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This edited volume breaks new ground for understanding peripheries and peripherality by providing a multidisciplinary cross-exposure through a collection of chapters and visual essays by researchers and artists.

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings which are attached to them and the implications they have on notions of identity, memory, gender, cultural belonging and political action.

This book uncovers how we make meaning of abstraction, both historically and in present times, and examines abstract images as a visual language.

This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."

As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics in the Asia-Pacific region.

This book explores the relation of abstract art to nature. It covers three categories of essays: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the broader historical and philosophical scope.

Focusing on the art and literary form of manga, this volume examines the intercultural exchanges that have shaped manga during the twentieth century and how mangäs culturalization is related to its globalization. Through contributions from leading scholars in the fields of comics and Japanese culture, it describes "manga culture" in two ways: as a fundamentally hybrid culture comprised of both subcultures and transcultures, and as an aesthetic culture which has eluded modernist notions of art, originality, and authorship. The latter is demonstrated in a special focus on the best-selling manga franchise, NARUTO.

Few phenomena are as formative of our experience of the visual world as displays of suffering. But what does it mean to have an ethical experience of disturbing or traumatizing images? Engaging with a wide range of visual media--from painting, theatre, and sculpture, to photography, film, and video--this interdisciplinary collection of essays by leading and emerging scholars of visual culture offers a reappraisal of the increasingly complex relationship between images of pain and the ethics of viewing. Amongst the topics addressed are the work of artists as disparate as Doris Salcedo, Anselm Kiefer and Bendik Riis; photographs from Abu Ghraib and Rwanda; Hollywood war films and animated documentaries; performances of self-immolations; and incidents of police brutality captured on mobile phones.

Recently there have been a number of texts on images of pain by authors such as Elaine Scarry, George Roeder, Susan Sontag, Ulrich Baer, Georges Didi-Huberman, and Giorgio Agamben. In this volume, contributors add to the discussion on images of pain by providing thoughtful scholarly accounts of representations of pain in art and the media. The book covers areas such as contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art, with imagery of Congolese whippings, contemporary American execution chambers, Abu Ghraib, lynching photographs, and concentration camps, among others.

On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of images-photographs, films, videos, press images, digital images, paintings, sculptures, and drawings-from everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.

This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art, and media installations.

This volume offers a varied and informed series of approaches to questions of mobility¿actual, social, virtual, and imaginary¿as related to visual culture. Contributors address these questions in light of important contemporary issues such as migration; globalization; trans-nationality and trans-cultural difference; art, space and place; new media; fantasy and identity; and the movement across and the transgression of the proprieties of boundaries and borders.

Promoting the expansion of art in society and education, this book highlights the significance of the arts as an instrument of social justice, inclusion, equity, and protection of the environment.

This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century.

How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn."

The complex gestures of artwork remain an under-explored theoretical topos in contemporary visual culture studies. In In this volume, contributors ask: How may one speak not only of the gestures of the body but also of the gestures of the image? What constitutes gesturality in the image and, more broadly, what are the gestures of the aesthetic itself? By thinking about images within this conceptual framework, this volume seeks to renew our understanding of the image.

This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors¿from the arts, art history, sociology, political science, and philosophy¿to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

Wonder has an established link to the history and philosophy of science. However, there is little acknowledgement of the relationship between the visual arts and wonder. In this book, artists, curators and art theorists give accounts of their approach to wonder through the use of materials, objects and ways of exhibiting.

This book will help both students and seasoned scholars to understand key terms in visual studies - pictorial turn, metapictures, literary iconology, image/text, biopictures or living pictures, among many others - while systematically presenting the work of W.J.T.Mitchell as one of the discipline's founders and most prominent figures.

This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation in making digital and electronic technology-based art.

Based on the author's thesis (doctoral)--University of Edinburgh, 2015, under the title: Curating resistances: crisis and the limits of the political turn in contemporary art biennials.