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"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"--

In a 2002 lecture at Home Works, Beirut's contemporary art festival, writer and cultural critic Abbas Beydoun claimed that Lebanon's internationalism had led to derivative cultural production. The well known critic's comments evoked an angry outburst from members of his predominantly Lebanese audience of young artists and cultural workers. To varying degrees, however, this characterization of Beiruti culture repeats and prefigures descriptions of the city as a meeting point between East and West. Indeed, Beirut's reputation as a multi-linguistic and cross-cultural Mediterranean port is traced to the latter half of the nineteenth century when the city became the capital of an Ottoman province and followed as a regional center for missionary, political, and cultural activities. Moreover, Beydoun's characterization did not always carry such a negative connotation. This paper begins to trace the ways in which the visual arts is a field for producing, rather than reflecting, Beirut's cosmopolitanism. To do so, I look at two historical moments pivotal in the institutionalization of the visual arts. The first is that of Daoud Corm (1852-1930), the city's first professional easel painter whose career ran from the Ottoman period through the French Mandate (1920-1943). The second is the decades of the 1960s and 70s, the city's heyday as a regional cultural capital when a number of artists and activists established a gallery system, further expanding the private sector's consumption of painting and sculpture.

Hydrosocial territories are produced not just through concrete water infrastructure, but through flows of people, water, money, and ideas at multiple scales. As part of China's South–North Water Transfer Project, water drawn from the distant Danjiangkou Reservoir now supplies the megacities of Beijing and Tianjin with the majority of their drinking water. To provide this new service – supplying drinking water of sufficient quality and quantity – the Reservoir and its upper reaches are in the midst of socio-economic and ecological transformations. In this article, we outline the tools being mobilised to send a river of clean water north, including administrative interventions, displacement, and discursive imaginings. We argue that what is being attempted is a wholesale reorganisation that marginalises local territorialities, reflects China's particular governing rationalities and practices, and highlights new spatialities of water governance. Our analysis of the remaking of Danjiangkou pushes hydropolitical scholarship to more precisely define the geographies of power in hydrosocial territories.