This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine privilege in regions other than their own. Women, trans, and third-gender artists continue to highlight and challenge the disturbing legacies of colonialism, imperialism, capitalism, communism, and other political ideologies that are correlated with patriarchy, primogeniture, sexism, or misogyny. The book argues that solidarity among such artists remains valuable and empowering for those who still seek legitimate recognition in art schools, cultural institutions, and the history curriculum.

Drawing from American history, fashion design, history of luxury, visual culture, museum studies, and women’s history, among others, this book explores the challenges, rewards and benefits of teaching business and the labor history of art and design professions to those in higher education. Recognizing that artists and designers are no longer just creatives, but bosses, employees, members of professional associations, and citizens of nations that encourage and restrain their creative work in various ways, the book identifies a crucial need for art and design students to be taught the intricacies of these other roles, as well as how to navigate or challenge them. This empirically driven study features case studies in various pedagogical contexts, including museum exhibitions, group projects, lesson plans, discussion topics, and long-term assignments. The chapters also explore how the roles of designing and making became separated, how new technologies and the rise of mass production affected creative careers, the shifts back and forth between direct employment and freelancing, and the evolution of government interventions in creative fields. With a diverse and experienced range of contributors, and providing a unique set of conceptual tools to interpret, cope with, and react to the ever-changing conditions of capitalism, this volume will appeal to educators and researchers across education, history, art history, and sociology, with interests in experiential learning, capitalism, equity, social justice and neoliberalism.

This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.

Threads of globalization is an interdisciplinary volume that brings fashion-specific garments, motifs, materials, and methods of production into dialogue with gender and identity in various cultures throughout Asia during the long twentieth century. It examines how the shift from artisanal production to 'fast fashion' over the past 150 years has devalued women’s textile labour and how skilled textile/ garment makers and the organizations that support them are preserving and reviving heritage traditions. It also offers examples of how socially engaged artists in Asia and the diaspora use their work to criticize labour and environmental abuses in the global fashion industry.

This collection offers a unique exploration of critical racial literacy and anti-racist praxis in Australia's educational landscape. Combining critical race and Indigenous theories and perspectives, contributors articulate a decolonial liberatory imperative for our times. In an age when 'decolonization' has become a buzzword, the book demystifies 'critical anti-racism praxis,' advocating for critical and multidisciplinary approaches. Educators from a range of disciplines including Law, Indigenous Studies, Health, Sociology, Policy and the Arts collectively share compelling stories of educating on race, racism and anti-racism, offering strategies that can be put into practice in classrooms, activism and structural reforms.

This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine privilege in regions other than their own. Women, trans, and third-gender artists continue to highlight and challenge the disturbing legacies of colonialism, imperialism, capitalism, communism, and other political ideologies that are correlated with patriarchy, primogeniture, sexism, or misogyny. The book argues that solidarity among such artists remains valuable and empowering for those who still seek legitimate recognition in art schools, cultural institutions, and the history curriculum. Gillian Hannum is Professor Emerita of Visual Studies and Art History at Manhattanville College in Purchase, New York, where she served on the faculty from 1987 to 2021. A photographic historian with M.A. and Ph.D. degrees from The Pennsylvania State University, she has published on photographic topics in the Journal of the Royal Photographic Society, History of Photography, and Nineteenth Century, has contributed to several books and exhibition catalogs, and has presented papers or chaired panels at a number of conferences. Kyunghee Pyun is Associate Professor of History of Art at the Fashion Institute of Technology, State University of New York. She wrote Fashion, Identity, Power in Modern Asia (Palgrave Macmillan, 2018) and will publish School Uniforms in East Asia: Fashioning Statehood and Self in 2022. As an independent curator, she has collaborated with contemporary artists for exhibitions such as Violated Bodies: New Languages for Justice and Humanity. Pyun co-edited Interpreting Modernism in Korean Art: Fluidity and Fragmentation (Routledge, 2021) and American Art in Asia: Artistic Praxis and Theoretical Divergence (Routledge, 2022).