The main purpose of this volume is to look into a wide spectrum of artistic ventures which provoke, challenge habitual thinking, and cross boundaries. The essays offer a truly interdisciplinary perspective and deal with creative acts of transgression from a broad range of fields: literature, theatre, visual art, film, and others.

An illustrated survey of artist hoaxes, including impersonations, fabula, cryptoscience, and forgeries, researched and written by an expert "fictive-art" practitioner. The shift from the early information age to our 'infocalypse' era of rampant misinformation has given rise to an art form that probes this confusion, foregrounding wild creativity as a way to reframe assumptions about both fiction and art in contemporary culture. At its center, this "fictive art" (LaFarge's term) is secured as fact by employing the language and display methods of history and science. Using typically evidentiary objects such as documentary photographs and videos, presumptively historical artifacts and relics, didactics, lectures, events, and expert opinions in technical language, artists create a constellation of manufactured evidence attesting to the artwork's central narrative. This dissimulation is temporary, with a clear "tell" often surprisingly revealed in a self-outing moment. With all its attendant consequences of mistrust, outrage, and rejection, this genre of art with a sting in its tale is a radical form whose time has come.

A timely, nuanced work that dissects the thorny debate around cultural appropriation and the literary imagination. How do we properly define cultural appropriation, and is it always wrong? If we can write in the voice of another, should we? And if so, what questions do we need to consider first? In Appropriate, creative writing professor Paisley Rekdal addresses a young writer to delineate how the idea of cultural appropriation has evolved—and perhaps calcified—in our political climate. What follows is a penetrating exploration of fluctuating literary power and authorial privilege, about whiteness and what we really mean by the term empathy, that examines writers from William Styron to Peter Ho Davies to Jeanine Cummins. Lucid, reflective, and astute, Appropriate presents a generous new framework for one of the most controversial subjects in contemporary literature.

Ready-to-go, vetted approaches for facilitating artistic environmental projects How do we educate those who feel an urgency to address our environmental and social challenges? What ethical concerns do art-makers face who are committed to a deep green agenda? How can we refocus education to emphasize integrative thinking and inspire hope? What role might art play in actualizing environmental resilience? Compiled from 67 members of the Ecoart Network, a group of more than 200 internationally established practitioners, Ecoart in Action stands as a field guide that offers practical solutions to critical environmental challenges. Organized into three sections—Activities, Case Studies, and Provocations—each contribution provides models for ecoart practice that are adaptable for use within a variety of classrooms, communities, and contexts. Educators developing project and place-based learning curricula, citizens, policymakers, scientists, land managers, and those who work with communities (human and other) will find inspiration for integrating art, science, and community-engaged practices into on-the-ground environmental projects. If you share a concern for the environmental crisis and believe art can provide new options, this book is for you!

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It’s OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons are hard to find. Willard shows that it’s reasonable to believe that most boycotts of artists won’t succeed, so most of the time there’s no ethical reason to join in. Someone who manages to separate the art from the artist isn’t making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and the so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It’s of course OK to decide to give up the artwork of immoral artists, but – as Willard shows in this provocative little volume – it’s OK to continue to enjoy their art as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being

In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.

Provoking the Field invites debate on, and provides an essential resource for, transnational arts-based scholars engaged in critical analyses of international visual arts education and its enquiry in doctoral research. Divided into three parts--doctoral processes, doctoral practices, and doctoral programs--the volume interrogates education in both formal and informal learning environments, ranging from schools to post-secondary institutions to community and adult education. This book brings together a global range of authors to examine visual arts PhDs using diverse theoretical perspectives; innovative arts and hybrid methodologies; institutional relationships and scholarly practices; and voices from the field in the form of site-specific cases. A compendium of leading voices in arts education, Provoking the Field provides a diverse range of perspectives on arts enquiry, and a comprehensive study of the state of visual arts PhDs in education.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.