Olfactory Art And The Political In An Age Of Resistance

This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance. Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities. The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.

This collection of original essays interrogates disciplinary boundaries in fashion, gathering fashion studies research across disciplines and from around the globe. Fashion and clothing are part of material and visual culture, cultural memory, and heritage; they contribute to shaping the way people see themselves, interact, and consume. For each of the volume’s eight parts, scholars from across the world and a variety of disciplines offer analytical tools for further research. Never neglecting the interconnectedness of disciplines and domains, these original contributions survey specific topics and critically discuss the leading views in their areas. They include discursive and reflective pieces, as well as discussions of original empirical work, and contributors include established leaders in the field, rising stars, and new voices, including practioner and industry voices. This is a comprehensive overview of the field, ideal not only for undergraduate and postgraduate fashion studies students, but also for researchers and students in communication studies, the humanities, gender and critical race studies, social sciences, and fashion design and business.

In an effort to challenge the ways in which colonial power relations and Eurocentric knowledges are reproduced in participatory research, this book explores whether and how it is possible to use arts-based methods for creating more horizontal and democratic research practices. In discussing both the transformative potential and limitations of arts-based methods, the book asks: What can arts-based methods contribute to decolonising participatory research and its processes and practices? The book takes part in ongoing debates related to the need to decolonise research, and investigates practical contributions of arts-based methods in the practice-led research domain. Further, it discusses the role of artistic research in depth, locating it in a decolonising context. The book will be of interest to scholars working in art history, design, fine arts, service design, social sciences and development studies.

This anthology of articles selected from The Journal of Artists’ Books contains some of the best critical writing on artists’ books produced in the last quarter of a century. Driven by the editorial vision of artist Brad Freeman, JAB began as a provocative pamphlet and expanded to become a significant journal documenting artists’ books from multiple perspectives. With its range of participants and approaches, JAB provided a unique venue for sustained critical writing in the field and developed a broad subscriber base among institutional and private collectors and readers. More than two hundred writers and artists from nearly two dozen countries around the globe were published in its pages. The JAB Anthology contains contributions by many renowned figures in the field including: Anne Moeglin-Delcroix, Janet Zweig, Monica Carroll, Adam Dickerson, Alisa Scudamore, Mary Jo Pauly, April Sheridan, Doro Boehme, Gerrit Jan de Rook, Océane Delleaux, Brandon Graham, Jérôme Dupeyrat, Ward Tietz, Paulo Silveira, Philip Cabau, Leszek Brogowski, Lyn Ashby, Tim Mosely, Debra Parr, Pedro Moura, Levi Sherman, Catarina Figueiredo Cardoso, Isabel Baraona, and the editors.

This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram – the tactile world of affiliation (‘follows’), aesthetics (‘likes’) and attention (‘comments’) – the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.

Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography. The problem of mapping, although indebted to the "spatial turn" of poststructuralist philosophy, is reconstructed as hermeneutics, while exposing the nexus between topology, space-time, and memory. The book posits that the emergence of "mapping" as a ubiquitous theme in contemporary art can be attributed to the power of the cartographic model to constitute multiple worldviews that can be seen as paradigmatic of the post-modern and contemporary condition. This book will be of particular interest to scholars in art history, art theory, aesthetics, and cartography.

This book examines the history of creative applications of photovoltaic (PV) solar power, including sound art, wearable technology, public art, industrial design, digital media, building integrated design, and many others. The growth in artists and designers incorporating solar power into their work reflects broader social, economic, and political events. As the cost of PV cells has come down, they have become more accessible and have found their way into a growing range of design applications and artistic practices. As climate change continues to transform our environment and becomes a greater public concern, the importance of integrating sustainable energy technologies into our culture grows as well. The book will be of interest to scholars working in art history, design history, design studies, environmental studies, environmental humanities, and sustainable energy design.

Focusing on the aesthetic representation of trauma, George Smith outlines the nexus points between poetics and hermeneutics and shows how a particular kind of thinker, the artist-philosopher, practices interpretation in an entirely different way from traditional hermeneutics. Taking a transhistorical and global view, Smith engages artists, writers, and thinkers from Western and non-Western periods, regions, and cultures. Thus, we see that poetic hermeneutics reconstitutes philosophy and art as hybridizations of art and science, the artist and the philosopher, subject and object. In turn, the artist-philosopher's poetic-hermeneutic reconstitution of philosophy and art is meant to transform human consciousness. This book will be of interest to artists and scholars working in studio practice, art history, aesthetics, philosophy, cultural studies, history of ideas, history of consciousness, psychoanalytic studies, myth studies, literary studies, and creative writing.