"Creating Aztlâan interrogates the important role of Aztlâan in Chicano and Indigenous art and culture. Using the idea that lowriding is an Indigenous way of being, author Dylan A. T. Miner (Mâetis) discusses the multiple roles that Aztlâan has played atvarious moments in time, engaging pre-colonial indigeneities, alongside colonial, modern, and contemporary Xicano responses to colonization"--

An appraisal of the significance of the artistic work of Welsh miners Cyril Ifold, George Brinley Evans, Elwyn Charles Chesterfield, Keith Jenkins, Nicholas Evans, John Davies, Illtyd David, Robert Morgan and Wynford Vaughan Thomas as a perceptive pictorial document of the conditions and concepts of the working- class. 26 colour and 40 black-and-white illustrations.

Works from an exhibition that proves mining can be as sublime as it is destructive. Landscapes of Extraction explores the art of mining, which completely transformed the American West. These landscapes of enterprise altered the natural environment on a spectacular scale, with open pit mines, coal tipples, and oil rigs. Yet artists have often found these scenes beautiful, even sublime. The four scholarly essays presented here explore how artists have portrayed the mining industry in the American West. The multiple landscapes created by large-scale mining inspired these artworks: the mines themselves, the towns that grew up around them, and the miners and their families who lived and worked there. The industry has shaped communities and landscapes throughout the West: Arizona, California, Colorado, Montana, New Mexico, Nevada, Oklahoma, Texas, and Utah. Landscapes of Extraction explores how a powerful regional narrative became a fundamental element of national identity and played out on a vast geographical scale.

In the course of their research, art historians frequently need to refer to historical photo archives when attempting to authenticate works of art. This book, Mining Authoritativeness in Art Historical Photo Archives, provides an aid to retrieving relevant sources and assessing the textual authoritativeness – the internal grounds – of sources of attribution, and to evaluating the authoritativeness of cited scholars. The book aims to do three things: facilitate knowledge discovery in art historical photo archives, support users’ decision-making processes when evaluating contradictory attributions, and provide policies to improve the quality of information in art historical photo archives. The author’s approach is to leverage Semantic Web technologies in order to aggregate, assess, and recommend the most documented authorship attributions. At the same time, the retrieval process allows the providers of art historical data to define a low-cost data integration process with which to update and enrich their collection data. This conceptual framework for assessing questionable information will also be of value to those working in a number of other fields, such as archives, museums, and libraries, as well as to art historians.