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Smith C: Relational Art

Relational Art

A Guided Tour

Kurdish Studies

"This book focuses on the cultural and intellectual activities of Kurdish migrant women through artistic and aesthetic forms of production in Belgium, France, Germany, Sweden and the UK. Using in-depth interviews with over 40 Kurdish women artists, Ozlem Galip examines how artistic, literary and cultural productions, incorporating the fields of film, theatre and music, are articulated within the structures of nation states, leading to the interrogation of the impact of western and local knowledge, patriarchy, the nation-state and globalisation. Galip also analyses how European policies affect the development of cultural engagement of Kurdish migrant women, and how such engagements help these women to integrate into European society"--

Intellectual and Cultural Production in Europe

Art, Gender and Migration in the Kurdish Diaspora

Visual Cultures and German Contexts

In what ways can erotica chart the story of a nation in transition? What can it reveal about the discontinuities-and uncomfortable parallels-between the periods of political and economic turmoil that characterize modern German history? The rapid modernization of the German Empire in 1871 led to large-scale transformations in the cultural, social, and political spheres. Exploring a rich diversity of erotic visual art-from paintings and photographs, to postcard and graphic folios-this volume reveals the impact of these changes on the erotic interests of the nation. Exploring various forms of artistic production, reception, and circulation, Erotic Art in Modern Germany argues for the cultural value of erotica in modern Germany. It presents work by both highly regarded and lesser-known artists and explores themes such as legal cultures and the impact of censorship, sexuality and sexual reform, and changing political frameworks, from imperialism to fascism. 10 chapters explore diverse topics, from philological and ethnographic approaches to erotic art, to scientific developments, gender and sexuality. With its holistic, cross-disciplinary approach-drawing from the fields of anthropology, film theory, Marxism, feminism, and trans- and queer theories-the book complicates simplistic understandings of 'modern' erotica and powerfully underlines its enduring significance as a site of dissent and experimentation.

Visual Cultures of Sex, 1871-1945

Erotic Art in Modern Germany

Said in Stone

Edmonia Lewis

Through a series of newly-commissioned conversations by renowned artists, writers, and scholars, in produced in collaboration with the Georgia O’Keeffe Museum in Santa Fe, In New Light offers new entry points into the iconic American modernist. An extremely well-known painter and cultural figure, O’Keeffe’s persona and biography have remained as much a part of her story as her innovations within and contributions to modernist painting. What are the questions that need to be asked (and critiques to be raised and considered) about her work and legacy today?
 Included is a fully illustrated summary of O’Keeffe’s work — from very early pieces to her latest paintings, with both significant masterworks as well as less-known pieces. Photographs of the artist, her residence in Abiquiú, and other objects and ephemera in the Museum’s collection appear throughout this chronological plate section.
 In addition to the O’Keeffe Museum, the artist’s work is held in countless major public collections, including the Amon Carter Museum of American Art (Dallas),&nbsp;Art Institute of Chicago, Brooklyn Museum, Cleveland Museum of Art, Milwaukee Art Museum,&nbsp;National Gallery of Art (Washington), and The White House (Washington, DC).

Georgia O'Keeffe: In New Light

The Orient Within

Art and Identity in Spain, 1833–1956

Methods for Ecocritical Art History

Blazing Light&nbsp;is&nbsp;published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City,&nbsp;and&nbsp;The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its aftermath. In the 1970s, Plumb began photographing as a teenager in the San Francisco suburb of Walnut Creek at a time marked by rapid development of the land coupled with global political and economic instability. Her early artistic life was defined by a burgeoning awareness of global warming, the AIDS epidemic, violent conflict in Latin America and the Middle East, and a looming threat of nuclear war. This atmosphere attuned Plumb to the evidence of such forces in the land, the built environment, and the ways people carry themselves and relate to one another—concerns that continue to abide in her work to this day. Plumb’s photographs foreground the presence of people, lending her images a greater degree of pathos and even notes of humorous absurdity. Though the artist embraces realism, her photographs are more ambient and enigmatic, inviting conjecture rather than providing documentary information. The publication will include texts by Gregory Harris, curator of the exhibition; Karen Irvine, chief curator and deputy director at the Museum of Contemporary Photography, Chicago, IL; and Lauren Richman, curator of photography at the Norton Museum of Art, West Palm Beach, FL. Plumb's work is held in numerous public collections, including the High Museum of Art (GA), San Francisco Museum of Modern Art (CA), Los Angeles County Museum of Art (CA), Museum of Fine Arts Boston (MA), Yale University Art Gallery (CT), and the Deutsche Börse Collection (Germany). The&nbsp;Mimi Plumb: Blazing Light&nbsp;exhibition will be on view at the High Museum of Art from February 6-May 5, 2026. The exhibition will then travel to the Johnson Museum at Cornell University, NY (summer 2026), the Norton Museum of Art in West Palm Beach, FL (winter 2026/2027), followed by the Museum of Contemporary Photography in Chicago, IL (spring 2027).

Mimi Plumb: Blazing Light

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

Relational Art

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