This interdisciplinary book brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts in Latin America and the Caribbean. Examining the visual arts, including multimedia installations, performance, photography and film, the chapters place diverse fluids and systems of flow in art historical, ecocritical and cultural analytical contexts. The book will be of interest to scholars of art history, cultural studies, environmental humanities, blue humanities, ecocriticism, Latin American and Caribbean studies, and island studies. Chapter 7 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

This interdisciplinary book brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts in Latin America and the Caribbean. Examining the visual arts, including multimedia installations, performance, photography and film, the chapters place diverse fluids and systems of flow in art historical, ecocritical and cultural analytical contexts. The book will be of interest to scholars of art history, cultural studies, environmental humanities, blue humanities, ecocriticism, Latin American and Caribbean studies, and island studies. Chapter 7 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

In cultural history, the 1950s in Venezuela are commonly celebrated as a golden age of modernity, realized by a booming oil economy, dazzling modernist architecture, and nationwide modernization projects. But this is only half the story. In this path-breaking study, Lisa Blackmore reframes the concept of modernity as a complex cultural formation in which modern aesthetics became deeply entangled with authoritarian politics. Drawing on extensive archival research and presenting a wealth of previously unpublished visual materials, Blackmore revisits the decade-long dictatorship to unearth the spectacles of progress that offset repression and censorship. Analyses of a wide range of case studies-from housing projects to agricultural colonies, urban monuments to official exhibitions, and carnival processions to consumer culture-reveal the manifold apparatuses that mythologized visionary leadership, advocated technocratic development, and presented military rule as the only route to progress. Offering a sharp corrective to depoliticized accounts of the period, Spectacular Modernity instead exposes how Venezuelans were promised a radically transformed landscape in exchange for their democratic freedoms.

To mark one year from opening the new station, Art on the Underground launch a new publication on the work of Alexandre da Cunha at Battersea Power Station in London. Sunset, Sunrise, Sunset is a monumental kinetic sculpture for the Underground station. Stretching 95m and 60m in length, the artwork incorporates two friezes that face each other along the length of the ticket hall. The artwork was inspired by the former control room at Battersea Power Station and its system of vertical bars that regulated the production and output of electricity into the city. Combining this with resonances of the daily flow of dawn to dusk, Sunset, Sunrise, Sunset refers to cycles, routine, the everyday and eternity. Designed by Fraser Muggeridge Studio, the book features essays from art historian Dr Lisa Blackmore exploring the artist's practice, a geographical and social history of the local area from architecture and design writer Gillian Darley, an essay on commissioning the work by Eleanor Pinfield and a creative prose work from experimental writer Rebecca Watson.