Artwork and popular cultures are crucial sites of contesting and transforming power relationships in world politics. The contributors to this edited collection draw on their experiences across arts, activist, and academic communities to analyze how the global politics of colonialism, capitalism, and patriarchy are expressed and may be transformed through popular cultures and artistic labour. Through their methodological treatment of artwork and popular cultures as material sites of generating aesthetic knowledge and embodying global power, the authors foreground an analysis of global hierarchies and transformative empowerment through critically engaged political imagination and cultural projects. By centralizing an intersectional analysis of the racialized, gendered, economic dimensions of the praxis of culture, The Art of Global Power demonstrates how artwork and popular culture projects, events, and institutions are vital sites of transgressing the material conditions that produce and sustain unjust global power hierarchies. This book intervenes in the international relations popular culture literature by problematizing the idea of a single homogenizing global popular culture and engaging with multiple popular cultures articulated from diverse global locations and worldviews. To the international relations aesthetics literature this book contributes an intersectional analysis of aesthetics as an embodied process of knowledge production and action that takes place within global conditions of colonialism, capitalism, and patriarchy. This book will be of interest to students, researchers and practitioners of international relations, and gender, cultural and media studies.

Historically, artwork has played a powerful role in shaping settler colonial subjectivity and the political imagination of Westphalian sovereignty through the canonization of particular visual artworks, aesthetic theories, and art institutions' methods of display. Engaging directly with Indigenous contemporary artists, this book makes the case that decolonial aesthetics is a form of knowledge production that calls attention to the foundational violence of settler colonialism in the formation of the world order of sovereign states. Contemporary Indigenous artists' projects that engage with the political violences of settler colonialism demonstrate how artwork can play a key role in decolonizing political imagination and academic knowledge production about territorial sovereignty and in Indigenous peoples' reclamations of relationships with traditional lands and waterways. This book contributes a transnational feminist intersectional analysis of artwork as a powerful force in world politics and argues that contemporary artwork is a site of knowledge production that provides vital insights for scholars of world politics. The objective is to contribute to IR debates on aesthetics, anarchy/hierarchy in world ordering, and structure/agency as well as to contribute to public conversations on the politics of reconciliation between Indigenous peoples and non-Indigenous settlers in global contexts.

Historically, artwork has played a powerful role in shaping settler colonial subjectivity and the political imagination of Westphalian sovereignty through the canonization of particular visual artworks, aesthetic theories, and art institutions' methods of display. Engaging directly with Indigenous contemporary artists, this book makes the case that decolonial aesthetics is a form of knowledge production that calls attention to the foundational violence of settler colonialism in the formation of the world order of sovereign states. Contemporary Indigenous artists' projects that engage with the political violences of settler colonialism demonstrate how artwork can play a key role in decolonizing political imagination and academic knowledge production about territorial sovereignty and in Indigenous peoples' reclamations of relationships with traditional lands and waterways. This book contributes a transnational feminist intersectional analysis of artwork as a powerful force in world politics and argues that contemporary artwork is a site of knowledge production that provides vital insights for scholars of world politics. The objective is to contribute to IR debates on aesthetics, anarchy/hierarchy in world ordering, and structure/agency as well as to contribute to public conversations on the politics of reconciliation between Indigenous peoples and non-Indigenous settlers in global contexts.

Artwork and popular cultures are crucial sites of contesting and transforming power relationships in world politics. The contributors to this edited collection draw on their experiences across arts, activist, and academic communities to analyze how the global politics of colonialism, capitalism, and patriarchy are expressed and may be transformed through popular cultures and artistic labour. Through their methodological treatment of artwork and popular cultures as material sites of generating aesthetic knowledge and embodying global power, the authors foreground an analysis of global hierarchies and transformative empowerment through critically engaged political imagination and cultural projects. By centralizing an intersectional analysis of the racialized, gendered, economic dimensions of the praxis of culture, The Art of Global Power demonstrates how artwork and popular culture projects, events, and institutions are vital sites of transgressing the material conditions that produce and sustain unjust global power hierarchies. This book intervenes in the international relations popular culture literature by problematizing the idea of a single homogenizing global popular culture and engaging with multiple popular cultures articulated from diverse global locations and worldviews. To the international relations aesthetics literature this book contributes an intersectional analysis of aesthetics as an embodied process of knowledge production and action that takes place within global conditions of colonialism, capitalism, and patriarchy. This book will be of interest to students, researchers and practitioners of international relations, and gender, cultural and media studies.