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

The history of American art is a history of objects, but it is also a history of ideas about how we create and consume these objects. As Picturing convincingly shows, the critical tradition in American art has given rise to profound thinking about the nature and capacity of images and formed responses to some of most pressing problems of picturing: What is an image, and why make one? What do images do? The first volume in a new series on critical concerns in the history of American art, Picturing brings together essays by a distinguished international group of scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein's portrait of Cezanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge's nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays' considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition. With a wealth of new research and full-color illustrations, Picturing significantly expands the terrain of scholarship on American art.

This generously illustrated volume surveys a new chapter in the history of environmental art, one in which space, geopolitics, human relations, urbanism, and utopian dreamwork play as important a role as, if not more than, raw earth. Discussed are case studies by seven artists and two artist teams-Jennifer Allora and Guillermo Calzadilla, Francis Alys, Yael Bartana, Joana Hadjithomas and Khalil Joreige, Emre Huner, Andrea Geyer, Matthew Day Jackson, Lucy Raven, and Santiago Sierra. While some of these artists explore historical and symbolic configurations of space, others parse the social, legal, and economic conditions of specific land-sites, including the Navajo Nation, the island of Vieques, the border town of Juarez, and the cities of Tongling, Jerusalem, and Beirut. Not confined to the displacement of matter, these artists employ a wide range of media, such as performance, animation, assemblage, and photography. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum 10/23/10 - 02/20/11

Arthur Dove, often credited as America's first abstract painter, created dynamic and evocative images inspired by his surroundings, from the farmland of upstate New York to the north shore of Long Island. But his interests did not stop with nature. Challenging earlier accounts that view him as simply a landscape painter, Arthur Dove: Always Connect reveals for the first time the artist's intense engagement with language, the nature of social interaction, and scientific and technological advances. Rachael Z. DeLue rejects the traditional assumption that Dove can only be understood in terms of his nature paintings and association with photographer and gallery director Alfred Stieglitz and his circle. Instead, she uncovers deep and complex connections between Dove's work and his world, including avant-garde literature, popular music, machine culture, meteorology, mathematics, aviation, and World War II, just to name a few. Arthur Dove also offers the first sustained account of Dove's Dadaesque multimedia projects and the first explorations of his animal imagery and the role of humor in his art. Beautifully illustrated with works from all periods of Dove's career, this book presents an unprecedented vision of one of America's most innovative and captivating artists-and reimagines how the story of modern art in the United States might be told.

This volume of essays frames a comparative history of landscape painting in Australia and the United States through recent considerations of the Anthropocene, arguing that careful and deep analysis of specific nineteenth-century artworks reveals issues of environmental concern both past and present. Carefully drawn from two symposia held at the Art Gallery of Western Australia in Perth in 2016 and at the Ian Potter Museum of Art, University of Melbourne the following year, the volume includes eight essays and a conversation between artists. Colonization, Wilderness, and Spaces Between brings together the fresh insights of scholars and artists from Australia, the United Kingdom, and the United States and provides a resource for thinking critically about the historical, imperial, and environmental information that can be gleaned from looking closely at landscape paintings.