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What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari's claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Figures -- Contributors -- Acknowledgements -- Chapter 1 Introduction -- Aims and rationale -- A complex relationship -- Scope and approach -- Part I: Reimagining heritage -- Part II: Alternative histories -- Part III: Disciplinary dialogues -- Part IV: Liminal spaces -- Notes -- Part I Reimagining heritage -- Chapter 2 Mapping contemporary art in the heritage experience -- Introduction -- Museological origins for contemporary art in heritage practice -- A new 'commissioning' industry? -- Reimagining audiences through contemporary art in heritage -- Conclusion -- Notes -- Chapter 3 Making cities: Place, production, and (im)material heritage -- Emily Hesse -- Neil Brownsword -- Conclusion -- Notes -- Chapter 4 Gestured by Brass Art: Gestures, ambiguity, and material transformation at Chetham's Library -- Introduction -- An embodied approach to the archive -- Molten and interior geologies | the erupting body -- Absent women return -- Spectral whispers -- Re-presenting the space -- A fantasy hovers -- Notes -- Part II Alternative histories -- Chapter 5 Making the invisible visible in Capability Brown's lost landscapes -- Introduction -- Developing the project -- Pinatopia and Mount Folly -- Harewood House -- Gustav Metzger -- The garden and/as artwork -- Giles Bailey: Out of a Morass -- Ruth Lyons: Pilot Light -- Amelia Crouch: Nor Stamp Hard on the Ground, Neither -- Lead, Threads, and Petals -- Conclusion -- Notes -- Chapter 6 A room of one's own: Strategies of feminist arts interventions -- Introduction -- Context: the National Trust and the Challenging Histories programme -- Why feminism and heritage -- A framework of feminist strategies -- Feminist artist interventions -- Complaint, risk, and loss -- Conclusion -- Notes.

"This volume offers a comprehensive perspective on the relationship between the art scene and agencies of the state in countries of the region, throughout four consecutive yet highly diverse historical periods: from the period of state integration after World War I, through the communist era post 1945 and the time of political transformation after 1989, to the present-day globalization (including counter-reactions to westernization and cultural homogenization). With twenty-four theoretically and/or empirically-oriented articles by authors from sixteen countries (East Central Europe and beyond, including the United States and Australia), the book discusses interconnections between state policies and artistic institutions, trends and the art market from diverse research perspectives. The contributors explore subjects such as the impact of war on the formation of national identities, the role of artists in image-building for the new national states emerging after 1918, the impact of political systems on artists' attitudes, the discourses of art history, museum studies, monument conservation and exhibition practices. The book will be of interest to scholars working in art history, cultural politics, cultural history, and East Central European studies and history"--

From the politics of representation to a politics of acts -- Beyond performing identities -- Feminism and the pedagogical turn in art -- Craftivism: a material ethics of care -- Avant Gardening: Western landscape, ecofeminism and First Nations' care for country -- Feminist worlds: reimagining community and publics.

Frontmatter -- CONTENT -- Art and Global Migration. Theories, Practices, and Challenges / Dogramaci, Burcu / Mersmann, Birgit -- Migratory Challenges for Art Production and Art History -- Toward a Migratory Turn / Dogramaci, Burcu -- From Global Turbulences to Spaces of Conviviality / Papastergiadis, Nikos / Trimboli, Daniella -- The Migrant Image / Nail, Thomas -- Immigrants, Refugees and the Arts / Martiniello, Marco -- Aesthetics and Art Practices of Migration -- Close Encounters / Bal, Mieke -- Fuocoammare and the Aesthetic Rendition of the Relational Experience of Migration / Dasgupta, Sudeep -- Paths Walked Twice / Gutberlet, Marie-Hélène -- Women, Art, Migration and Diaspora / O'Neill, Maggie -- Migratory Networks. Objects and Actors on the Route -- On Nomadic Textile Forms - The Aesthetic of Nomadic Textiles / Haehnel, Birgit / Reichstein, Sascha -- Cosmopolitan Nodes and Vectors / Lee, Rachel -- Photodocumentaries of Global Migration / Mersmann, Birgit -- Climates of Displacement / Demos, T. J. -- Places, Spaces, and Boundaries of Migration -- The Place of Faith / James-Chakraborty, Kathleen -- The Migratory Living Room / Dogramaci, Burcu -- Of Inner Cities and Outer Space / Pinther, Kerstin -- Histories and Memories of Migration -- Memory. Belonging. Engaging. / Bublatzky, Cathrine -- Migration, Dispossession, Post-Memorial Recuperations / Juneja, Monica -- Migration on Display / Ulz, Melanie -- Exhibiting Voids / Lanz, Francesca / Whitehead, Christopher -- Beyond Migration. Post-migratory Concepts and Strategies -- When Migration Turns from the Spectacular to the Ordinary / Moslund, Sten Pultz -- Migration and Postmigration as New Frameworks for Art Theory / Petersen, Anne Ring -- Postmigrant Practices of Living as Resistance / Yildiz, Erol -- The Postmigrant Condition in Fashion, Culture and Fashion Theory / Gaugele, Elke -- IMAGE CREDITS -- BIOGRAPHIES OF THE AUTHORS -- INDEX

In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about "contemporaneity" in relation to art history is the main topic of this paper, which departs from Panofsky's 1934 review of a book on modern art. In his review of James Johnson Sweeny's book Plastic Redirections in 20th Century Painting, Panofsky's praise for Sweeney's scholarly "distance" from contemporary art developments in Europe is backed by a claim for America's cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky's conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.

"Modern Art in Cold War Beirut: Drawing Alliances examines the entangled histories of modern art and international politics during the decades of the 1950s and 60s. Positing the Cold War as a globalized conflict, fraught with different political ideologies and intercultural exchanges, this study asks how these historical circumstances shaped local debates in Beirut over artistic pedagogy, the social role of the artist, the aesthetics of form, and, ultimately, the development of a national art. Drawing on a range of archival material and taking an interdisciplinary approach that combines Art History, Middle Eastern, and Cold War studies, Sarah Rogers argues that the genealogies of modern art can never be understood as isolated, national histories, but rather that they participate in an ever contingent global modernism. This book will be of particular interest to scholars in art history, contemporary art, and Middle East studies"--