Based on slippages between languages and irreverent approaches to translation, the poems in Repetition Nineteen riff on creative misunderstanding in response to the prevailing political discourse.

Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.

This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.

Can postwar art be understood as an exercise in calculated insanity? Taking this provocative question as its basis, this book explores the art and history of delirium from 1950 to 1980, an era shaped by the brutality of World War II and the rapid expansion of industrial capitalism. Skepticism of science and technology—along with fear of its capability to promote mass destruction—developed into a distrust of rationalism, which profoundly influenced the art of the times. Delirious features work by more than sixty artists from Europe, Latin America, and the United States, including Dara Birnbaum, León Ferrari, Gego, Bruce Nauman, Howardena Pindell, Peter Saul, and Nancy Spero. Experimenting with irrational subject matter and techniques, these artists forged new strategies that directly responded to such unbalanced times. Disturbing and challenging, the works in this book—in multiple media and often, counterintuitively, incorporating highly ordered and systematic structures—upend traditional notions of aesthetic harmony. Three wide-ranging essays and a richly illustrated plates section investigate the degree to which delirious times demand delirious art, inviting readers to “think crazy." p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

This collection explores the relationships between acts of translation and the movement of peoples across linguistic, cultural, and physical borders, centering the voices of migrant writers and translators in literatures and language cultures of the Global South. To offer a counterpoint to existing scholarship, this book examines translation practices as forms of both home-building and un-homing for communities in migration. Drawing on scholarship from translation studies as well as eco-criticism, decolonial thought, and gender studies, the book’s three parts critically reflect on different dimensions of the intersection of translation and migration in a diverse range of literary genres and media. Part I looks at self-translation, collaboration, and cocreation as modes of expression born out of displacement and exile. Part II considers radical strategies of literary translation and the threats and opportunities they bring in situations of detention and border policing. Part III looks ahead to the ways in which translation can act as a powerful means of fostering responsibility, solidarity, and community in building an inclusive, multilingual public sphere even in the face of climate crisis. This dynamic volume will be of particular interest to students and scholars in translation studies, migration and mobility studies, postcolonial studies, and comparative literature.

'Live Art in LA' explores the histories and legacies of performance art in Southern California in the 1970s and early 80s. Peggy Phelan documents and critically examines one of the most productive periods in the history of live art, using archival documents, historical resources and nearly 100 photographs.