Latin American extractivism has become the ground on which activists and scholars frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the detritus of longstanding extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and postextractivism. The field of art theory on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand with collective action remains limited, and fails to provide an account of the role, processes and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise offers the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. The book reports on a two-year research project into creative resistance to extractivism in Argentina, and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. Creating Worlds Otherwise is structured according to the main themes of anti and post-extractivist movements: territoriality; ecofeminism and the ethics of care; human rights and the rights of nature; urban extractivism; sovereignty, autonomy and self-determination; and postextractivism and alternatives to development. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism. The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. Inigo Manglano-Ovalle, Matthew Barney, Monika Sosnowska, Pipo Nguyen-duy, and Paul Pfeiffer are among those considered, as are the compelling questions of architecture's relationship to photography, the evolving legacy of Mies van der Rohe, the notion of an architectural unconscious, and the provocative concepts of the unbuilt and the unbuildable. Through a rigorous investigation of these issues, Contemporary Art About Architecture calls attention to the fact that art is now a vital form of architectural discourse. Indeed, this phenomenon is both pervasive and, in its individual incarnations, compelling - a reason to think again about the entangled histories of architecture and art.

'Big Science' is a broad epithet that can be associated with research projects as different as the Manhattan Project, the Hubble Telescope-construction, and the CERN-establishment in Geneva. While the science produced by these projects is vastly different, they have in common the fact that they all involve huge budgets, big facilities, complex instrumentation, years of planning, and large multidisciplinary teams of researchers. In this book the authors examine the complexity of the cultural, social, and political processes from which and in which Big Science develops. They do so by focusing upon the planning and development of the European Spallation Source, ESS, that is to be located in Lund in southern Sweden. Together, the chapters represent a variety of perspectives to highlight the complexity of the processes that are integral to Big Science. Thus, this volume examines the very different roles Big Science may be given in different contexts: locally, regionally, nationally and internationally, as well as historically. The book is based on the research of scholars based at Lund University from the disciplines of archive and library sciences, art history and visual studies, ethnology, gender studies, geography, history of ideas and sciences, media and communication, philosophy, and policy research.

The Canadian War Museum possesses one of the finest twentieth-century official war art collections in the world. Until relatively recently, however, the collection has received limited public attention. In Art or Memorial?, author Laura Brandon explores some of the reasons why this may have been the case. At various times throughout its history, the war art collection has receded from and re-emerged in the nation's collective consciousness. Nevertheless, as an invaluable part of the official record of war in Canada, it is profoundly significant. Brandon argues that the value of the collection lies less in its artistic merit and more in its role as a site of memory. Art or Memorial? seeks to illuminate Canadian war art's sometimes-hidden presence in the nation's memory and to show, through both its presence and its absence, how it helped to shape, and will continue to influence, how we remember as a nation.

"Benos-Amos opens for the reader richly detailed adn nuanced vistas into the intellectual and cultural history of one of the major kingdoms of precolonial West Africa." African Studies Review

"The wealth of historiographic resources, the command of relevant literature, the ethnographic research and prudent use of oral traditions give this work a high degree of... intellectual excitement.... a landmark in the field." Warren d Azevedo

Making use of archival and oral resources in this extensively researched book, Paula Girshick Ben-Amos questions to what extent art operates as political strategy. How do objects acquire political meaning? How does the use of art enhance and embody power and authority?"

Representations of political power play an important role in Western art history from the late Middle Ages up to modern times. This volume by leading experts is a wide-ranging survey of significant trends in the development of political imagery.

The unknown and mysterious Great Southland, or Terra Australis, captured the European imagination for centuries before it became a documented fact. This book traces the history of pictorial imagery associated with the 'Fifth Continent'. It discusses and presents imagery from all parts of the southern continent: Java, Australia, New Zealand, New Guinea, the South Pacific Islands and Tierra del Fuego as it evolved up to the Enlightenment. Many European explorers had a passionate interest in depicting the plants, animals and native inhabitants of the southern world. The images associated with the search for the southern continent - paintings, handcolored maps, drawings, tapestries and artefacts - are discussed in the context of the link between art and exploration. Beautifully illustrated with Portuguese, Spanish, French, Dutch and English images, this book is an exciting visual account of the construction of Terra Australis in the European imagination and as scientific fact.

On Reflection: Moments, Flight and Nothing New attempts to grapple with the complexities of our present moment. Personal and imagined stories appear as fragments of everyday scenes forming a narrative of self-discovery. Vignettes accompanied by photography explore life's contradictions, trauma, and the ways in which we navigate the fluidity of cities. The poems move back and forth in time and across Europe, highlighting a range of experiences and perspectives of our modern society as a series of snapshots. In each, we catch a glimpse of ourselves, demonstrating how such moments and characters influence our journeys. Written from the consciousness of a British Ghanaian, the collection is a love letter to the lived and shared experience of those struggling and learning about the various intersections of their identity. Through the voice of Akos and other characters, Wiredu reaches to understand the significance of history, its effect on an evolving African diaspora in Europe, and finds hope in the present as she proposes an optimistic dialogue about the future.

Philadelphia possesses an exceptionally large number of places that have almost disappeared-from workshops and factories to sporting clubs and societies, synagogues, churches, theaters, and railroad lines. In Philadelphia: Finding the Hidden City, urban observers Nathaniel Popkin and Peter Woodall uncover the contemporary essence of one of America's oldest cities. Working with accomplished architectural photographer Joseph Elliott, they explore secret places in familiar locations, such as the Metropolitan Opera House on North Broad Street, the Divine Lorraine Hotel, Reading Railroad, Disston Saw Works in Tacony, and mysterious parts of City Hall. Much of the real Philadelphia is concealed behind facades. Philadelphia artfully reveals its urban secrets. Rather than a nostalgic elegy to loss and urban decline, Philadelphia exposes the city's vivid layers and living ruins. The authors connect Philadelphia's idiosyncratic history, culture, and people to develop an alternative theory of American urbanism, and place the city in American urban history. The journey here is as much visual as it is literary; Joseph Elliott's sumptuous photographs reveal the city's elemental beauty.

Since 1900, the connections between art and technology with nature have become increasingly inextricable. Through a selection of innovative readings by international scholars, this book presents the first investigation of the intersections between art, technology and nature in post-medieval times. Transdisciplinary in approach, this volume's 14 essays explore art, technology and nature's shifting constellations that are discernible at the micro level and as part of a larger chronological pattern. Included are subjects ranging from Renaissance wooden dolls, science in the Italian art academies, and artisanal epistemologies in the followers of Leonardo, to Surrealism and its precursors in Mannerist grotesques and the Wunderkammer, eighteenth-century plant printing, the climate and its artistic presentations from Constable to Olafur Eliasson, and the hermeneutics of bioart. In their comprehensive introduction, editors Camilla Skovbjerg Paldam and Jacob Wamberg trace the Kantian heritage of radically separating art and technology, and inserting both at a distance to nature, suggesting this was a transient chapter in history. Thus, they argue, the present renegotiation between art, technology and nature is reminiscent of the ancient and medieval periods, in which art and technology were categorized as aspects of a common area of cultivated products and their methods (the Latin ars, the Greek techne), an area moreover supposed to imitate the creative forces of nature.

In 1944 George Grod, a strip cartoon, modeling and aviation enthusiast, discovered with amazement some American magazines which an MP billeted near his village lent him. What he liked best were the gleaming advertisements scattered throughout the pages. In the eighties, during an"old papers" fair, George came across some old numbers of Life Magazine and from there he started an unbridled search for original magazines dating back to between 1942 and 1945. Now presented in this single volume, we see the return of all his great themes - aviation, kits, cartoon strips, the love of art and even the cinema. The book is not just a collection of beautiful pictures all strung together or a sample from a huge collection; it is above all the testimonial of a period, the reflection of that immense war effort the American people made during the last World War, seen through the kaleidoscope of publicity and propoganda. It is also a tribute to the most glamorous of our liberators. George Grod worked alongside great film-makers like Verneuil, Minnelli, Zinnemann, Lumet and Zanuck before working on the television series les Dossiers Noirs with his friend Jean-Michel Charlier who took part later in the Grands Maitres de la BD (Grand Masters of the Cartoon Strip) which he created for the Visiteurs de Mercredi (Wednesday's visitors). This book is a must for anyone interested in art, history or World War II; an impressive edition to anyone's collection.

Since 2011, photographer Marie-Jeanne van Hoevell tot Westerflier has been working on a series of portraits in which a century-old white blouse plays a leading role. Over 75 people of all ages and both sexes have accepted her invitation to pose for a photo shoot with the antique garment. This book presents the results of her project, preceded by an account of the photographer's work and career. It contains white blouse portraits not only of Dutch celebrities like Jenny Arean, Jort Kelder, Alexandra Radius, Toer van Schayk and Daan Schuurmans, but also of lesser-known people and some children. Text in English and Dutch.

Die asthetische Bedeutung der "Kraft" mit ihren semantischen Nachbarn "Intensitat" und "Energie" wird seit einigen Jahren verstarkt in der Literaturwissenschaft untersucht und findet innerhalb der philosophischen AEsthetik zunehmend Beachtung. Eine historische und interdisziplinare Auseinandersetzung mit diesen zentralen Begriffen kunstlerischer Produktion und Wirkung steht aber noch aus. Der vorliegende Band erkundet dieses kaum vermessene und reich profilierte Gelande. Die Beitrage gehen von der Annahme aus, dass die Beziehungen zwischen asthetischen und naturphilosophischen Wissensfeldern, zwischen kunstlerischen und naturwissenschaftlichen Modellierungen im Zeichen der Kraft enger sind, als bisher vermutet wurde.

The Dusseldorf painter Birgit Jensen creates pixellated urban landscapes and nocturnal city visions that are both highly abstract and engagingly representative. Through her study of urbanity, she opens up a discourse on the mechanisms of perception.

McBride (history, Illinois State U.) has collected nine contributions that focus generally on how manifestations of popular culture in Ireland during the 19th and 20th centuries affected the development of the historical consciousness of Irish nationalists. The essays explore topics such as the Manc

The bridge was a popular feature in painting throughout the period from 1700 to 1920, but why did so many artists choose to portray the structures? This study traces the history of the bridge in painting and printmaking through a range of works, including William Etty's "The Bridge of Sighs", Claude Monet's "The Railway Bridge", Wassily Kandinsky's "Composition IV" and C.R.W. Nevinson's "Looking Through Brooklyn Bridge", revealing its complex role as both symbol and metaphor, and as a place of vantage, meeting and separation.