An anthology of essays on art's relation to the public realm since 1989 This critical anthology explores the myriad histories and worlds through which art is produced and experienced. It is guided by the following questions: How are the "global" and the "located" shaped and understood in disparate contexts and times? How have artists experimented with modes of exhibition-making and public presentation? Key essays previously published by Afterall are included alongside new image-led presentations, translated material and commissioned texts. The anthology addresses the topic in both theoretical terms and through case studies. Contributors include: Silvia Rivera Cusicanqui, Miguel A. López, Eddie Chambers, Francesca Recchia, Pablo Lafuente, Philippe Pirotte, Ntone Edjabe, Clémentine Deliss, Khwezi Gule, Charles Gaines, David Teh, Ekaterina Degot, Ana Teixeira Pinto, María Berríos, Mujeres Creando, Comunitario del Valle de Xico, Tonika Sealy Thompson and Stefano Harney.

Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; and revisiting Cold War Modernisms in Eastern Europe among other themes. An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA and West Europe. The book includes contributions by ten authors from the fields of art history, social sciences, anthropology, museum studies, provenance research, curating and exhibition histories. The edited volume finally examines exhibition reconstructions both as a symptom of advanced capitalism, geopolitical dynamics and social uprisings, and as a critique of imperial and capitalist violence. Art historical areas covered in the book include conceptualism, minimalism, modern painting, global modernisms, archives and community arts. This volume will be of interest to a wide range of audiences including art historians, curators, gallery studies and museum professionals, and also to scholars and students from the fields of anthropology, ethnography, sociology, and history. It would also appeal to a general public with an interest in modern and contemporary art exhibitions.

The Great Exhibition of 1851 was the outstanding public event of the Victorian era. Housed in Joseph Paxton’s Crystal Palace, it presented a vast array of objects, technologies and works of art from around the world. The sources in this edition provide a depth of context for study into the Exhibition.

"... examines the numbers shows and follows Lippard's trajectory as critic and curator, tracing her growing political engagement and involvement with feminism. Extensive archival material is complemented by a new essay by Cornelia Butler and interviews with Lippard, Seth Siegelaub and exhibiting artists as well as critical responses written at the time by Peter Plagens and Griselda Pollock... also includes an essay by Pip Day analysing artists' initiatives in Argentina as a context for Lipard's emerging political consciousness." --back cover.

This final volume in the Cambridge History of Ireland covers the period from the 1880s to the present. Based on the most recent and innovative scholarship and research, the many contributions from experts in their field offer detailed and fresh perspectives on key areas of Irish social, economic, religious, political, demographic, institutional and cultural history. By situating the Irish story, or stories - as for much of these decades two Irelands are in play - in a variety of contexts, Irish and Anglo-Irish, but also European, Atlantic and, latterly, global. The result is an insightful interpretation on the emergence and development of Ireland during these often turbulent decades. Copiously illustrated, with special features on images of the 'Troubles' and on Irish art and sculpture in the twentieth century, this volume will undoubtedly be hailed as a landmark publication by the most recent generation of historians of Ireland.

Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; and revisiting Cold War Modernisms in Eastern Europe among other themes. An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA and West Europe. The book includes contributions by ten authors from the fields of art history, social sciences, anthropology, museum studies, provenance research, curating and exhibition histories. The edited volume finally examines exhibition reconstructions both as a symptom of advanced capitalism, geopolitical dynamics and social uprisings, and as a critique of imperial and capitalist violence. Art historical areas covered in the book include conceptualism, minimalism, modern painting, global modernisms, archives and community arts. This volume will be of interest to a wide range of audiences including art historians, curators, gallery studies and museum professionals, and also to scholars and students from the fields of anthropology, ethnography, sociology, and history. It would also appeal to a general public with an interest in modern and contemporary art exhibitions.