New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists collects personal reflections by therapists who are also professional artists. It explores the relationship between art and analysis through accounts by practitioners who identify themselves as dual-profession artists and analysts. The book illustrates the numerous areas where analysis and art share common characteristics using first-hand, in-depth accounts. These vivid reports from the frontier of art and psychoanalysis shed light on the day-to-day struggle to succeed at both of these demanding professions. From the beginning of psychoanalysis, many have made comparisons between analysis and art. Recently there has been increasing interest in the relationship between artistic and psychotherapeutic practices. Most important, both professions are viewed as highly creative with spontaneity, improvisation and aesthetic experience seeming to be common to each. However, differences have also been recognized, especially regarding the differing goals of each profession: art leading to the creation of an art work, and psychoanalysis resulting in the increased welfare and happiness of the patient. These issues are addressed head-on in Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists. The chapters consist of personal essays by analyst/artists who are currently working in both professions; each has been trained in and is currently practicing psychoanalysis or psychoanalytic psychotherapy. The goal of the book is to provide the audience with a new understanding of psychoanalytic and psychotherapeutic processes from the perspective of art and artistic creativity. Drawing on artistic material from painting, poetry, photography, music and literature, the book casts light on what the creative processes in art can add to the psychoanalytic endeavor, and vice versa. Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists will appeal to psychoanalysts and psychoanalytic psychotherapists, theorists of art, academic artists, and anyone interested in the psychology of art.

Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world's most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists' lifeworlds.

A major issue in the relation of art to the rest of society is the question of how art penetrates politics. From the perspective of most art scholars, this is a question of aesthetics-whether politics necessarily pollutes and debases the quality of the arts. From the perspective of social science, it has been primarily a question of meaning-how political messages are conveyed through artistic media. Recent work has begun to broaden the study of the arts and politics beyond semiosis and content focus. Several strands of scholarship are converging around the general issue of the social relationships within which art takes political form, that is, how art and artists do politics. This perspective of "doing" moves analysis beyond addressing the meaning of culture, to focus on the ways that art is embedded in-and intervenes in-social relationships, activities, and institutions. This volume brings together an interdisciplinary group of scholars from France and the United States to investigate these directions and themes by exploring the question of "how to do politics with art" from a comparative standpoint, putting sociological approaches in conversation with other disciplinary prisms. It will be of interest to scholars of social movements and politicization, the sociology of art, art history, and aesthetics.

During the years following World War II debates about the British landscape fused with questions of national identity as the country reconstructed its sense of self. For better or for worse artists, statesmen, and ordinary citizens saw themselves reflected in the landscape, and in turn helped to shape the way that others envisioned the land. While landscape art is frequently imagined in terms of painting, this book examines the role of landscape in terms of a broader definition of visual culture to include the discussion not only of works of oil on canvas, but also prints, sculpture, photography, advertising, fashion journalism, artists' biographies, and the multi-media stage of the national exhibition. Making extensive use of archival materials (newspaper reviews, radio broadcasts, interviews with artists, letters and exhibition planning documents), Catherine Jolivette explores the intersection of landscape art with a variety of discourses including the role of women in contemporary society, the status of immigrant artists in Britain, developments in science and technology, and the promotion of British art and culture abroad.

A novel investigation into art pedagogy and constructions of national identities in Britain and Ireland, this collection explores the student-master relationship in case studies ranging chronologically from 1770 to 2013, and geographically over the national art schools of England, Ireland, Scotland and Wales. Essays explore the manner in which the Old Masters were deployed in education; fuelled the individual creativity of art teachers and students; were used as a rhetorical tool for promoting cultural projects in the core and periphery of the British Isles; and united as well as divided opinions in response to changing expectations in discourse on art and education. Case studies examined in this book include the sophisticated tradition of 'academic' inquiry of establishment figures, like Joshua Reynolds and Frederic Leighton, as well as examples of radical reform undertaken by key individuals in the history of art education, such as Edward Poynter and William Coldstream. The role of 'Modern Masters' (like William Orpen, Augustus John, Gwen John and Jeff Wall) is also discussed along with the need for students and teachers to master the realm of art theory in their studio-based learning environments, and the ultimate pedagogical repercussions of postmodern assaults on the academic bastions of the Old Masters.

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? What kind of ethical proposition does an image of pain mobilize? How may the spectator learn from and make use of the painful image as a source of ethical reflection? Engaging with a wide range of visual media--from painting, theatre, and sculpture, to photography, film, and video--this interdisciplinary collection of essays by leading and emerging scholars of visual culture offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing. Ethics and Images of Pain reconsiders the persistent and ever pertinent nexus of aesthetics and ethics, the role of painful images as generators of unpredictable forms of affect, the moral transformation of spectatorship, the ambivalence of the witness and the representation of afflication as a fundamental form of our shared scopic experience. The instructive and illuminating essays in the collection introduce a phenomenological context in which to make sense of our current ecology of excruciating images, one that accentuates notions of responsibility, empathy, and imagination. Contributors trace the images of pain across a miscellany of case studies, and amongst the topics addressed are: the work of artists as disparate as Doris Salcedo, Anselm Kiefer and Bendik Riis; photographs from Abu Ghraib and Rwanda; Hollywood war films and animated documentaries; performances of self-immolations and incidents of police brutality captured on mobile phones.

In the turbulent atmosphere of early twentieth-century Tsarist Russia, avant-garde artists took advantage of a newly pluralistic culture in order to challenge orthodoxies of form as well as social prohibitions. Very few did this as effectively, or to as broad an audience, as Mikhail Larionov. This groundbreaking study examines the complete range of his work (painting, book illustration, performance, and curatorial work), and demonstrates that Larionov was taking part in a broader cultural conversation that arose out of fundamental challenges to autocratic rule. Sarah Warren brings the culture of late Imperial Russia out of obscurity, highlighting Larionov's specific interventions into conversations about nationality and empire, democracy and autocracy, and people and intelligentsia that colonized all areas of cultural production. Rather than analyzing Larionov's works within the same interpretive frameworks as those of his contemporaries in France or Germany-such as Matisse or Kirchner-Warren explores the Russian's negotiations with both nationalism and modernism. Further, this study shows that Larionov's group exhibitions, public debates, and face-painting performances were more than a derivative repetition of the techniques of the Italian Futurists. Rather, these activities were the culmination of his attempt to create a radical primitivism, one that exploited the widespread Russian desire for an authentic collective identity, while resisting imperial efforts to appropriate this revivalism to its own ends.

This volume presents a scholarly investigation of the ways educators engage in artistic and contemplative practices - and why this matters in education. Arts-based learning and inquiry can function as a powerful catalyst for change by allowing spiritual practices to be present within educational settings, but too often the relationship between art, education and spirituality is ignored. Exploring artistic disciplines such as dance, drama, visual art, music, and writing, and forms such as writing-witnessing, freestyle rap, queer performative autoethnograph, and poetic imagination, this book develops a transformational educational paradigm. Its unique integration of spirituality in and through the arts addresses the contemplative needs of learners and educators in diverse educational and community settings.

Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.

W.J.T. Mitchell - one of the founders of visual studies - has been at the forefront of many disciplines such as iconology, art history and media studies. His concept of the pictorial turn is known worldwide for having set new philosophical paradigms in dealing with our vernacular visual world. This book will help both students and seasoned scholars to understand key terms in visual studies - pictorial turn, metapictures, literary iconology, image/text, biopictures or living pictures, among many others - while systematically presenting the work of Mitchell as one of the discipline's founders and most prominent figures. As a special feature, the book includes three comprehensive, authoritative and theoretically relevant interviews with Mitchell that focus on different stages of development of visual studies and critical iconology.

Paul Clements champions the creative underground and expressions of difference through visionary avant-garde and resistant ideas. This is represented by an admixture of utopian literature, manifestos and lifestyles which challenge normality and attempt to reinvent society, as practiced for example, by radicals in bohemian enclaves or youth subcultures. He showcases a range of 'art' and participatory cultural practices that are examined sociopolitically and historically, employing key theoretical ideas which highlight their contribution to aesthetic thinking, political ideology, and public discourse. A reevaluation of the arts and progressive modernism can reinvigorate culture through active leisure and post-work possibilities beyond materialism and its constraints, thereby presenting alternatives to established understandings and everyday cultural processes. The book teases out the difficult relationship between the individual, culture and society especially in relation to autonomy and marginality, while arguing that the creative underground is crucial for a better world, as it offers enchantment, vitality and hope.

A case study of the relationship between arts and cultural policy and nationalism, Scotland, CEMA and the Arts Council, 1919-1967: Background, Politics and Visual Art Policy examines the overlooked significance of Scotland in the development of British arts policy and institutions. This study is broadly relevant in an era of political devolution, which continues to pose questions for the constituent nations of Britain and their sense of self- and collective identities. Euan McArthur provides a clear account of the background to and evolution of the Council for the Encouragement of Music and the Arts (CEMA) and the Arts Council of Great Britain (ACGB) in Scotland up to the formation of the Scottish Arts Council (SAC) in 1967. He also presents a study of Scottish visual art policy and activities between 1940 and 1967, assessing the successes and failures of visual art policy in Scotland, including the degree to which it evolved differently from England. This development, leading to the re-naming of the Scottish Committee of the ACGB as the SAC, prepared the way for the expansion of activities that marked the 1970s and after. Based on extensive archival research, this book brings to light previously unavailable material, not covered in existing accounts of CEMA/ACGB.

Alchemy in Contemporary Art analyzes the manner in which twentieth-century artists, beginning with French Surrealists of the 1920s, have appropriated concepts and imagery from the western alchemical tradition. This study examines artistic production from c. 1920 to the present, with an emphasis on the 1970s to 2000, discussing familiar names such as Andre Breton, Salvador Dali, Yves Klein, Joseph Beuys, and Anselm Kiefer, as well as many little known artists of the later twentieth century. It provides a critical overview of the alchemical tradition in twentieth-century art, and of the use of occultist imagery as a code for political discourse and polemical engagement. The study is the first to examine the influence of alchemy and the Surrealist tradition on Australian as well as on Eastern European and Mexican art. In addition, the text considers the manner in which women artists such as Leonora Carrington, Remedios Varo, and Rebecca Horn have critically revised the traditional sexist imagery of alchemy and occultism for their own feminist purposes.

How have imperialism and its after-effects impacted patterns of cultural exchange, artistic creativity and historical/curatorial interpretation? World Art and the Legacies of Colonial Violence - comprised of ten essays by an international roster of art historians, curators, and anthropologists - forges innovative approaches to post-colonial studies, Indigenous studies, critical heritage studies, and the new museology. This volume probes the degree to which global histories of conflict, coercion and occupation have shaped art historical approaches to intercultural knowledge and representation. These debates are relevant to contemporary artists and scholars of visual, material and museological culture in their attempts to negotiate imperial and colonial legacies. Confronting the aesthetics of Abolition, Fascism and Filipino independence, and re-thinking relationships between colonised and coloniser in Cameroon, North America and East Timor, the collection brings together new readings of Primitivism and Aboriginal art as well. It features discussions of touring exhibitions, popular media, modernist paintings and sculptures, historic photographs, human remains and art installations. In addition to the critical application of phenomenology in a fresh and contemporary manner, the volume's 'world art' perspective nurtures the possibility that intercultural ethics are relevant to the study of art, power and modernity.

Collecting has a long tradition in the Middle East but the museum as a public institution is relatively new. Today there are national museums for antiquities in most Arab countries. While in some cases the political and social climate has hindered the foundation of museums, with existing collections even destroyed at times, the recent museum boom in the Gulf States is again changing the outlook. This unique book is the first to explore collecting practices in archives and museums in the modern Arab world, featuring case studies of collecting practices in countries ranging from Egypt and Lebanon to Palestine, Jordan, Iraq and the Gulf, and providing a theoretical and methodological basis for future research. The authors are also concerned with investigating the relationship between past and present, since collecting practices tell us a great deal not only about the past but also about the ways we approach the past and present conceptions of our identities. Collections can be textual as well, as in the stories, memories or events selected, recalled, and retold in the pages of a text. As interest in memory studies as well as popular and visual culture grows in the Arab World, so collecting practices are at the heart of any critical approach to the past and the present in that region. The book will be of great interest not only to scholars and students of the modern Arab world but also to professionals in museums and collections in the region, as well as around the world.

How various mythologies challenge, enable, and inspire women artists and activists across the globe to communicate personal and historical experiences of violence is the central concern of this collection. Beginning with the observation that twentieth- and twenty-first century female writers and artists often use myth to represent their social and artistic struggles, the distinguished international scholars and writers consider mythic fabulations as spaces for contested meanings and resistant readings. The identified resistance of the mythic material to repression-working, as it were, in opposition to another celebrated drive/role of myth, that of containment-makes the use of myth particularly stimulating for twentieth-century and contemporary female artists; and it is an interest in the aesthetic and political consequences of such resistances that animates this book. Exemplifying the diverse types of engagement with myth and femininity, literary criticism, discussions of film and art, artwork, as well as original creative writing, could all be found within the boundaries of this innovative volume. Femininity, myth, and violence are here explored in contexts such as female mythopoiesis in the early twentieth century; the politics of representation in contemporary writing; revision of old myths; and creation of new myths in multicultural female experiences. Keeping the focus on the actual works of art, the editors and contributors offer scholars and teachers an inclusive way to approach literature and the arts that avoids the limits imposed by genre or national and regional boundaries.

Traditional art is based on conventions of resemblance between the work and that which it is a representation "of". Abstract art, in contrast, either adopts alternative modes of visual representation or reconfigures mimetic convention. This book explores the relation of abstract art to nature (taking nature in the broadest sense-the world of recognisable objects, creatures, organisms, processes, and states of affairs). Abstract art takes many different forms, but there are shared key structural features centered on two basic relations to nature. The first abstracts from nature, to give selected aspects of it a new and extremely unfamiliar appearance. The second affirms a natural creativity that issues in new, autonomous forms that are not constrained by mimetic conventions. (Such creativity is often attributed to the power of the unconscious.) The book covers three categories: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the broader historical and philosophical scope.

With its specific focus on British representations of masculinity in relation to the trauma of the First World War and notions of national identity, class and sexuality, this book provides a much needed addition to the historiography of visual culture during the period. The study interrogates the complications arising out of issues of trauma, cultural expressions of sexuality and affect, as well as the ways in which these are encoded in diverse forms in visual culture and commemorative objects. Concentrating on masculinity and cultural memory, it investigates the ways in which these and the web of power relations that they entail worked during the interwar years in order to reconstruct the post-First World War British society. In the course of the narrative, the author looks at Bolshevism and the Returning Ex-Servicemen, the 1919 NUR Strike, the Central Labour College in conjunction with banners and revolution, as well as the Imperial War Graves, the Cenotaph, the London and North Western Railway memorial, the Machine Gun Corps Memorial and the establishment of the Imperial War Museum. He also excavates new archival material, particularly case studies of shell shock sufferers and film footage of male hysteria.

A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Woelfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment.

Presenting a radically different picture of Egon Schiele's work, this study documents (in one-to-one comparisons) the extent of the artist's visual borrowings from the Viennese humoristic journal, Die Muskete. Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele's artistic production frequently compared to caricature (and derided for being "grotesque"), but Expressionism and caricature are natural allies. One may belong to "high" art and the other to "popular" culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological "truths" to emerge. The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.

This volume of essays combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. Originally presented at the American Comparative Literature Association Conference 2010 in New Orleans, these collected papers have been expanded and extended from their original points of enquiry, and analyse films from the diverse cultural traditions of China, Germany, the United Kingdom, America, Northern Ireland and India. Subjects of examination include China's 'Shanghai Express' and 'The Goddess', Fritz Lang's 'M', and two films from the James Bond franchise, 'Diamonds Are Forever' and 'Casino Royale'. Other areas of investigation include films focusing on Northern Ireland, the depiction of the Indian film industry through Indian writers, and Hong Kong and East Asian cinema.

The focus of the volume then switches to the visual arts, with an explanation of how the classificatory order for the visual arts and art history has long been rigorous in its demand for juxtapositions and comparisons, followed by an examination of modernist abstract art with a specific analysis of the importance of Gertrude Stein's still-lifes in 'Tender Buttons'. Manuel Rivas' use of cross-cultural textualization in 'Mujer en el bano' is explored using the concepts of montage and Benjamin's dialectical image. Lastly Kara Walker's controversial art that highlights racial pictography and violent imagery from the antebellum American South comes under close scrutiny.

Challenging the notion that fashion and furniture were or are separate enterprises and distinct material aesthetic traditions, this collection focuses on three material and conceptual links central to understanding the relationship between interior design and fashion-the body, fabric, and space. The volume considers the changing visual, material and spatial character, methodological challenges posed by, and formal, political and historiographical significance of, a wide range of British, European and North American case studies since the eighteenth century. The volume's eleven case studies allow the reader to understand connecting notions behind the formation of interiors and fashionable clothing. The essays combine a wide range of significant and challenging new examples alongside powerful reversionary analyses of the various periods, artists, designers, and their best and significant objects. Fashion, Interior Design and the Contours of Modern Identity is concerned not only with fabric, but also with the body and the implications of embodiment in the practices of both design domains which are equally invested in the comfort, aesthetic pleasure, extension and support of the body in different and yet seemingly identical ways.

Wassily Kandinsky, Max Ernst, Jackson Pollock, and Joseph Beuys were the leading artists of their generations to recognize the rich possibilities that animism and shamanism offered. While each of these artists' connection with shamanism has been written about separately, Evan Firestone brings the four together in order to compare their individual approaches to anthropological materials and to define similarities and differences between them. The author's close readings of their works and examination of the relevant texts available to them reveal fresh insights and new perspectives.The importance of indigenous beliefs in animism for Kandinsky's philosophy of art and practice, especially the animism of inanimate objects, is analyzed for the first time in conjunction with his well-known enthusiasms for Symbolism and Theosophy. Ernst's collage novel, La femme 100 tetes (1929), previously found to have significant alchemical content, also is shown to extensively utilize shamanism, thereby merging different branches of the occult that prove to have remarkable similarities. The in-depth examination of Pollock's works, both known and overlooked for shamanic content, identifies textual sources that heretofore have escaped notice. Firestone also demonstrates how shamanism was employed by this artist to express his desire for healing and transformation. The author further argues that the German edition of Mircea Eliade's Shamanism: Archaic Techniques of Ecstasy (1957) helped to revitalize Beuys's life and art, and that his ecological campaigns reflected a new consciousness later termed ecoanimism.