This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today's power law-based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows - which also included the works of winners of the Daniel Frese Prize - at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.

This book examines museum education from the perspective of 33 authors from the field, resulting in a collective vision elevating the function of education within museums. A variety of perspectives offered throughout the collection of essays push further thinking and encourage robust debate. Both museum practitioners and university-level students will find the contents of this book useful as it delves into theory, but it also informs on exemplary models of practice. Museum education has developed much over the past 20 years, yet there remains an opportunity to advance its position within art museums with effective practice and the creation of successful programs.

This volume presents different viewpoints on the periphery/center dichotomy with their connotations of east/west, north/south, local/international in terms of the operating system art. For a long time, the idea of center/periphery had validity in what was known as the north/south dialogue. Today however, with the important dynamics of new art centers in regions that used to be perceived as periphery from a European perspective, the issue is subject to debate. At the same time, relationships of center/periphery exist between places with intensive art output, a prime art world, and cultures of discourse as well as subsidiary locations, most of which are situated in the provinces. The differences in the approaches illustrated in Not Berlin and Not Shanghai indicate the potential for controversy with which the center/periphery model is currently under debate.

While the masterpieces of the Italian Renaissance are usually associated with Italy’s historical seats of power, some of the era’s most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.

After the Lisbon Street Art & Urban Creativity International Conference and book publishing in 2014, Seminar and Volume 1 (numbers 1 and 2) of the Street Art & Urban Creativity Scientific Journal (in 2015), the quality, quantity and originality of contributions from distinctive disciplinary fields, confirm the pertinence and relevance of our collective ongoing work. For the 2016 open call we invited contributions from all disciplines to discuss the tensions and complementarities of Center, Periphery, Theory and Practice, as concepts and as concrete characteristics of the Street Art & Urban Creativity research topic. What makes it distinct to be in the center or in the periphery of the urban context, of the practice or theory? How the approach from the practitioners, the art critics, the bloggers, the followers, contact the academic research and scientific approach? This are examples of the kind of issues that we were looking for to be addressed. The 2016 edition, volume 2, is composed by 2 numbers, number 1 "Center, Periphery: Practice" and number 2 "Center, Periphery: Theory." The number 2, is devoted to Theoretical approaches to Center, Periphery. Addressing tangible geographies like Uruguay and Brazil, methodological geographies centered in values, also about digital geographies, having space also for one philosophical essay and one book review.

Historians often assume a one-directional transmission of knowledge and ideas, leading to the establishment of spatial hierarchies defined as centres and peripheries. In recent decades, transnational and global history have contributed to a more inclusive understanding of intellectual and cultural exchanges that profoundly challenged the ways in which we draw our mental maps. Covering the early modern and modern periods, Re-Mapping Centre and Periphery investigates the asymmetrical and multi-directional structure of such encounters within Europe as well as in a global context. Exploring subjects from the shores of the Russian Empire to nation-making in Latin America, the international team of contributors demonstrates how, as products of human agency, centre and periphery are conditioned by mutual dependencies; rather than representing absolute categories of analysis, they are subjective constructions determined by a constantly changing discursive context. Through its analysis, the volume develops and implements a conceptual framework for remapping centres and peripheries, based on conceptual history and discourse history. As such, it will appeal to a wide variety of historians, including transnational, cultural and intellectual, and historians of early modern and modern periods.

Art history traditionally classifies works of art by country as well as period, but often political borders and cultural boundaries are highly complex and fluid. Questions of identity, policy, and exchange make it difficult to determine the "place" of art, and often the art itself results from these conflicts of geography and culture. Addressing an important approach to art history, Thomas DaCosta Kaufmann's book offers essays that focus on the intricacies of accounting for the geographical dimension of art history during the early modern period in Europe, Latin America, and Asia. Toward a Geography of Art presents a historical overview of these complexities, debates contemporary concerns, and completes its exploration with a diverse collection of case studies. Employing the author's expertise in a variety of fields, the book delves into critical issues such as transculturation of indigenous traditions, mestizaje, the artistic metropolis, artistic diffusion, transfer, circulation, subversion, and center and periphery. What results is a foundational study that establishes the geography of art as a subject and forces us to reconsider assumptions about the place of art that underlie the longstanding narratives of art history.

Island Southeast Asia was once a thriving region, and its products found eager consumers from China to Europe. Today, the Philippines, Indonesia, and Malaysia are primarily exporters of their surplus of cheap labor, with more than ten million emigrants from the region working all over the world. How did a prosperous region become a peripheral one? In The Making of a Periphery, Ulbe Bosma draws on new archival sources from the colonial period to the present to demonstrate how high demographic growth and a long history of bonded labor relegated Southeast Asia to the margins of the global economy. Bosma finds that the region’s contact with colonial trading powers during the early nineteenth century led to improved health care and longer life spans as the Spanish and Dutch colonial governments began to vaccinate their subjects against smallpox. The resulting abundance of workers ushered in extensive migration toward emerging labor-intensive plantation and mining belts. European powers exploited existing patron-client labor systems with the intermediation of indigenous elites and non-European agents to develop extractive industries and plantation agriculture. Bosma shows that these trends shaped the postcolonial era as these migration networks expanded far beyond the region. A wide-ranging comparative study of colonial commodity production and labor regimes, The Making of a Periphery is of major significance to international economic history, colonial and postcolonial history, and Southeast Asian history.