Humanity is struggling with the environmental destruction and social change caused by modern technologies like nuclear reactors. Politicians, scientists, and business leaders all too often revert to a tried and tested set of solutions that fails to grasp the wicked nature of the problem. Eschewing the problem-solving approach that dominates the nuclear energy debate, Anna Volkmar suggests that the only intelligent way to account for the inherent complexity of nuclear technology is not by trying to resolve it but to muddle through it. Through in-depth analyses of contemporary visual art, Volkmar demonstrates how art can suggest ways to muddle through these issues intelligently and ethically. This book is recommended for students and scholars of art history, anthropology, social science, ecocriticism, and philosophy.

Rooted in the study of objects, this book addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to researchers in a variety of fields including European history, politics, design history, anthropology, and media.

This book explores the contemporary legacy of Hiroshima and Nagasaki following the passage of three quarters of a century, and the role of art and activism in maintaining a critical perspective on the dangers of the nuclear age. It closely interrogates the political and cultural shifts that have accompanied the transition to a nuclearised world. Beginning with the contemporary socio-political and cultural interpretations of the impact and legacy of the destruction of Hiroshima and Nagasaki, the chapters examine the challenges posed by committed opponents in the cultural and activist fields to the ongoing development of nuclear weapons and the expanding industrial uses of nuclear power. It explores how the aphorism that "all art is political" is borne out in the close relation between art and activism. This multi-disciplinary approach to the socio-political and cultural exploration of nuclear energy in relation to Hiroshima/Nagasaki via the arts will be of interest to students and scholars of peace and conflict studies, social political and cultural studies, fine arts, and art and aesthetic studies.

Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and ?gr?rtists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.

"An extremely important work. . . . It demonstrates the power that ethnographic analysis can have when directed at an examination of our own society's central nervous system."—Faye Ginsburg, author of Contested Lives "Essential reading for anyone trying to understand what Cold War science was in all its cultural aspects and what this same science now in transformation might yet be."—George E. Marcus, co-editor of The Traffic in Culture

From uranium mines on the Navajo Nation to craters caused by nuclear testing on the Bikini and Enewetak Atolls, the production and deployment of nuclear weapon technologies have disproportionately harmed Indigenous lands. Sustained exposure to radiation from nuclear weapons and waste affects many communities from Japan to Oceania to the US West. While antinuclear activism often takes political and legal forms, artistic responses to nuclear regimes also prompt social action and resistance. Resisting the Nuclear is an interdisciplinary edited collection featuring historians, anthropologists, artists, and activists who explore the multifaceted forms of resistance to nuclear regimes. Through a combination of interviews, scholarly essays, and discussions of contemporary art, contributors recenter the victims of nuclear technologies and demonstrate how political and artistic expression can respond to nuclear threats and effect change.