By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. The winner of the Art Association of Australia and New Zealand best book award in 2017, Reparative Aesthetics contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.

How does something as potent and evocative as the body become a relatively neutral artistic material? From the 1960s, much body art and performance conformed to the anti-expressive ethos of minimalism and conceptualism, whilst still using the compelling human form. But how is this strange mismatch of vigour and impersonality able to transform the body into an expressive medium for visual art? Focusing on renowned artists such as Lygia Clark, Marina Abramovic and Angelica Mesiti, Susan Best examines how bodies are configured in late modern and contemporary art. She identifies three main ways in which they are used as material and argues that these formulations allow for the exposure of pressing social and psychological issues. In skilfully aligning this new typology for body art and performance with critical theory, she raises questions pertaining to gender, inter-subjectivity, relation and community that continue to dominate both our artistic and cultural conversation.

How does something as potent and evocative as the body become a relatively neutral artistic material? From the 1960s, much body art and performance conformed to the anti-expressive ethos of minimalism and conceptualism, whilst still using the compelling human form. But how is this strange mismatch of vigour and impersonality able to transform the body into an expressive medium for visual art? Focusing on renowned artists such as Lygia Clark, Marina Abramovic and Angelica Mesiti, Susan Best examines how bodies are configured in late modern and contemporary art. She identifies three main ways in which they are used as material and argues that these formulations allow for the exposure of pressing social and psychological issues. In skilfully aligning this new typology for body art and performance with critical theory, she raises questions pertaining to gender, inter-subjectivity, relation and community that continue to dominate both our artistic and cultural conversation.

By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. The winner of the Art Association of Australia and New Zealand best book award in 2017, Reparative Aesthetics contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.

Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.