"The book is a contribution to the historical study of gay and lesbian art, yet calls for altering its parameters in ways that fully recognize social and cultural difference. It provides a chronological and conceptual framework for studying the tropes of 'homotextual' expression in a Latin American context. More than one hundred illustrations, gathered from various sources across Latin America, North America and Europe, allow the reader to personally witness this fascinating and, until now, concealed story."--BOOK JACKET.

This Handbook approaches sustainable development in higher education from an integrated perspective, addressing the dearth of publications on the subject. It offers a unique overview of what universities around the world are doing to implement sustainable development (i.e. via curriculum innovation, research, activities, or practical projects) and how their efforts relate to education for sustainable development at the university level. The Handbook gathers a wealth of information, ideas, best practices and lessons learned in the context of executing concrete projects, and assesses methodological approaches to integrating the topic of sustainable development in university curricula. Lastly, it documents and disseminates the veritable treasure trove of practical experience currently available on sustainability in higher education.

The first overview of the unique encounter between artists and the prominent Marxist current Workerism, also known as Operaismo During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Classsignposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio’s exhibition in Paris, the Metropolitan Indians’ zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group’s experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.

This book is a printed edition of the Special Issue "Observing Geohazards from Space" that was published in Geosciences

A beautifully produced, comprehensive look at Cuban artist Zilia Sánchez that traces her alluring and evocative paintings and sculpture from the 1950s to today Cuban artist Zilia Sánchez (b. 1926) often says, “Soy isla” (“I am an island”), expressing her desire for solitary, uncompromising practice. It also serves as a metaphor for her experience as an islander—connected to and disconnected from both the mainland and mainstream art currents, such as concretism, gestural abstraction, and minimalism. Characterized by reductive forms, clean lines, and sensuous curves suggestive of the female body, Sánchez’s work frequently references protagonists from ancient mythology and lunar motifs while embracing ambiguity. This groundbreaking volume examines her paintings, sculptures, works on paper, and graphic illustrations together with archival ephemera. It traces Sánchez’s artistic journey from her early years in Cuba through her travels in Europe and residence in New York in the 1960s to her move to Puerto Rico, where she still lives and works. With spectacular illustrations of more than 75 artworks, insightful essays situating Sánchez within the context of global modernism, and a conversation with the artist, this is the most comprehensive publication on Sánchez’s art to date.

What is the significance of gendered identification in relation to artists' moving image? How do women artists grapple with the interlinked narratives of gender discrimination and gender identity in their work? In this groundbreaking book, a diverse range of leading scholars, activists, archivists and artists explore the histories, practices and concerns of women making film and video across the world, from the pioneering German animator Lotte Reiniger, to the influential African American filmmaker Julie Dash and the provocative Scottish contemporary artist Rachel Maclean. Opening with a foreword from the film theorist Laura Mulvey and a poem by the artist film-maker Lis Rhodes, Women Artists, Feminism and the Moving Image traces the legacies of early feminist interventions into the moving image and the ways in which these have been re-configured in the very different context of today. Reflecting and building upon the practices of recuperation that continue to play a vital role in feminist art practice and scholarship, essays discuss topics such as how multiculturalism is linked to experimental and activist film history, the function and nature of the essay film, feminist curatorial practices and much more. This book transports the reader across diverse cultural contexts and geographical contours, addressing complex narratives of subjectivity, representation and labour, while juxtaposing cultures of film, video and visual arts practice often held apart. As the editor, Lucy Reynolds, argues: it is at the point where art, moving image and feminist discourse converge that a rich and dynamic intersection of dialogue and exchange opens up, bringing to attention practices which might fall outside their separate spheres, and offering fresh perspectives and insights on those already established in its histories and canons.

A SUNDAY TIMES BOOK OF THE YEAR The ten years leading up to the First World War were the most exciting, frenzied and revolutionary in the history of art. They were the crucible of Modernism, when Fauvism, Expressionism, Cubism, Futurism and Abstract Art all burst forth. Simultaneously the Old Master market boomed, and art itself was politically weaponised in advance of approaching war. What was the conventional art against which Modernism was rebelling? Why did avant-garde artists become so obsessed with themselves? What persuaded a few bold collectors to buy difficult modern art? And why did others pay so much money for Old Masters? Art expert Philip Hook brings to bear a unique perspective on the art of a unique and extreme decade.