International in scope, this volume brings together leading and emerging voices working at the intersection of contemporary art, visual culture, activism, and climate change, and addresses key questions, such as: why and how do art and visual culture, and their ethics and values, matter with regard to a world increasingly shaped by climate breakdown? Foregrounding a decolonial and climate-justice-based approach, this book joins efforts within the environmental humanities in seeking to widen considerations of climate change as it intersects with social, political, and cultural realms. It simultaneously expands the nascent branches of ecocritical art history and visual culture, and builds toward the advancement of a robust and critical interdisciplinarity appropriate to the complex entanglements of climate change. This book will be of special interest to scholars and practitioners of contemporary art and visual culture, environmental studies, cultural geography, and political ecology.

International in scope, this volume brings together leading and emerging voices working at the intersection of contemporary art, visual culture, activism, and climate change, and addresses key questions, such as: why and how do art and visual culture, and their ethics and values, matter with regard to a world increasingly shaped by climate breakdown? Foregrounding a decolonial and climate-justice-based approach, this book joins efforts within the environmental humanities in seeking to widen considerations of climate change as it intersects with social, political, and cultural realms. It simultaneously expands the nascent branches of ecocritical art history and visual culture, and builds toward the advancement of a robust and critical interdisciplinarity appropriate to the complex entanglements of climate change. This book will be of special interest to scholars and practitioners of contemporary art and visual culture, environmental studies, cultural geography, and political ecology.

A diverse set of contributions to the expanding field of ecocritical studies Seeking a broad reexamination of visual culture through the lenses of ecocriticism, environmental justice, and animal studies, Picture Ecology offers a diverse range of art historical criticism formulated within an ecological context. This book brings together scholars whose contributions extend chronologically and geographically from eleventh-century Chinese painting to contemporary photography of California wildfires. The book's fifteen interdisciplinary essays provide a dynamic, cross-cultural approach to an increasingly vital area of study, emphasizing the environmental dimensions inherent in the content and materials of aesthetic objects. Picture Ecology provides valuable new approaches for considering works of art in ways that are timely, intellectually stimulating, and universally significant. With contributions by Alan C. Braddock, Maura Coughlin, Rachael Z. DeLue, T. J. Demos, Monica Dominguez Torres, Finis Dunaway, Stephen F. Eisenman, Emily Gephart, Karl Kusserow, De-nin D. Lee, Gregory Levine, Anne McClintock, James Nisbet, Andrew Patrizio, Sugata Ray, and Greg M. Thomas. Distributed for the Princeton University Art Museum

In Beyond the World's End T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah's cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad's autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future.

In "The Migrant Image" T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.

Increasingly and forebodingly, contemporary artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. "The Edge of the Earth: Climate Change in Photography and Video" explores recent and historic work in the context of present-day environmental concerns, considering the future consequences of the age of the anthropocene, and humanity s harsh imprint on our planet. "The Edge of the Earth" accompanies a major exhibition at the Ryerson Image Centre in Toronto, and includes works by pioneering and renowned artists such as Edward Burtynsky, Naoya Hatakeyama, Richard Misrach and Robert Rauschenberg; critical propositions on present situations by Chris Jordan, Gideon Mendel and Brandi Merolla; plus visionary works by Jean-Pierre Aube, Adrien Missika, Evariste Richer and Andreas Rutkauskas. Photojournalism from the RIC s Black Star Collection is also included, contextualising artistic reflections within half a century of historical reportage on the environment.Produced as a large-format book with high-quality reproductions throughout, "The Edge of the Earth" includes critical texts by Benedicte Ramade and TJ Demos, and an introduction by Paul Roth. This critical overview offers the insight of artists into the present climate crisis, with the motive of prompting reconsideration of our increasingly perilous relationship to our planet. Published in partnership with Ryerson Image Centre.

In Beyond the World's End T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah's cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad's autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future.

Gerhard Richter is one of the most famous painters of our time, worldwide. His fascinating visual spheres are characterized by a unique originality and quality, in which the abstract and the figural intertwine and permeate each other. This extensive volume of pictures concentrates entirely upon the theme of landscape in Richter's oeuvre. Through this genre, to which Richter has remained loyal for more than sixty years, it is possible to see more than a development in the artist's painting style. There is also a perceptible, genuine independence in many of the works, which makes him one of the most remarkable artists of our day. This book adds to the understanding of the significance and pictorial essence of Richter's art, opening up current insights into the theme of nature and landscape in the twenty-first century.

For the middle hall of the Haus der Kunst in Munich, South Korean artist Haegue Yang (born 1971) has created a complex scene of hanging blinds that play on the boundaries between inside and outside, open and closed. This publication documents the installation.