Treatments and subjects Books

Book SynopsisBodily Desire, Desired Bodies examines the diverse ways that literary works and paintings can be read as screens onto which new images of masculinity and femininity are cast. Esther Bauer focuses on German and Austrian writers and artists from the 1910s and 1920s specifically authors Franz Kafka, Vicki Baum, and Thomas Mann, and painters Otto Dix, Christian Schad, and Egon Schiele who gave spectacular expression to shifting trends in male and female social roles and the organisation of physical desire and the sexual body. Bauer's comparative approach reveals the ways in which artists and writers echoed one another in undermining the gender duality and highlighting sexuality and the body. As she points out, as sites of negotiation and innovation, these works reconfigured bodies of desire against prevailing notions of sexual difference and physical attraction and thus became instruments of social transformation.

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Book SynopsisNow available in paper! This anthology brings together selections from sixty-one primary source documents_artist''s letters, journals, and memoirs; critics'' reviews; and minutes and reports of artists'' societies and schools_that illuminate the experience of women artists from the mid-eighteenth to the mid-twentieth centuries in the United States and Europe. In addition to material related to the work of such well-known painters and sculptors as Elisabeth-Louise Vigee-Lebrun, Angelica Kauffmann, Rosa Bonheur, Harriet Hosmer, Cecilia Beaux, Marie Bashkirtseff, Berthe Morisot, Sonia Delaunay-Terk, and Barbara Hepworth, the volume includes material related to the work of amateur artists and women in ceramics and textiles. Cloth edition published in 1991.Trade Review...exhilerating...to read so many first-person accounts by approximately 40 women artists...useful introductory essays. * Feminist Bookstore News *...useful text... * Woman's Art Journal *...undergraduates...will find this an insightful work. * CHOICE *

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Book SynopsisThroughout the 20th century, there were increasing numbers of artists who chose to work within a fine art aesthetic (i.e., expressive, communicative, innovative, unique) while simultaneously embracing qualities associated with craft production (i.e., intimacy, materiality, labor, ritual). At the periphery of their world loomed issues of status, gender, community, and economics. This fluid situation made for an exciting mix of ideas that helped perpetuate an ongoing debate within an art world no longer as monothematic as it appeared in print. Objects and Meaning expands upon a national conversation questioning how various academic disciplines and cultural institutions approach and assign meaning to artist-made objects in postmodern North America. Although most of the discourse since the mid 20th century revolved around the split between art and craft, the contributors to this collection of essays take a broader view, examining the historical, cultural, and theoretical perspectives that defined the parameters of that conversation. Their focus is on issues concerning works that appeared to ''cross over'' from mainstream art to an amorphous and pluralistic aesthetic milieu that has yet to be defined. The essays collected for this volume, loosely organized into three groupings_Historical Contexts, Cultural Systems, and Theoretical Frames_contribute to a deeper understanding of the meaning of objects and how that meaning comes to be defined. Although the style of writing in this collection ranges from passionate conviction to cool observation with points of view from different professional backgrounds, each essay reflects original ideas introduced into the cultural dialogue during this period.Trade ReviewThe crux of Objects and Meaning is to examine approaches to and meaning of recent artist-made objects. 'Though most of the discourse since mid-century has revolved around the split between art and craft, our personal interest extended to other facets of the topic,' explain the editors. Those explorations are grouped into three categories - historical contexts, cultural systems (theories about the cultural position of artist-made objects), and theoretical frames (new ways to look at craft and artist-made objects). The contributors include artists, critics, and museum professionals. * Museum News *What is the place of craft within an art-historical continuum? What are the 'institutional systems' that have separated craft from art? Are craft artists doomed to perpetual second-class status in the art world and have they contributed to it by sheltering themselves within their own insular institutions? What are different ways of 'reading' the craft object? These are among the questions addressed in this anthology of essays... * American Craft *Anna Fariello and Paula Owen's Objects and Meaning presents 13 provocative essays on the history, production, and analysis of aesthetic three-dimensional objects....The collection is well documented and full of such wry observations as John Perraeault's 'art making that is a hobby is the art that is free'...Overall, the ideas and arguments put forward in Objects and Meaning will surely, as the editors claim, 'continue to inform our view of artist-made objects' well into the 21st century. * Sculpture *It is useful, patchy, and earnest.... * Crafts *How do art and craft relate to each other and, more important, what can they do to the artist? In this collection of 13 essays, contributors focus on these questions and how they influence and are influenced by gender, economics, and society (critic and patron). They describe the historical contexts, including critical approaches and the pursuit of the avant-garde among American craftspeople, cultural systems that inform power and move beyond the binary in terms of debate and dialog, affectivity and entropy within production aesthetics in contemporary structure, and theoretical frames, such as how one "reads" the language of objects, feminism and knowledge within craft, subjectivity, workmanship, and evolutionary biology and its implications for craft. * Reference and Research Book News, August 2006 *

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Book SynopsisTrade ReviewMilam (art history & film studies, Univ. of Sydney, Australia) deftly explains the geographical centers, art dealers, state figures, practitioners, techniques, substyles, and concepts defining the rococo period....The well-written, thoroughly researched text... includes all European and American stylistic permutations. Alphabetized entries are carefully explained and cross-referenced for additional clarification. Also vital are a chronology of style-relevant historical events and a 25-page introduction that defines rococo’s stylistic hallmarks and implications. An important guide for art history collections. * Library Journal *This entry in the Historical Dictionaries of Literature and the Arts series provides detailed information about the who, what, why, when, and how of rococo art, covering the period from 1700 to 1789. Originating in France as a revolt against the staidness of the classical era, rococo emphasized playfulness and dramatic flourishes. Author Milam is an associate professor of art history at the University of Sydney, specializing in seventeenth- and eighteenth-century European art. The dictionary begins with helpful introductory information—a chronology and an overview of rococo art, including definitions, origins, and style. The more than 350 entries are arranged alphabetically and include cross-references in bold type. Each entry—short historical essays ranging from a few paragraphs to several pages—is written in a concise, accurate, and clear style that doesn’t require much advanced knowledge of rococo art. Topics covered include terminology, artists, critics, patrons, art pieces, architecture, and more. The comprehensive bibliography will be useful for leading the reader to additional sources. The volume...will be useful for anyone interested in the historical context of rococo. Recommended for academic and large public libraries as well as art-museum libraries. * Booklist *Milam (Univ. of Sydney, Australia) offers a well-written volume on rococo, a movement generally considered to have started in France at the tail end of Louis XIV's reign and continued to the beginnings of the French Revolution. The introduction and chronology place the rococo movement firmly in historical context. Milam is careful to designate the scope of the dictionary and demarcate why certain subject matter is included or excluded. While seminal works such as Fiske Kimball's The Creation of the Rococo (1943) or William Parks's The Idea of Rococo (CH, Dec'93, 31-1917) provide in-depth historical and ideological contexts for the rococo movement, the short, easily digested entries of this dictionary allow students and researchers to navigate the aforementioned works with confidence and ease. For both undergraduate and graduate researchers, it is a well-informed starting point for further research. The bibliography is a useful scholarly resource that includes contemporary works on rococo and information on where to find images of the works discussed. Information on databases and website resources guides students and researchers to other scholarship. Milam also provides suggestions for worldwide art collections that represent the rococo style. It is a treasure for undergraduate and graduate researchers....Summing Up: Recommended. Lower-level undergraduates through researchers/faculty. * CHOICE *The fact that the subject matter is historically a more limited phenomenon (shorter timeframe: 1700-1789) and that the author, Milam, teaches a university course specifically about this topic, is evident in the way the volume has been written. The author has a firm grasp on the material and gives a confident in-depth treatment of the movement, including, besides most of Europe, the American colonies. There is also a very interesting introduction that can even function on its own as an overview. * Art Libraries Journal *Historical Dictionary of Rococo Art is highly recommended as a reference work in this specialized area of art history, and will be of use to the beginning as well as the expert researcher of art history. The book has an excellent annotated chronology of Rococo history, as well as a significant essay on the entire Rococo period and its various styles and variations throughout Europe. . . . Overall, Historical Dictionary of Rococo Art is a fairly comprehensive dictionary on the Rococo art period. * American Reference Books Annual *

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Book SynopsisTrade ReviewAuthor Palmer characterizes neoclassicism as “the revival of classical art and architecture beginning in Europe in the 1750s and lasting until around 1830, with late neoclassicism lingering through the 1870s.” Palmer is associate professor of art history at the University of Oklahoma and author of Historical Dictionary of Architecture (2008), also part of Scarecrow’s Historical Dictionaries of Literature and the Arts series. Following a format similar to other titles in the series, Historical Dictionary of Neoclassical Art and Architecture begins with a 3-page chronology and a 14-page introduction. A 237-page dictionary section is the heart of the book. Entries feature mostly painters, sculptors, architects, and other figures. Assorted entries also address relevant subjects including Biedermeier, French Revolution, Grand Tour, Rococo, Romanticism, and Veduta (“a painted, drawn, or engraved landscape of a specific place”), which has a 2-page entry. Boldface within an entry identifies subjects having their own main entry. See also references are frequent. An extensively subdivided 35-page bibliography (including a bibliographical essay) concludes the book. Recommended for academic and large public libraries. * Booklist *This is a fine work that is essential for all universities that support majors in art, architecture, and history. * American Reference Books Annual *

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Book SynopsisJohn Castagno''s Artists'' Signatures and Monograms have become the standard reference source for galleries, museums, libraries, and collectors around the world. Whether used to identify, authenticate, or verify signatures and works of both well-known and little-known artists, Castagno''s work has no equal. In this new volume, Castagno has collected the signatures and monograms of artists from Africa, Asia, and the Middle Eastincluding signature examples of artists from China, India, Japan, South Africa, Israel, and many other countries. In addition to the standard signature entries, the book contains sections for monograms and initials, common surname signatures, alternative surname signatures, and symbols. All artists are listed with the most updated information on nationality, birth and/or death dates. The entries direct the researcher to many biographical and bibliographical sources not found on web site searches, and many of the resources offer additional references. Several indiTrade ReviewThis resource will become very popular by library patrons wishing to research works of art that they own.... There are no other reference sources available that provide this type of unique information....Highly recommended for both large public and academic libraries. * American Reference Books Annual *

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Book SynopsisChurch Woodwork in the British Isles, 1100-1535: An Annotated Bibliography is a thoroughly researched bibliographic guide to monographic, serial, archival, and graphical resources that deal with all aspects of late Romanesque, Gothic, and early Renaissance ecclesiastical woodwork in churches throughout the United Kingdom and the Republic of Ireland. Dealing with both the decorative and structural elements of wooden church furnishings fittings, this authoritative reference tool includes more than 900 annotated citations for works published from the mid-19th century to the present. The extensive and informative annotations provide a synopsis of each cited resource. Resources are categorized in separate chapters by their specific location in the church, their decorative features, their structural function, or other pertinent criteria. This annotated bibliography represents the most comprehensive reference tool for material that deals with church woodwork that has yet been published.Trade ReviewRobert A. Faleer's Church Woodwork in the British Isles, 1100- 1535: An Annotated Bibliography comprises an imposing amount of information on anything related to wood in British ecclesiastical environments from medieval into early modern times. Covering all types of wooden elements, both decorative and structural, in the period that led to the Reformation and consequent wave of iconophobic destruction, the range of entries in Faleer's Bibliography indicates not only the substantial amount of surviving material available for study, but also the vastly greater wealth of items that must have been irreparably lost in the years following the break with Rome....An easy-to-consult and effective research tool. * The Medieval Review *An annotated bibliography is a rich dish. Here, condensed into 450 pages, are the fruits of a lifetime's reading of one passionate and academic historian....Faleer's work is a carefully organised selection of hundreds of reviews of books going back over several hundred years....Church Woodwork is a book to dip into, a book to look things up in, a book to be inspired by. As an overall collection, it is a very valuable contribution to the history of the Church in England, Scotland, Wales and Ireland. * The Suffolk Churches Site *This impressive bibliography is a work of passion. . . . Indeed, the whole work is an exemplar of good bibliographic practice....Overall, this is a superb production, physically as well as intellectually. It cannot be, and does not claim to be, exhaustive. In browsing this bibliography, I had a wish for more: illustrations, maps, glossary, more background and so on, but I had to remind myself that this was only a bibliography! Clearly my interest had been aroused—a mark of a good book!. . . . Libraries featuring church history, British and Irish history, and architectural studies, should consider for purchase. . . . Such competent enthusiasts as Robert Faleer are rare! -- Bob Duckett * s, 2010 Vol. 24, No. 2 *

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Book SynopsisMore than mere entertainment, German theater was a crucial component of culture-often influencing society and politics in German-speaking countries-whose influence gradually reached much further with the emergence of outstanding playwrights like Goethe, Schiller, Hauptmann, and Brecht, as well as exceptional dramas such as Faust and The Threepenny Opera. The A to Z of German Theater covers the field of theater performance in the German language, concentrating on German-speaking Europe, through a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on significant playwrights, directors, producers, designers, actors, plays, theaters, cities, dramatic genres, and movements such as the Sturm und Drang, Naturalism, and Expressionism.

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Book SynopsisOutside of the classroom and scholarly publications, lynching has long been a taboo subject. Nice people, it is felt, do not talk about it, and they certainly do not look at images representing the atrocity. InImagery of Lynching, Dora Apel contests this adopted stance of ignorance.Trade Review"In concise and compelling language, Dora Apel traces the origins and histories of images of lynching in order to foreground their role in both normalizing and challenging particular concepts o racial and national identity. She forces us to look at scenes most would prefer to ignore, and exposes the horror and logic of torture. At a time when grotesque deaths are increasingly framed as 'entertainment' by today's news media, Apel's book is a sober reminder of the political expediency and personal pain behind such graphic displays.” -- Frances K. Pohl * author of Framing America: A Social History of American Art *"Apel has written an important book. It synthesizes the history of spectacle lynching and dissects the photographs and artworks used to sustain and challenge racial violence. It contributes to understanding the symbolic and ideological power of these images for past--and present. Imagery of Lynching is a must read for anyone interested in racial violence in the United States." * The Journal of American History *"Apel has written a very engaging study on a difficult part of American visual history. She has succeeded in using a case study format to thoroughly address the breadth of social, political, and economic issues that have affected lynching and its representation in the last century....Apel offers astute analyses of an array of documentary and fine art images, revealing how they have reflected and influenced American attitudes about race, racism, sexuality, mob violence, and their pathology....Highly recommended." * Choice *"The visuals in Imagery of Lynching are disturbing and graphic, but deserve the reader's attention. Apel painstakingly and effectively discusses the strength of these images and details the controversies that often followed their public displays." * The Historian *"This book makes a major contribution to the scholarship on both lynching and the artistic representation of racism in the United States. It will undoubtedly be a foundational work for subsequent research by historians and art historians alike.” -- Fitz Brundage * author of Under Sentence of Death and Lynching in the New South *"[Apel's] book provides an important complement to social and political studies of lynching that generally ignore the role of the artist in attempting--however futilely--to awaken the public conscience." * Southern Historical Association *"Dora Apel mounts a careful and convincing analysis of a set of extremely difficult, often literally terrifying, images and provides the necessary contexts for readers to understand the practice of lynching and the terms of its representation by photographers and artists.” -- Richard Meyer * author of Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art *Table of ContentsOn looking Scottsboro, the Communist party, and the NAACP: conflicts and desires The antilynching exhibitions of 1935: strategies and constraints Race, sex, and politics in prewar America: picturing Black oppression Mass media, World War II, and the Cold War: the lynching of George Dorsey and Emmitt Till The evolution of lynching narratives in contemporary art

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Book SynopsisSince the liberation of the Nazi concentration camps and recognition of the Holocaust as a watershed event, the capacity of art to represent this event adequately has been questioned. Contributors provide case studies that include a artists from North America, Europe and Israel, and examine some of the dominant themes of their work.Table of Contents "Picturing Death: Better This than Silence," Robert Poor ""Porbing the Limits of the Politics of Representation,"" Jeremy Varon ""After Auschwitz: Art and the Holocaust Six Decades Later,"" Monica Bohm-Duchen ""Jewish Artists in New York: The 1940s,"" Matthews Baigell ""From the Sublime to the Abject: Art and the Holocaust Six Decades Later,"" Andrew Weinstein ""R.B. Kitaj's 'Good Bad' Diasporism and the Body in American Jewish Postmodern Art,"" Sander Gilman ""Bak's Variations on a Theme by Bak,"" Lawrence Langer ""Toward a Post-Holocaust Theology in Art: The Search for the Absent and Present God,"" Stephen Feinstein ""How to Remember,"" Nancy Weston ""Disaster Art: A Plea Against the Peripheral Stuff,"" Pier Marton ""Conversations with Rzeszow: An Artist's Journey,"" Joyce Lyon ""Haunting the Empty Place,"" Ziva Amishai-Maisels

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Book SynopsisSuitable for those interested in art history, theories of gender, and postcolonial studies, this book contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions.Trade Review“Focusing largely on the conjunction of Orientalism and pictorial representation, a still underexamined area, Orientalism’s Interlocutors contributes new understanding to the concepts of Orientalism and colonial discourses.”—Julie Codell, coeditor of Orientalism Transposed: The Impact of the Colonies on British Culture“This collection of essays makes a significant contribution to what is becoming a truly major debate. It advances the latest thinking about the processes of cultural interaction between East and West by viewing such ‘interlocutions’ as being much more of a dialogue through which indigenous identities can be formed and asserted.”—John MacKenzie, author of Orientalism: History, Theory, and the ArtsTable of ContentsList of Illustrations Acknowledgments Orientalism's Interlocutors / Jill Beaulieu and Mary Roberts Speaking Back to Orientalist Discourse / Zeynep Celik Colonial Tutelage to Nationalist Affirmation: Mammeri and Racim, Painters of the Maghred / Roger Benjamin The Mosque and the Metropolis / Mark Crimson Earth into the World, Land into Landscape: The “Worlding” of Algeria in Nineteenth-Century British Feminism / Deborah Cherry Henri Regnault's Wartime Orientalism / Hollis Clayson Contested Terrains: Women Orientalists and the Colonial Harem / Mary Roberts Bibliography Contributors Index

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Book SynopsisMichael Butor was thematically concerned with changes in space and time and the artist's dilemma in recreating reality. This title is a study of Michael Butor's collaboration with three visual artists, specifically those in which the artwork preceded the text and thus provided Butor with inspiration for his texts.

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Book Synopsis'Warriors & Heroes' is a stunning display of contemporary fantasy art, a complement to its bestselling predecessor, 'Dragon Art'. The 'Masters & Origins' section discusses influences such as Roy G. Krenkel, the Hildebrandt Brothers and Frazetta, and is then followed by a large selection of the best of the current crop of fantasy artists.

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Book SynopsisCan beauty save the world?These days criticism of art--whether visual, musical, or literary--is often marked by a suspicion of beauty. What happened to the belief that the creativity of the artist reflects the creativity of the Maker of heaven and earth, and that art can therefore be a channel for divine truth? Anyone who has joined with others to sing Bach's Saint Matthew Passion or stood before a painting by Raphael or Chagall can attest to this. At such moments, art binds people together. This issue of Plough focuses on art that leads to such community: through theater, painting, music, and the objects and architecture of everyday life. And while art fosters community, building community is itself a work of creativity.Also in this issue: original poetry by Cozine Welch Jr.; reviews of new books by Eliza Griswold, Alissa Quart, Eugene Vodolazkin, and Nathan Englander; and art by Denis Brown, JR, Valérie Jardin, Isaiah King, Isaiah Tanenbaum

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Trade Review"Gale should be commended as one of the first critics to write about video art in Canada.... Videotexts provides an excellent introduction and raises questions which could serve as the basis for further research."

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Book SynopsisLouisiana Lens surveys 180 years of photographic encounters with one of America’s most evocative regions: from early daguerreotypes of New Orleans landmarks to haunting post-Civil War landscapes to born-digital photographs documenting the devastation of Hurricane Katrina. Author John H. Lawrence traces the development of photographic equipment and technical processes alongside the evolution of New Orleans and Louisiana over nearly two centuries. Lawrence provides an illuminating narrative for each photograph: whether offering insight into a photograph’s composition or sharing his firsthand knowledge of the photographers themselves, he brings a keen perspective honed by decades of curatorial work. In surveying these selections, Lawrence touches on themes of architecture, music, commerce, race, arts and culture, and the changing landscapes and geographies of the US south. The author was responsible for building THNOC’s photographic collection during his four decades at the institution. This volume serves as both a capstone of Lawrence’s career and a valuable survey of Louisiana photography.  

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Book SynopsisThroughout her six-decade career, Camille Patha's painting has oscillated between the figurative and the abstract. Patha began painting gestural abstraction in the 1960s then deliberately explored various painting styles, including hard-edged abstraction and surrealist-infused photorealism and, finally, a return to abstraction.

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Book SynopsisThe history of innovative intermedia art practices in America. In 1965, American artist and Fluxus cofounder Dick Higgins stated that much of the best art being made at the time fell between media. He linked the dismantling of divisions among media to decompartmentalization in society and the impending dawn of a classless society. After high art, he wrote, came the deluge brought on by Marcel Duchamp's ready-mades, Robert Rauschenberg's combines, and Alan Kaprow's happenings. Intermedia, the term Higgins selected to describe this trend, referred to works of art that fuse different, often nontraditional, media. In intermedia, boundaries between mediums dissolve and new mediums emerge. Never a prescriptive term, intermedia remains fluid, both as an artistic practice and an art historical category. The essays in this volume consider a range of subjects from nineteenth- and twentieth-century American art and visual culture, exploring instances of intermedia within specific culturalTable of Contents1) Michelle Smiley, “The Circulating Medium: Joseph Saxton, Minting, and the American Daguerreotype” 2) Anna Arabindan-Kesson, “From Poetry into Paint: Robert S. Duncanson and The Song of Hiawatha” 3) Maggie M. Cao, “The Readymade and the Counterfeit: The Material Conditions of Art and Money” 4) Sebastian Egenhofer, “Optics and Humor: Light, Pictures, and Subjectivity in the Work of Dan Graham” 5) Eva Ehninger, “Visualizing the City: Interrelations between Painting and Photography” 6) Natilee Harren, “Proposals for Intermedia Art Education: Robert Watts’ Experimental Workshop at the University of California, Santa Cruz, 1968-1969”

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Book SynopsisThis delightfully illustrated volume introduces children and their families to the arts of the Indian subcontinent, spanning nearly two thousand years of artwork. Young readers will explore ancient lore, royal palaces, sacred sites, lush nature, and more, through more than sixty works from the rich collection of the San Diego Museum of Art. Interactive features provide opportunities for further investigation of the themes, history, and artistic techniques discussed in the book. Peacocks and Palaces: Exploring the Art of India is the second instalment in the Art Unframed series from the San Diego Museum of Art, which guides children and families toward a deeper understanding of important traditions in the history of art through works in the Museum''s permanent collection.

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Book Synopsis"To compare the history of English watercolors into 160 pages might seem foolhardy, yet this jewel of a book does so with style."âPublisher's WeeklyTrade ReviewA jewel of a book. * Publishers Weekly *

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Book SynopsisArtist Peter Wise pairs sixty of his evocative paintings of the ocean and its surfers with personal anecdotes and observations from surf-lovers around the world.Trade ReviewThis book is sure to inspire surfers, beach enthusiasts, and anyone who understands surfing to be a metaphor of personal expression. * Beach Magazine, July 2015 *

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe first comprehensive history of MIT's Center for Advanced Visual Studies (CAVS), told through personal accounts and groundbreaking artwork.In 1967, in a time of student unrest, the Massachusetts Institute of Technology did the unexpected: it established the first academic center for research and collaboration in art, science, and technology. The Center for Advanced Visual Studies (CAVS) brought artists to the MIT campus with radical expressions of a rapidly evolving technological era.The brainchild of founding director Gyorgy Kepes, CAVS sought to repair the distance between practitioners of art and engineering within the halls of MIT. The scientist may be an extra brain to the artist, and the engineer may be an extra arm to the artist, whereas the artist can be an extra eye to the scientist and engineer,” said long-time director Otto Piene in Centerbeam, a 1978 film about a CAVS collaboration. As a breeder of new art forms and future-oriented artistic

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe complete guide to the fashion industry, featuring interviews with top designers who explain the intricacies of the world of fashion design Anyone who has ever tried to launch a fashion design career knows how grueling it can be.Table of ContentsFOREWORD vii by Nanette Lepore PREFACE ix ACKNOWLEDGMENTS xv 1 An Introduction to a Career in Fashion Design 1 What Is Fashion Design? 4 What Do Fashion Designers Do? 32 History of Fashion Design: Then and Now 59 The Worldwide Fashion Industry by the Numbers 76 Embracing the World of Fashion 87 Finding Balance 109 2 The Education for a Fashion Design Career 111 Choosing a Collegiate Educational Program 111 Undergraduate Education 112 The Value of Internships 128 Studying Abroad 136 Postgraduate Education 137 Continuing Education 138 3 The Job Market 141 Determing Your Design Specialty 141 Personal Branding 152 Portfolio Development 155 Creating a Résumé that Pops 166 Networking Your Way to a Job Offer 171 Tried-and-True Job Search Strategies 176 Perfecting the Job Interview 180 Negotiating the Job Offer 201 4 The Fashion Design Process 207 Conceptual Development 208 Patternmaking 211 Sample Creation 214 Finalization, Presentation, and Hand-Off 215 5 Launching Your Own Fashion Collection 217 Writing a Business Plan 218 Choosing Type of Ownership 218 Defining Your Brand 223 Protecting Your Designs 231 Creating Accounting, Budgeting, and Bookkeeping Systems 236 Hiring Employees, Contractors, and Interns 237 Developing a Marketing Plan 239 Establishing a Sales and Order Fulfillment Strategy 251 6 Strategic Business Trends in the Fashion Industry 261 Outsourcing and Globalization 261 Corporate Social Responsibility 262 APPENDIX 281 Professional Organizations, Associations, and Councils 281 Fashion Industry Networking Websites 283 Professional Networking Websites 284 Social Networking Websites 284 Professional Trade Publications 285 Online Portfolio Websites 285 Color and Trend Forecasting Companies 286 Broadcast and Cable Television Programming with a Fashion Theme 287 Full-Feature Movies with a Fashion Theme 288 Documentaries with a Fashion Theme 289 Major Fashion Magazines 290 INDEX OF INTERVIEWS 293 INDEX 295

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Book SynopsisRichly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. A smart, elegant, and jargon-free analysis of the Italian Renaissance what it was, what it means, and why we should study it Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers' understanding of the period Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily Situates the Italian Renaissance in the wider context of the history of art Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known Trade Review“Summing Up: Recommended. Upper-division undergraduates, graduate students, and researchers/faculty.” (Choice, 1 November 2013) “I highly recommend the very important and fascinating book Italian Renaissance Art: Understanding its Meaning by Christiane L. Joost-Gaugier, to any historians, art critics, art history and Renaissance history students and academics, and to anyone seeking a deeper understanding of the real meaning and currents that were present in Renaissance Italy. This book will transform how you view the art and the artists of the fifteenth and sixteenth centuries in Italy, and guide you toward thinking of the Renaissance as an important idea and not as a time period.” (Blog Business World, 13 April 2013) “I highly recommend the very important and fascinating book Italian Renaissance Art: Understanding its Meaning by Christiane L. Joost-Gaugier, to any historians, art critics, art history and Renaissance history students and academics, and to anyone seeking a deeper understanding of the real meaning and currents that were present in Renaissance Italy. This book will transform how you view the art and the artists of the fifteenth and sixteenth centuries in Italy, and guide you toward thinking of the Renaissance as an important idea and not as a time period.” (Money Talks, 13 April 2013)Table of ContentsList of Illustrations vi Preface xi Frontispiece: Map of places mentioned xiii Introduction: The Italian Renaissance as an Idea Rather Than a Period 1 1 What a Difference a Hundred Years Makes 8 2 How It All Started: Florence and Umbria 31 3 What Happened Next in Florence 68 4 Searching for the Renaissance (1): Siena and Southward to Sicily 92 5 Searching for the Renaissance (2): From Northern Italy Back to Umbria 118 6 The Triumph of the Intellectual Avant-Garde: The High Renaissance 152 7 Some Other Artists of the High Renaissance 184 8 The Swan Song of Renaissance Art 200 9 The Break and the New Avant-Garde: Early Mannerism 209 10 What Was the Italian Renaissance? Conclusions in the Bigger Picture 246 Appendix A: Artists Mentioned 258 Appendix B: Some Suggested Readings 262 Index 267

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Book SynopsisRichly illustrated, and featuring detailed descriptions of works by pivotal figures in the Italian Renaissance, this enlightening volume traces the development of art and architecture throughout the Italian peninsula in the fifteenth and sixteenth centuries. A smart, elegant, and jargon-free analysis of the Italian Renaissance what it was, what it means, and why we should study it Provides a sustained discussion of many great works of Renaissance art that will significantly enhance readers' understanding of the period Focuses on Renaissance art and architecture as it developed throughout the Italian peninsula, from Venice to Sicily Situates the Italian Renaissance in the wider context of the history of art Includes detailed interpretation of works by a host of pivotal Renaissance artists, both well and lesser known Trade Review“Summing Up: Recommended. Upper-division undergraduates, graduate students, and researchers/faculty.” (Choice, 1 November 2013) “I highly recommend the very important and fascinating book Italian Renaissance Art: Understanding its Meaning by Christiane L. Joost-Gaugier, to any historians, art critics, art history and Renaissance history students and academics, and to anyone seeking a deeper understanding of the real meaning and currents that were present in Renaissance Italy. This book will transform how you view the art and the artists of the fifteenth and sixteenth centuries in Italy, and guide you toward thinking of the Renaissance as an important idea and not as a time period.” (Money Talks, 13 April 2013)Table of ContentsList of Illustrations vi Preface xi Frontispiece: Map of places mentioned xiii Introduction: The Italian Renaissance as an Idea Rather Than a Period 1 1 What a Difference a Hundred Years Makes 8 2 How It All Started: Florence and Umbria 31 3 What Happened Next in Florence 68 4 Searching for the Renaissance (1): Siena and Southward to Sicily 92 5 Searching for the Renaissance (2): From Northern Italy Back to Umbria 118 6 The Triumph of the Intellectual Avant-Garde: The High Renaissance 152 7 Some Other Artists of the High Renaissance 184 8 The Swan Song of Renaissance Art 200 9 The Break and the New Avant-Garde: Early Mannerism 209 10 What Was the Italian Renaissance? Conclusions in the Bigger Picture 246 Appendix A: Artists Mentioned 258 Appendix B: Some Suggested Readings 262 Index 267

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Book SynopsisCharting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked. Completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions Brings together 88 revealing texts from North America, Europe and Australasia, juxtaposing writings from artists and activists with those of academics Embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism, to education and aesthetics Includes many classic texts, but is particularly notable for its inclusion of rare and significant material not reprinted elsewhere Provides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific aTable of ContentsPreface x Acknowledgements and Sources xii Introduction: Feminism–Art–Theory: Towards a (Political) Historiography 1 1 Overviews 8 Introduction 8 1.1 Gender in/of Culture 12 • Valerie Solanas, ‘Scum Manifesto’ (1968) 12 • Shulamith Firestone, ‘(Male) Culture’ (1970) 13 • Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17 • Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’(1973) 26 1.2 Curating Feminisms 28 • Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28 • Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33 • Mirjam Westen, ‘rebelle: Introduction’ (2009) 35 2 Activism and Institutions 44 Introduction 44 2.1 Challenging Patriarchal Structures 51 • Women’s Ad Hoc Committee/Women Artists in Revolution/WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51 • Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52 • Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54 • Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54 • Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60 • Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62 • East London Fawcett, ‘The Great East London Art Audit’ (2013) 64 2.2 Towards Feminist Structures 66 • WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66 • Women’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (c. 1973) 67 • Martha Rosler, ‘Well, is the Personal Political?’ (1980) 68 • Lucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69 • Anne Marsh, ‘A Theoretical and Political Context’ (1985) 79 • Xabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85 • Parliament of Spain, ‘Article 26: Equality in Artistic and Intellectual Creation and Production’ (2007) 86 2.3 Activism in Practice 88 • Mierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88 • Leslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91 • Zoe Leonard, ‘I Want a President’ (1992) 95 • Andrea Fraser, ‘There’s No Place like Home’ (2012) 96 • Nadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102 2.4 Education 106 • Miriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106 • Lisa Tickner, ‘Retrospect’ (2008) 107 • Griselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114 • Lisa Nyberg and Johanna Gustavsson, ‘Radical Pedagogy’ (2011) 124 3 Historical and Critical Practices 129 Introduction 129 3.1 Interrogating ‘Art History’ 134 • Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134 • Griselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149 • Mira Schor, ‘Patrilineage’ (1991) 159 3.2 Feminist/Writing 165 • Carol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165 • Joan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169 • Freida High W. Tesfagiorgis, ‘In Search of a Discourse and Critique/s that Center the Art of Black Women Artists’ (1993) 185 • Maureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198 • Martina Pachmanová, ‘In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory’ (2009) 203 4 Materials, Practices, Choices 217 Introduction 217 4.1 Aesthetic Choice 223 • Judy Chicago, ‘Woman as Artist’ (1971) 223 • Marjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225 • Pat Mainardi, ‘A Feminine Sensibility?’ (1972) 227 • Judith Stein, ‘For a Truly Feminist Art’ (1972) 228 • Anne‐Marie Sauzeau‐Boetti, ‘Negative Capability as Practice in Women’s Art’ (1979) 229 4.2 Craft 233 • Rozsika Parker, ‘The Creation of Femininity’ (1984) 233 • Catherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237 • Stephanie Syjuco, ‘Anti‐Factory’ (2008) 240 4.3 Painting 241 • Katy Deepwell, ‘Paint Stripping’ (1994) 241 • Alison Rowley, ‘Plan: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246 • Amy Sillman, ‘AbEx and Disco Balls: In Defense of Abstract Expressionism II’ (2011) 250 4.4 New Media 255 • Mitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255 • Faith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260 • Elisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266 • Alla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271 • Stéphanie Jeanjean, ‘Disobedient Video in the 1970s: Video Production by Women’s Collectives’ (2011) 279 5 Representing Women 288 Introduction 288 5.1 Between Image and Representation 293 • John Berger, Chapter 3 of Ways of Seeing (1972) 293 • Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300 • Mary Kelly, Preface to Post‐Partum Document (1983) 310 • Judith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314 • Elizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320 • Lynda Nead, ‘Framing the Female Body’ (1992) 322 • Nelly Richard, ‘Politics and Aesthetics of the Sign’ (2004) 329 5.2 The Artist’s Body in the Artwork 340 • Lucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340 • Mary Duffy, ‘Disability, Differentness, Identity’ (1987) 343 • VALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345 • Orlan, ‘Intervention d’Orlan’ (1995) 361 • Amelia Jones, ‘Yayoi Kusama’ (1998) 367 6 Sex, Sexuality, Image 372 Introduction 372 6.1 Sexuality and the Sexual Body 376 • Barbara Rose, ‘Vaginal Iconology’ (1974) 376 • Suzanne Santoro, ‘Towards New Expression’ (1974) 378 • Joanna Frueh, ‘Feminism’ (1989) 379 • Buseje Bailey, ‘I Don’t Have to Expose my Genitalia’ (1993) 385 • ‘Interview with Betty Tompkins’ (2006) 388 • Chris Kraus, ‘May ’69’ (2011) 393 6.2 Lesbian and Queer Practices 398 • Monique Wittig, ‘The Straight Mind’ (1980) 398 • Jan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402 • Shonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408 • Ridykeulous, ‘Advantages of Being a Woman Lesbian Artist’ (2006) 410 • Zanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410 • Catherine Lord, ‘Wonder Waif Meets Super Neuter’ (2010) 414 7 Identity, Geography, Citizenship 435 Introduction 435 7.1 Projections 440 • Kass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440 • Adrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444 • Diane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455 • Jieun Rhee, ‘Performing the Other: Yoko Ono’s Cut Piece’ (2005) 461 7.2 Political Violence 471 • Jill Bennett, ‘Art, Affect, and the “Bad Death”: Strategies for Communicating the Sense Memory of Loss’ (2002) 471 • ‘Regina José Galindo’, interview by Francisco Goldman (2006) 477 • ‘Between the Monument and the Ruin’, interview with Lida Abdul by Candice Hopkins (2007) 482 7.3 Global Citizens 486 • Tracey Rose, ‘The Cant Show’ (2007) 486 • Tanja Ostojić, ‘Crossing Borders Series’ (2009) 488 • Shirin Neshat, ‘Art in Exile’ (2010) 491 Index 494

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Book SynopsisCharting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked.Table of ContentsPreface x Acknowledgements and Sources xii Introduction: Feminism–Art–Theory: Towards a (Political) Historiography 1 1 Overviews 8 Introduction 8 1.1 Gender in/of Culture 12 Valerie Solanas, ‘Scum Manifesto’ (1968) 12 Shulamith Firestone, ‘(Male) Culture’ (1970) 13 Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17 Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’ (1973) 26 1.2 Curating Feminisms 28 Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28 Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33 Mirjam Westen, ‘rebelle: Introduction’ (2009) 35 2 Activism and Institutions 44 Introduction 44 2.1 Challenging Patriarchal Structures 51 Women’s Ad Hoc Committee/Women Artists in Revolution/WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51 Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52 Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54 Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54 Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60 Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62 East London Fawcett, ‘The Great East London Art Audit’ (2013) 64 2.2 Towards Feminist Structures 66 WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66 Women’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (c. 1973) 67 Martha Rosler, ‘Well, is the Personal Political?’ (1980) 68 Lucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69 Anne Marsh, ‘A Theoretical and Political Context’ (1985) 79 Xabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85 Parliament of Spain, ‘Article 26: Equality in Artistic and Intellectual Creation and Production’ (2007) 86 2.3 Activism in Practice 88 Mierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88 Leslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91 Zoe Leonard, ‘I Want a President’ (1992) 95 Andrea Fraser, ‘There’s No Place like Home’ (2012) 96 Nadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102 2.4 Education 106 Miriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106 Lisa Tickner, ‘Retrospect’ (2008) 107 Griselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114 Lisa Nyberg and Johanna Gustavsson, ‘Radical Pedagogy’ (2011) 124 3 Historical and Critical Practices 129 Introduction 129 3.1 Interrogating ‘Art History’ 134 Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134 Griselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149 Mira Schor, ‘Patrilineage’ (1991) 159 3.2 Feminist/Writing 165 Carol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165 Joan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169 Freida High W. Tesfagiorgis, ‘In Search of a Discourse and Critique/s that Center the Art of Black Women Artists’ (1993) 185 Maureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198 Martina Pachmanová, ‘In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory’ (2009) 203 4 Materials, Practices, Choices 217 Introduction 217 4.1 Aesthetic Choice 223 Judy Chicago, ‘Woman as Artist’ (1971) 223 Marjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225 Pat Mainardi, ‘A Feminine Sensibility?’ (1972) 227 Judith Stein, ‘For a Truly Feminist Art’ (1972) 228 Anne‐Marie Sauzeau‐Boetti, ‘Negative Capability as Practice in Women’s Art’ (1979) 229 4.2 Craft 233 Rozsika Parker, ‘The Creation of Femininity’ (1984) 233 Catherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237 Stephanie Syjuco, ‘Anti‐Factory’ (2008) 240 4.3 Painting 241 Katy Deepwell, ‘Paint Stripping’ (1994) 241 Alison Rowley, ‘Plan: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246 Amy Sillman, ‘AbEx and Disco Balls: In Defense of Abstract Expressionism II’ (2011) 250 4.4 New Media 255 Mitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255 Faith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260 Elisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266 Alla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271 Stéphanie Jeanjean, ‘Disobedient Video in the 1970s: Video Production by Women’s Collectives’ (2011) 279 5 Representing Women 288 Introduction 288 5.1 Between Image and Representation 293 John Berger, Chapter 3 of Ways of Seeing (1972) 293 Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300 Mary Kelly, Preface to Post‐Partum Document (1983) 310 Judith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314 Elizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320 Lynda Nead, ‘Framing the Female Body’ (1992) 322 Nelly Richard, ‘Politics and Aesthetics of the Sign’ (2004) 329 5.2 The Artist’s Body in the Artwork 340 Lucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340 Mary Duffy, ‘Disability, Differentness, Identity’ (1987) 343 VALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345 Orlan, ‘Intervention d’Orlan’ (1995) 361 Amelia Jones, ‘Yayoi Kusama’ (1998) 367 6 Sex, Sexuality, Image 372 Introduction 372 6.1 Sexuality and the Sexual Body 376 Barbara Rose, ‘Vaginal Iconology’ (1974) 376 Suzanne Santoro, ‘Towards New Expression’ (1974) 378 Joanna Frueh, ‘Feminism’ (1989) 379 Buseje Bailey, ‘I Don’t Have to Expose my Genitalia’ (1993) 385 ‘Interview with Betty Tompkins’ (2006) 388 Chris Kraus, ‘May ’69’ (2011) 393 6.2 Lesbian and Queer Practices 398 Monique Wittig, ‘The Straight Mind’ (1980) 398 Jan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402 Shonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408 Ridykeulous, ‘Advantages of Being a Woman Lesbian Artist’ (2006) 410 Zanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410 Catherine Lord, ‘Wonder Waif Meets Super Neuter’ (2010) 414 7 Identity, Geography, Citizenship 435 Introduction 435 7.1 Projections 440 Kass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440 Adrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444 Diane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455 Jieun Rhee, ‘Performing the Other: Yoko Ono’s Cut Piece’ (2005) 461 7.2 Political Violence 471 Jill Bennett, ‘Art, Affect, and the “Bad Death”: Strategies for Communicating the Sense Memory of Loss’ (2002) 471 ‘Regina José Galindo’, interview by Francisco Goldman (2006) 477 ‘Between the Monument and the Ruin’, interview with Lida Abdul by Candice Hopkins (2007) 482 7.3 Global Citizens 486 Tracey Rose, ‘The Cant Show’ (2007) 486 Tanja Ostojić, ‘Crossing Borders Series’ (2009) 488 Shirin Neshat, ‘Art in Exile’ (2010) 491 Index 494

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Book SynopsisA deeply human-centered perspective on the origins of America''s food Where Am I Eating? bridges the gap between global food producers and the American consumer, providing an insightful look at how our eating habits affect farmers and fishermen around the world. Follow the author on his global quest to meet the workers that nurture, harvest, and hunt our food, as he works alongside themloading lobster diving boats in Nicaragua, harvesting bananas in Costa Rica, lugging cocoa beans in Ivory Coast with a modern-day slave, picking coffee beans in Colombia and hauling tomatoes in Indiana. This new edition includes a study guide, a deeper explanation of the glocal concept, and advice for students looking to become engaged as both local and global citizens. Arguing neither for nor against globalization, this book simply explores the lives of those who feed us. Imports account for eighty-six percent of America''s seafood, fifty percent of its fresh fruit, and eiTable of ContentsIntroduction: Our Global Connection ix Part I Coffee: Product of Colombia 1 Chapter 1 The Starbucks Experience 3 Chapter 2 The Grande Gringo Picks Coffee 20 Chapter 3 The Cup of Excellence 30 Chapter 4 The Heart of the World 44 Part II Chocolate: Product of West Africa 61 Chapter 5 Solo Man 63 Chapter 6 Slavery and Freedom 91 Chapter 7 Is It Peace? 109 Part III Banana: Product of Costa Rica 121 Chapter 8 The Banana Worker’s Commute 123 Chapter 9 Banana Worker for the Day 132 Chapter 10 Nowhere to Go But Bananas 153 Part IV Lobster: Product of Nicaragua 165 Chapter 11 Life, Death, and Lobster 167 Chapter 12 The Lobster Trap 184 Chapter 13 The Future of Fish 190 Part V Apple Juice: Product of Michigan China 195 Chapter 14 No Apples 197 Chapter 15 Mr. Feng’s Apple Empire 214 Chapter 16 As American as Apple Juice Concentrate from China 225 Part VI My Life: Product of USA 235 Chapter 17 Food as Faith 237 Chapter 18 Farmers No More 242 Chapter 19 Imagined Futures 252 Chapter 20 Decisions About Man and Land 257 Appendix A A Guide to Ethical Labels 269 Appendix B The Journey Continues 275 Appendix C A Guide to Going Glocal 277 Chapter Discussion Questions 285 Acknowledgments 299

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Book Synopsis

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