of Consumption Chapter 5. Hitler Goes Pop. Totalitarianism, Avant-Garde Aesthetics and Hollywood Entertainment Chapter 6. Simulations of the Real. Paul McCarthy's Performance Disasters Chapter 7. Wagner's Isolde in Hollywood Chapter 8. Shakespeare's Wire Chapter 9. Queen of Chess. On Serial Reading Part II: Gendering the Uncanny, Imaging Death Chapter 10. The Horror of the Familiar. Freud's Thoughts on Femininity and the Uncanny Chapter 11. Gendering Curiosity. The Double Games of Siri Hustvedt, Paul Auster and Sophie Calle Chapter 12. The Other Self of the Imagination: Cindy Sherman's Hysterical Performance Chapter 13. Eva Hesse's Spectral Bride and her Uncanny Double Chapter 14. Wounds of Wonder. Diane Arbus, Nan Goldin, Nabuyoshi Araki Chapter 15. The Fragility of the Quotidien. Eija-Liisa Ahtila's Work with Death Chapter 16. Picasso's War Women Chapter 17. Contending with the Father. Louise Bourgeois and her Aesthetics of Reparation Notes Index

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Book SynopsisPaul Duncum is Professor Emeritus at the University of Illinois, USA, and Adjunct Professor at the University of Tasmania, Australia. He is the author of Picture Pedagogy (Bloomsbury, 2020) and Popular Pleasures (Bloomsbury, 2021).Trade ReviewAnchored by respect for children and by compelling imagery, Paul Duncum comprehensively and captivatingly interrogates multiple and contradictory discourses that generate both personal and public conceptions of childhood. * Marissa McClure, Professor of Art Education, Indiana University of Pennsylvania, USA; Associate Editor, Childhood Art: An International Journal of Research *Images convey so much more than we realize. This extraordinary and seminal text will surely expand, enrich, even interrogate, one’s conceptions of what childhood has meant across history, cultural studies and psychology. * Rita L. Irwin, Distinguished University Scholar and Professor, Art Education, The University of British Columbia, Canada *Deconstructing childhood imagery and its ideologies, this book outlines the different ways of understanding infancy throughout history. Gender, abuse, victimization, and commoditization are some of the issues the author reveals through a wide array of historical images. * Cesar Peña, Professor, School of Architecture & Design, Universidad de los Andes, Colombia *Examining the trope of childhood innocence that permeates representations of children throughout Western history, this engaging text highlights the role images play in shaping our conceptions of childhood and our enduring cultural ambivalence toward children. * Christine Marmé Thompson, Professor Emerita, Penn State University School of Visual Arts, USA *Table of ContentsList of Illustrations Introduction 1. Worthy Subject 2. Family Member 3. Gendered 4. Adult 5. Schooled 6. Aesthetic 7. Victim 8. Threat 9. Economic Entity 10. Political Propaganda 11. Innocent References Index

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Book SynopsisLudmilla Jordanova is Emeritus Professor of History and Visual Culture at Durham University, UK. She is the author of History in Practice, 3rd Edition (Bloomsbury, 2019) and co-editor of Writing Visual Histories (Bloomsbury, 2020).Florence Grant holds a PhD in History from King's College London, UK, and is currently an independent writer and editor based in Western North Carolina, USA. With Ludmilla Jordanova, she is co-editor of Writing Visual Histories (Bloomsbury, 2020).

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Book SynopsisPolitical Illustration introduces students of illustration, visual communication, art, and political science to how political illustration works, when it's used and why. Through a variety of examples from the coins of Julius Caesar to contemporary art challenging Indigenous American stereotypes the book covers propaganda, the impact of media, censorship, and taboo, and the role of contentious politics and dissent art. A wide range of contemporary illustration mediums are included, including street art, the graphic novel, and mixed assemblage illustration, in order to examine the role of media and technique in political messaging. The book features breakout interviews and case studies on prominent global political illustrators (like Edel Rodriguez, Anita Kunz and Fabian Williams) and full color examples. The authors include an introduction to semiotics, visual grammar, and visual communication theory, and how these approaches contribute to the decoding of political messa

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Book SynopsisThis open access book takes a queer, feminist, and decolonial technoscience approach to the ecologies that emerge from our entanglements with nonhumans (air, rocks, algae, trees, soil and plants) and computational hard/software. In Plants by Numbers, artists and theorists working with computation address the urgent need to think beyond the human paradigm, opening up new fields of debate that question the troubled relationship between ecosystems and human technology.Organised around three key themes--techno-nature entanglements, plants as resistant agents, and becoming-with-plants--the volume provides a vital pathway through complex theoretical ideas that inform the practices of artists working in the fields of computation and ecology.Fusing art theoretical and art practice approaches, the contributors describe how we might design, make and imagine computational processes differently, or otherwise, through the co-production of artworks with plants. Showing how these artworks mighTrade ReviewA text that demonstrates the vital importance of observing and treating plants as our companion species, and as cohabitants of this planet to bend towards and learn from, as we ponder our own significance and survival, threatening the end of the anthropocene. * Legacy Russell, Executive Director and Chief Curator of The Kitchen, author of Glitch Feminism (2020) *Plants by Numbers works through how coloniality shapes, but does not absolutely envelop, our queerly inter-human and inter-ecological worlds. Rethinking classificatory taxonomies, the book centres plant-life and its aesthetic-scientific possibilities in an eloquent intervention into studies of livingness, affect, and relationality. * Katherine McKittrick, Professor and Canada Research Chair in Black Studies, Queen’s University, Canada; Author of Dear Science and Other Stories (2021) *This timely collection of accounts by artists, curators, technoscientists and theorists speculates on different modes of world-making and creating kinship with plants, establishing a rich ground for more-than human entanglements. * Petra Löffler, Professor of Contemporary Media Theory and History, Carl von Ossietzky University Oldenburg, Germany *Growing from a simple prompt, to consider numbering-otherwise, this volume brings together artistic, academic and community-building studies and productions of co-constitutive life worlds of plants and soil, computation and simulation, humans and more-than-humans. Rooted in anti-colonial, Black and Indigenous, trans-feminist and queer science and technology studies and poetics, shifting away from numbering as a method of control, and generously reimagining accounts, plots and digging as critical cultivating methods and creative practices, Plants By Numbers is essential reading (and experiencing) for artists, scholars, organizers, gardeners, farmers, teachers, observers, dreamers and anyone moved by the transformational and technocultural worlding of entangled plant lives. * Jas Rault & T.L. Cowan, co-authors of Heavy Processing (2023) *In our data-driven world, this collection asks how we might articulate an ethico-politics of numbers with respect to the more-than-human world. Respect is key here, for the power of enumeration but also for its limits, and for the irreducible relationality of sustainable world-making. * Lucy Suchman, Professor Emerita, Anthropology of Science and Technology, Lancaster University, UK *Table of ContentsAcknowledgements List of Contributors List of Plates List of Figures Introduction Part One: Techno-nature entanglements 1. Afro-now-ist Stories of Resistance: A Conversation with Stephanie Dinkins, Stephanie Dinkins (Stony Brook University, USA) and Srimoyee Mitra (University of Michigan, USA) 2. The Compromised/Compromising Life of a Farmed Plant, Elaine Gan (Wesleyan University, USA) 3. As Children of Plants, we Play in our Machine Gardens, Amy Youngs (Ohio State University, USA) 4. Co-operating with Diatoms - queer fabulations of a world feeling computing, Helen V. Pritchard (HGK-FHNW University of Applied Sciences and Arts Northwestern Switzerland) 5. So-called Plants, Possible Bodies, Jara Rocha and Femke Snelting (Interdependent researchers, Barcelona and Brussels) Part Two: Plants – resistance, regeneration and alliance 6. Forests that Compute, Jennifer Gabrys (University of Cambridge, UK) 7. Watered by Data and Other Bio-economic Thoughts: A Conversation Between Curator Belinda Kwan and Artist Stephanie Rothenberg, Belinda Kwan (Independent curator, Canada) and Stephanie Rothenberg (SUNY Buffalo, USA) 8. Tending to 2030m3: How to regenerate regeneration? How to unasphalt asphalt?, Helen V. Pritchard (HGK-FHNW University of Applied Sciences and Arts Northwestern Switzerland), Eric Snodgrass (Linnaeus University/Linköping, Sweden) Miranda Moss (Artist, South Africa), Daniel Gustafsson (Linnaeus University, Sweden 9. Decolonization, Computation, Propagation: Phyto-human alliances in the pathways towards generative justice, Ron Eglash, Audrey Bennett, Lionel Robert, Kwame Porter Robinson, Matthew Garvin, Mark Guzdial (all, University of Michigan, USA) Part Three: Becoming-with-plants 10. Codely Phytographia: an artist’s material history of writing code with trees, Jane Prophet (University of Michigan, USA) 11. Tehran of Trees, Sina Seifee (Artist, Belgium/Iran) 12. Writing in the Wind: Ecopoetics and geoengineering, Joel Ong (York University, Canada) 13. Sunbot Swarm: Absurdist Cyborg Systems for House Plants, Kathleen McDermott (NYU Tandon, USA) 14. Yellow Furry Lullaby, Breakwater, Youngsook Choi and Taey Iohe (Artists, UK/Korea) Glossary Index

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Book SynopsisIn 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the differenTable of ContentsAcknowledgements Preface Introduction 1. Art Activism after 9/11 2. Refuse/Resist: Militancy, Ethics and Aesthetics 3. Militancy and the Avant-garde 4. Tactical Confrontations: Art Activism after the Global Banking Crisis 5. The Absurd and the Dysfunctional 6. Demonstration Bibliography Index

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Book SynopsisSelected and introduced by Juli Carson, this book presents a collection of essential essays, interviews, and never-before published archival materials that trace the development of the teaching of major artist and thinker Mary Kelly, from 1980-2017.As an artist and a theorist, Kelly is known for her foundational contributions to Feminism and Conceptual Art; she is also revered for her innovative pedagogy, which has influenced countless artists, writers and teachers within the international art community. Her description of a feminist practice of concentric pedagogy, centred on the artwork rather the mastery of the teacher, radically changed teaching practice in art studios.Detailing Kelly's innovative pedagogical program, the essays are split into three sections: The Method, which focuses on Kelly's renowned method of ethical observation within studio critique; The Project, which explores her notion of what constitutes an artistic project; and Project and Meth

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Book SynopsisThis book presents both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 60 years. Offering a critical account of painting specifically, rather than art more generally, After Modernist Painting provides a timely exploration of what has remained a persistent and protean medium.Taking Clement Greenberg''s Modernist Painting as its starting point, the book focuses on certain developments, including the relationship of painting to Conceptual Art and Minimalism, the pronouncement of painting's alleged death, its response to Installation Art''s foregrounding of site, how painting both images and imagines the digital and how it continues to embody a particular set of ideas and responses to the world.Revised and expanded to reflect developments in the field since the first edition was published in 2013, After Modernist Painting addresses a range of global artists and painting practices from the

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Book SynopsisIn 1806, the Marquess and Marchioness of Stafford opened a gallery at Cleveland House, London, to display their internationally-renowned collection of Old Master paintings to the public. A ticket to the gallery's Wednesday afternoon openings was a sought-after prize, granting access to the collection and the house's dazzling interior in the company of artists, celebrities, and Britain's elite. This book explores the gallery''s interior through the lens of its abundant material culture, including paintings in gilded frames, furniture, silver oil lamps, flower arrangements, and the numerous printed catalogues and guidebooks that made the gallery visible to those who might never cross its threshold.Through detailed analysis of these objects and a wide range of other visual, material, textual and archival sources, the book presents the gallery at Cleveland House as a methodological case study on how the display of art in the 19th century was shaped by notions about public

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Book SynopsisThis is the first monograph fully dedicated to critically investigating the political, economic, artistic, urban, and societal relationships of Manifesta European Biennial of Contemporary Art, a European nomadic biennial initiated in the post-Cold War era. Despite being one of the most important recurrent exhibitions taking place in Europe, surprisingly little has been written about it since the mid-2000s, Manifesta, Art, Society and Politics provides a deeply-researched and engaging analysis of the the critically overlooked Manifesta exhibitions, as well as it''s changing goals and discourse since the first edition in 1996.The book is split into four parts, divided by theme and following the exhibitions chronologically. Providing a comprehensive overview of one of the most important biennials in Europe, Manifesta, Art, Society and Politics investigates the relationship between large-scale art exhibitions, culture-led regeneration, and urban transformat

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Book SynopsisAdam Geczy is an artist and writer who teaches at the University of Sydney, Australia. His exhibitions have been shown throughout Europe, Asia and Australia where his work is held in several national collections. As a writer he has published over 25 books (on contemporary art, fashion, cultural studies and aesthetics), and is the author of numerous critical articles and book chapters.Alan Cruickshank is an editor, publisher, writer and artist with an international career of more than three decades. As Director, Contemporary Art Centre of South Australia, his art and publishing projects especially focused on Australia's relationship to greater Asia. He was recently publisher/editor of di'van A Journal of Accounts and Honorary Research Fellow, Centre of Visual Art, University of Melbourne, Australia.

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Book SynopsisDirk Reynders is a lecturer, writer, researcher, cultural critic, and academic leadership professional. He is affiliated with KU Leuven and PXL-MAD School of Arts, Belgium, and the University of Johannesburg, South Africa.

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Book SynopsisThis is the first book of its kind to examine the development of the confessional subject in video art and demonstrate how it can provide a vital platform for navigating the politics of self, subjectivity, and resistance in society. In doing so, it reframes video art the most ubiquitous and yet most understudied art form of recent decades as an urgent socio-political tool that is increasingly popular among contemporary artists as a means of exploring a broad range of social issues, from politics and identity, to the body and technologies of self-representation.Analysing a diverse selection of case studies from the 1960s up to the present day, covering the work of Yoko Ono, Gillian Wearing, Ryan Trecartin, Tracey Emin, Anatasia Klose, and Heath Franco, among others, the book brings together theory and practice to look afresh at contemporary video art through a Foucauldian lens. It also brings the analysis of video art up to date by showing how social media and digit

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Book SynopsisIn centuries past, sexual body-parts and same-sex desire were unmentionables debarred from polite conversation and printed discourse. Yet one scientific disciplineanatomyhad license to represent and narrate the intimate details of the human bodyanus and genitals included. Figured within the frame of an anatomical plate, presentations of dissected bodies and body-parts were often soberly technical. But just as often monstrous, provocative, flirtatious, theatrical, beautiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical competence depended on a deep knowledge of anatomy and offered cultura

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Book SynopsisMatilda Greig is a Historian at the National Army Museum in London, specialising in the cultural history of warfare in the 19th century.Nicole Cochrane is an art historian and curator. She is currently Assistant Curator in Historic British Art (1790-1850) at Tate Britain, UK.

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Book SynopsisPursuing a new and timely line of research in world art studies, Humor in Global Contemporary Art is the first edited collection to examine the role of culturally specific humor in contemporary art from a global perspective.Since the 1960s, increasing numbers of artists from around the world have applied humor as a tool for observation, critique, transformation, and debate. Exploring how humorous art produced over the past six decades is anchored in local sociopolitical contexts and translated or misconstrued when exhibited abroad, this book opens new conversations regarding the functioning of humor and the ways in which art travels across the globe. With contributions by an impressive array of internationally based scholars covering six major continental regions, the book is organized into four distinct geographical sections: Africa and the Middle East, Asia and Oceania, South and North America, and Europe. This structure highlights the cultural specificity of each

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Book SynopsisAlex Burchmore is Lecturer in Art History and Curatorial Studies at the Australian National University, Australia. He is the author of New Export China: Translations Across Time and Place in Contemporary Chinese Porcelain Art (2023).

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Book SynopsisGiovanni Aloi is an art historian and curator, specializing in the representation of nature, history and theory of photography, and everyday objects in art. He currently lectures on modern and contemporary art at the School of the Art Institute of Chicago, USA.

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Book SynopsisIn a new era of global virology that requires novel methodologies to improve the comprehension of viruses and viral phenomena, Viral Behaviors explores the cultural, material, and artistic significance of viral agents.Across a rich variety of case studies stemming from different areas of interestcovering literature, the graphic arts and scientific visualization, as well as performance, installation and bioartthis book asks whether embracing the complexity of viruses, rather than obsessively measuring, dissecting, or precisely mapping their parts and manifestations, may provide new methodological directions in the intersection of scientific thinking and artistic practice. The book examines the struggles and successes of science and technology to tame the elusive nature and behavior of viruses, and the potential of art-based and cross-disciplinary collaborations to better communicate their complex making and intense entanglement with the world at large. C

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Book SynopsisStarting from the premise that after modernism and postmodernism in the Anthropocene an artwork cannot rest upon its separation from the planet, this volume develops new ethical practice and thought with respect to art, philosophy and moving images. Practitioners and theorists examine how the relations between the ethical and the material figure in a context in which a dearth of ethical practice and thought has caused the materialities of the Anthropocene and the climate catastrophe.Ethics are generally regarded as constituted through immaterial relations guided by moral imperatives. By contrast, this volume argues that the singular ethicalities that are manifested in a work cannot be captured by abstract ethics. The explorations of the ethical here are not prescriptive, but creative. Through artistic and philosophical thought and practice, the contributions move beyond the division between an active practice of ethics and a contemplative theory of aesthetics

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Book SynopsisYasmin Gunaratnam teaches in sociology at Goldsmiths, University of London. Her latest book is Death and the Migrant: Bodies, Borders, Care (2013).Trade ReviewA lively collection of celebration and gratitude. * Publishers Weekly *An outstanding celebration of the commitment, compassion, and fierceness of John's generosity in his life and work. For decades, John has sought the heart of things and given strength. Come to this beautiful book for solidarity, for vision, and the affirmation that some voices are so true they must be heard. * Anne Michaels, poet and author of Fugitive Pieces *There are a few authors that can change the way you look at the world through their writing and John Berger is one of them. * Jarvis Cocker, musician and author of Mother, Brother, Lover: Selected Lyrics (2012) *The essays in this collection speak to the great range of John Berger's writing that so often reveals a crucial and often unspoken history of our times. * Michael Ondaatje, author of The English Patient *Like John Berger himself: remarkable in every sense. This collection is expansive, intimate, sensuous, poetic, and political. A book that enriches the soul. * Suad Amiry, author of Sharon and My Mother-in-Law *John Berger has made the world a better place to live in. I do not say this lightly. These essays tell us how he succeeded in that task. * Arundhati Roy, author of The God of Small Things *Table of ContentsForeword - Jean Mohr Preface - Amarjit Chandan Introduction - Yasmin Gunaratnam The Colour of the Cosmos Graphite - Hans Jürgen Balmes Hay - Rema Hammami and John Berger Fire - Kathryn Yusoff Milk - Ana Amália Alves Blood - Gavin Francis Forest - Nikos Papastergiadis Toast - Michael Broughton Oil -Tessa McWatt The Trees are in Their Place Fences - Nick Thorpe Method - Iain Chambers Life - Glenn Jordon Meetings - Nirmal Puwar Pain - Francisco-J. Hernández Adrián Secrets - Hsiao-Hung Pai Once through a Lens Memory - Heather Vrana Stars - Vikki Bell Conscience - Ram Rahman Performance - Doa Aly A Mirror - Rashmi Duraiswamy Undefeated Despair Trauma - Alicia Salomone Jest - Salima Hashmi Hate - Mustafa Dikeç Hope - Malathi de Alwis Spirit - Tania Tamari Nasir Propaganda - Rochelle Simmons Here is Where We Meet Notes - Amarjit Chandan Verbs - Ali Smith Play - N. Rajyalakshmi interviews Pushpamala N. Tenderness - Christina Linardaki Love - Julie Christie Courage - Yahia Yakhlef Solidarity - Ambalavaner Sivanandan Tennis - John Christie Afterword - Sally Potter

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Book SynopsisLuise Guest is an independent researcher, writer and curator based in Sydney, Australia. She is the author of Half the Sky: Conversations with Women Artists in China (2016) and has written for many journals and art magazines including Australian and New Zealand Journal of Art and Journal of Chinese Contemporary Art.

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Book SynopsisBarbara Brownie is Assistant Dean of the School of Communication at the Royal College of Art, UK. She investigates the potential for space as a site for creative practice through research and collaborations within the arts and spaceflight industries. Her last book, Spacewear (Bloomsbury, 2019) explored the effects of microgravity on the dressed body.

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Book SynopsisWhat was Cubism? How did this strange new way of making paintings and sculptures enable artists so decisively to change the trajectory of Modern Art'? In responding to these questions, distinguished art historian Christopher Green presents a bold new interpretation of the movement and three of its key protagonists. Stemming from a critical re-evaluation of the author's own first responses to Cubist artworks, as a student of the late artist and critic John Golding, Cubism and Reality challenges the commonly-held view of Cubism as either a retreat from reality into abstraction, or an invitation to convert the real into the surreal', arguing instead that Georges Braque, Pablo Picasso, and Juan Gris wanted, above all, to find ways of intensifying and expanding painting's capacity to give viewers more, not less, of their lived experience of the world.Lavishly illustrated and filled with rich new insights and approaches to the artwork that are the product of decades' wo

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Book SynopsisLiana Psarologaki is an architect, practicing artist, and Associate Professor of Art, Design and Performance at Buckinghamshire New University, UK.

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Book SynopsisDrawing on the work of a range of visual artists including Francisco de Goya y Lucientes, Francis Bacon and Louise Bourgeois, Katrina Mitcheson explores how visual art can help us to know ourselves, when the self is complex, decentred and partially unconscious.Trade Review"A novel theory of selfhood centered on embodiment and modeled on Louise Bourgeois' creative process. Seeking a deep form of personal emancipation, Mitcheson explores the transformative potentialities of bodily openness to aesthetic experience. Her account of the interplay between psychocorporeal subjects and artworks by Cindy Sherman and other identity-destabilizing artists is fascinating." -Diana Tietjens Meyers, University of Connecticut

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Book SynopsisAmongst recent contemporary art and museological publications, there have been relatively few which direct attention to the distinct contributions that twentieth and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer still that recognise the pedagogic potential of interventionist artworks in galleries and museums. This book fills that gap and demonstrates how artists have been making curious but, none-the-less, useful contributions to museum education and curation for some time. Claire Robins investigates in depth the phenomenon of artists'' interventions in museums and examines their pedagogic implications. She also brings to light and seeks to resolve many of the contradictions surrounding artists'' interventions, where on the one hand contemporary artists have been accused of alienating audiences and, on the other, appear to have played a significant role in orchestrating positive developments to the way that learning is defined Trade Review’In this engaging and thought-provoking work, the author enlivens the recent history of pedagogically motivated artists’ interventions and offers significant insights into the curious lessons they provide to museum and gallery learning departments.’ Julie Sheldon, Liverpool John Moores University, UK ’With deft scholarly touch, Robins traces the pedagogic thread of artists' interventions woven throughout the history of museum collections both private and public, from the historical to the contemporary. In so doing, she reveals the subtle and witty complexity and broad educational agency of these interventions, making the book essential reading for museum scholars, students and professionals today.’ Helen Charman, Design Museum London, UK ’In this historical overview of museum pedagogy, Claire Robins points out that many recent artistic interventions seek to tap the pre-Enlightenment wonder of the institution. She analyzes compelling instances from Andy Warhol to Fred Wilson and Jeremy Deller, as well as her own performance at the William Morris Gallery, England. She argues for artists’ interventions as an increasingly more accurate term than the fashionable institutional critique, for the wide-ranging, ever growing roster of contemporary artist/ trickster legitimated transgressions embraced by museums to freshen their image. Highly recommended for all parties in this complex interplay.’ Lewis Kachur, Kean University, USA and author of Displaying the Marvelous: Marcel Duchamp, Salvador Dali and Surrealist Exhibition Installations ’... the content is well-researched, insightful and page-turning, and this work has the potential to stimulate further research and constructive dialogue in the field. This publication is appropriate for students and professionals of museum studies, while at the same time art historians, and even artists, would find the content of this book equally fascinating.’ Rosetta'The strength of the book lies in the author's commitment to represent a wide and disparate set of voices, among them contemporary artists, social and museological theorists, and arts educators. This approach will no doubt provide new insights to any reader, as few authors have attempted to combine these competing concerns in existing scholarship.' Art JournalTable of ContentsIntroduction; Part I Artists, Museums and Education in Historical Context; Chapter 1 Shifting priorities for learning in the museum; Chapter 2; Chapter 3 Historical tracings of artists’ interventions in the mid-twentieth century; Part II Parody and Irony in the Museum; Chapter 4 Humour, irony and parody in artists’ interventions; Chapter 5 Jokers, tricksters and the parafictional; Chapter 6 An Elite Experience for Everyone: a case study intervention at the William Morris Gallery, London; Part III Contemporary Museums and the Role of Artists’ Interventions; Chapter 7 The role of artists’ interventions in opening up micro, counter and affective narratives in museum interpretation; Chapter 8 Artists’ interventions and the reflexive museum: addressing difference; Chapter 9 The affable interventionists;

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Book SynopsisThe Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of 'the break', by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and impoTrade Review’The art of our age is by no means as secular as some think, and in this fascinating and finely documented study, Richard Harries traces some of the ways in which the image of Christ has tunnelled its way back into the central territory of the imagination in the work of some surprising modern artists. A fascinating and fresh survey.’ Rowan Williams, Magdalene College, Cambridge, UK ’This is a finely written, important and original take on the art of the last hundred years. Richard Harries faces the difficulty that modern artists have had in representing Christ in a largely secular and indifferent world. He calls up as witnesses artists such as Rouault, David Jones, Elizabeth Frink, John Piper and many others who make his point that Christ still lives on, and dynamically, in modern art. His argument is bold and completely convincing.’ Melvyn Bragg, writer and broadcaster ’Until fairly recently, modern art used to be discussed primarily in terms of its formal challenge and its rupturing of traditional habits and expectation. Today, we bring to this art a wider embrace, owing to the many perspectives from which it is now viewed. It is especially interesting to see what happens when a theological lens is held over modern painting and sculpture, as happens here. Richard Harries is an authoritative voice on the relationship between theology and the arts, and he is a brisk, compelling guide to Christian iconography in art. He focuses our attention on a rich seam of imagery, sourced by many things, not least a recurrent desire to return to the old in order to make it new.’ Frances Spalding, Newcastle University, UK 'This book is informative, engaging and challenging... [Harries] provides encouragement to view modern art in a positive way to consider what emotions the artists are conveying... I am left with two tasks: to obtain a copy of Richard Harries’ book, The Passion of Art, and to recommend The Image of Christ in Modern Art wholeheartedly.' The RetireTable of ContentsIntroduction; Chapter 1 The Break; Chapter 2 The Explosion of Modernism; Chapter 3 Distinctive Individual Visions; Chapter 4 Catholic Elegance and Joy; Chapter 5 Post-War Recovery of Confidence; Chapter 6 Searching for New Ways; Chapter 7 A Vibrant Contemporary Scene;

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Book SynopsisThrough cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man's effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addresseTable of ContentsRaw: Architectural Engagements with Nature

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