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Artists and the Practice of Agriculture maps out examples of
artistic practices that engage with the aesthetics and politics of
gathering food, growing edible and medicinal plants, and
interacting with non-human collaborators. In the hands of
contemporary artists, farming and foraging become forms of visual
and material language that convey personal and political meanings.
This book provides a critical analysis of artistic practices that
model alternative food systems. It presents rich academic insights
as well as 16 conversations with practicing artists. The volume
addresses pressing issues, such as the interconnectedness of human
and other-than-human beings, the weight of industrial agriculture,
the legacy of colonialism, and the promise of place-based and
embodied pedagogies. Through participatory projects, the artists
discussed here reflect on the links between past histories, present
challenges, and future solutions for the food sovereignty of local
and networked communities. The book is an easy-to-navigate resource
for readers interested in food studies, visual and material
cultures, contemporary art, ecocriticism, and the environmental
humanities.
Lead in Modern and Contemporary Art is the first edited volume to
critically examine uses of lead as both material and cultural
signifier in modern and contemporary art. The book analyzes the
work of a diverse group of artists working in Europe, the Middle
East, and North America, and takes into account the ways in which
gender, race, and class can affect the cultural perception of lead.
Bringing together contributions from a distinguished group of
international contributors across various fields, this volume
explores lead’s relevance from a number of perspectives,
including art history, technical art history, art criticism, and
curatorial studies. Drawing on current art historical concerns with
materiality, this volume builds on recent exhibitions and
scholarship that reconsider the role of materials in shaping
artistic meaning, thus giving a central relevance to the object and
its physicality.
Peeking into the home through the eyes of artists and image-makers,
this book unveils the untold story of Italian domestic experiences
from the 1940s to the 1970s. Torn between the trauma of World War
II and the frenzied optimism of the postwar decades, and haunted by
the echoes of fascism, the domestic realm embodied contrasting and
often contradictory meanings: care and violence, oppression and
emotional fulfillment, nourishment and privation. Silvia Bottinelli
casts a fresh light on domestic experiences that are easily
overlooked and taken for granted, finding new expressions of home -
as an idea, an emotion, a space, and a set of habits - in a variety
of cultural and artistic movements, including new realism, visual
poetry, pop art, arte povera, and radical architecture, among
others. Double-Edged Comforts finds nuance by viewing artistic
interpretations of domestic life in dialogue with contemporaneous
visual culture: the advertisements, commercials, illustrations, and
popular magazines that influenced and informed art, even
materially, and often triggered the critical reactions of artists.
Bottinelli pays particular attention to women's perspectives,
discussing artworks that have fallen through the cracks of
established art historical narratives and giving specific
consideration to women artists: Carla Accardi, Marisa Merz, Maria
Lai, Ketty La Rocca, Lucia Marcucci, and others who were often
marginalized by the Italian art system in this period. From
sleeping and bathing, chores, and making and eating food to the
arrival of television, Double-Edged Comforts provides a fresh
account of modern domesticity relevant to anyone interested in
understanding how we make sense of the places we live and what we
do there, showing how art complicates the familiar comforts and
meanings of home.
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