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This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits¿cinematic, cognitive, neurophysiological, technological, or environmental¿of representation.

The presentation of bodies in pain has been a major concern in Western art since the time of the Greeks. The Christian tradition is closely entwined with such themes, from the central images of the Passion to the representations of bloody martyrdoms. The remnants of this tradition are evident in contemporary images from Abu Ghraib. In the last forty years, the body in pain has also emerged as a recurring theme in performance art. Recently, authors such as Elaine Scarry, Susan Sontag, and Giorgio Agamben have written about these themes. The scholars in this volume add to the discussion, analyzing representations of pain in art and the media. Their essays are firmly anchored on consideration of the images, not on whatever actual pain the subjects suffered. At issue is representation, before and often apart from events in the world. Part One concerns practices in which the appearance of pain is understood as expressive. Topics discussed include the strange dynamics of faked pain and real pain, contemporary performance art, international photojournalism, surrealism, and Renaissance and Baroque art. Part Two concerns representations that cannot be readily assigned to that genealogy: the Chinese form of execution known as lingchi (popularly the "death of a thousand cuts"), whippings in the Belgian Congo, American lynching photographs, Boer War concentration camp photographs, and recent American capital punishment. These examples do not comprise a single alternate genealogy, but are united by the absence of an intention to represent pain. The book concludes with a roundtable discussion, where the authors discuss the ethical implications of viewing such images.

This book examines the importance of the animal in modern art theory. It focuses on the conceptual connections between the notions of art and animality in art theory between the 1750s and 1950s, and clarifies the status of the animal under modernity.

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.

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.

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.

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 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.