It proposes that decolonizing, ecocritical, feminist art's histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. It demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. It is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women's lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.

It proposes that decolonizing, ecocritical, feminist art's histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. It demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. It is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

Glorious Catastrophe presents a detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989. Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years. Smith poses uncomfortable challenges to cultural criticism and historical analysis, which Glorious Catastrophe seeks to uncover. The first critical analysis of Smith's practices across visual art, film, performance, and writing, the study employs extensive, original archival research carried out in Smith's personal papers, and unpublished interviews with friends and collaborators. It will be essential reading for students and scholars interested in the life and art of Jack Smith, and the greater histories that he interrupts, including those of experimental arts practices, and the development of sexual cultures.

Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity.

The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world ? how we might literally and figuratively make ourselves cosmopolitans, ?at home? everywhere. Contemporary art provides a space for this enquiry.

Contemporary Art and the Cosmopolitan Imagination is structured and written through four ?architectonic figurations? ? foundation, threshold, passage and landing ? which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art.

Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognised altogether. Women Making Art asks why this is so, and what it would take for us to realise the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilises contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasising the diversity of women's art and the importance of differences between women.

Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity.

The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world how we might literally and figuratively make ourselves cosmopolitans, at home everywhere. Contemporary art provides a space for this enquiry.

Contemporary Art and the Cosmopolitan Imagination is structured and written through four architectonic figurations foundation, threshold, passage and landing which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art.

Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognised altogether. Women Making Art asks why this is so, and what it would take for us to realise the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilises contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasising the diversity of women's art and the importance of differences between women.

Women, the Arts and Globalization: Eccentric Experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the center of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.

This book explores the critical significance of the visual arts to transnational feminist thought and activism. This first volume in Marsha Meskimmon's powerful and timely Trilogy focuses on some of the central political challenges of our era, including war, migration, ecological destruction, sexual violence and the return of neo-nationalisms. It argues that transnational feminisms and the arts can play a pivotal role in forging the solidarities and epistemic communities needed to create social, economic and ecological justice on a world scale. Transnational feminisms and the arts provide a vital space for knowing, imagining and inhabiting - earth-wide and otherwise. The chapters in this book each take their lead from a current matter of political significance that is central to transnational feminist activist organizing and has been explored through the arts in ways that permit dialogues across geopolitical borders to take place. Including examples of artwork in full colour, this is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, political theory and cultural geography. The Transnational Feminisms and the Arts Trilogy Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing

This book explores the critical significance of the visual arts to transnational feminist thought and activism. This first volume in Marsha Meskimmon's powerful and timely Trilogy focuses on some of the central political challenges of our era, including war, migration, ecological destruction, sexual violence and the return of neo-nationalisms. It argues that transnational feminisms and the arts can play a pivotal role in forging the solidarities and epistemic communities needed to create social, economic and ecological justice on a world scale. Transnational feminisms and the arts provide a vital space for knowing, imagining and inhabiting - earth-wide and otherwise. The chapters in this book each take their lead from a current matter of political significance that is central to transnational feminist activist organizing and has been explored through the arts in ways that permit dialogues across geopolitical borders to take place. Including examples of artwork in full colour, this is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, political theory and cultural geography. The Transnational Feminisms and the Arts Trilogy Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections Transnational Feminisms and Art's Transhemispheric Histories: Ecologies and Genealogies Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing

Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women's lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.

This is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the arts and globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense. -- .

Art, Borders and Belonging: On Home and Migration investigates how three associated concepts—house, home and homeland—are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.

Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention--not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles--prostitute, mother, housewife, the "New Woman" and "garconne"--that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture--from film to poster art and advertising--to create a vivid portrait of women living and creating in Weimar Germany.

Drawing has been growing in recognition and stature within contemporary fine art since the mid-1970s. Simultaneously, feminist activism has been widespread, leading to the increased prominence of women artists, scholars, critics and curators and the wide acknowledgement of the crucial role played by gender and sexual difference in constituting the subject. Drawing Difference argues that these developments did not occur in parallel simply by coincidence. Rather, the intimate interplay between drawing and feminism is best characterised as allotropic a term originating in chemistry that describes a single pure element which nevertheless assumes varied physical structures, denoting the fundamental affinities which underlie apparently differing material forms. The book takes as its starting point three works from the 1970s by Annette Messager, Dorothea Rockburne and Carolee Schneeman, that are used to exemplify critical developments in feminist art history and key moments for drawing as a means of expression. Throughout the chapters, these works are further explored in relation to the contemporary drawing practices of Marco Maggi, Sian Bowen, Susan Hauptmann, Cornelia Parker, Christoph Fink and Toba Kheedori. Their works are shown to be (re)iterative sites where mark-making differs with each appearance yet retains certain essential features. Dividing its analysis into the themes Approaching, Tropes and Coinciding, the book analyses how both drawing and feminist discourse emphasise dialogue, matter and openness. It demonstrates how sexual difference, subjectivity and drawing are connected at an elemental level and thus how drawing has played a vital role in the articulation of the material and conceptual dynamics of feminism."

International scholars explore the ways in which knowledge actually operates, showing the limitations of now outmoded disciplines. Coming from fields as diverse as anthropology, philosophy, literature, aesthetics and art practice, together they break down the boundaries between entrenched domains of knowledge. Studies of objects which confound traditional definitions - including a mechanical cow invented by an Irish farmer, and the curious case of a mechanical monk - show how a close look at an individual object can, paradoxically, open up dynamic new "reconceptions" of traditional systems of knowledge. With social uses of knowledge currently a matter of public debate, this should be a timely text.

Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-house, home and homeland-are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.