People all over the world make art and take pleasure in it, and they have done so for millennia. But acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it? And how do the world’s different art traditions relate to art and to each other? Art Without Borders is an extraordinary exploration of those questions, a profound and personal meditation on the human hunger for art and a dazzling synthesis of the whole range of inquiry into its significance. Esteemed thinker Ben-Ami Scharfstein’s encyclopedic erudition is here brought to bear on the full breadth of the world of art. He draws on neuroscience and psychology to understand the way we both perceive and conceive of art, including its resistance to verbal exposition. Through examples of work by Indian, Chinese, European, African, and Australianartists, Art Without Borders probes the distinction between accepting a tradition and defying it through innovation, which leads to a consideration of the notion of artistic genius. Continuing in this comparative vein, Scharfstein examines the mutual influence of European and non-European artists. Then, through a comprehensive evaluation of the world’s major art cultures, he shows how all of these individual traditions are gradually, but haltingly, conjoining into a single current of universal art. Finally, he concludes by looking at the ways empathy and intuition can allow members of one culture to appreciate the art of another. Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements Scharfstein writes about so lovingly in its pages.

This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ

Tomiyama Taeko, a Japanese visual artist born in 1921, is changing the way World War II is remembered in Japan, Asia, and the world. Her work deals with complicated moral and emotional issues of empire and war responsibility that cannot be summed up in simple slogans, which makes it compelling for more than just its considerable beauty. Japanese today are still grappling with the effects of World War II, and, largely because of the inconsistent and ambivalent actions of the government, they are widely seen as resistant to accepting responsibility for their nation’s violent actions against others during the decades of colonialism and war. Yet some individuals, such as Tomiyama, have produced nuanced and reflective commentaries on those experiences, and on the difficulty of disentangling herself from the priorities of the nation despite her lifelong political dissent. Tomiyama’s sophisticated visual commentary on Japan’s history—and on the global history in which Asia is embedded—provides a compelling guide through the difficult terrain of modern historical remembrance, in a distinctively Japanese voice.

Art is the great connector, as proven here in the stories these seven Eastern European female artists share about their work, their immigration experiences, and their acclimation into American culture. Victoria Averbukh, of Russian and Jewish descent, journalist by profession, knows firsthand what these women have faced, having come to the United States and raised American children while successfully keeping their Russian heritage alive. These seven artists all work in different mediums. Their work could not be more different; however, their shared experiences create a common thread, weaving their Eastern European roots into their American lifestyles. Their work on a whole is vibrant, colorful, and passionate. Victoria has chosen a group of women whose stories are as fascinating and powerful as the work they create. She has chosen well. Each of them makes the world a brighter, more beautiful place, and for that, we all must stand up and applaud! Nina Seigenfeld Velazquez, visual artist and curator, New York

Surrealism Beyond Borders challenges conventional narratives of a revolutionary artistic, literary, and philosophical movement. Tracing Surrealism's influence and legacy from the 1920s to the late 1970s in places as geographically diverse as Colombia, Czechoslovakia, Egypt, Japan, Korea, Mexico, the Philippines, Romania, Syria, Thailand, and Turkey, this publication includes more than 300 works of art in a variety of media by well-known figures—including Dalí, Ernst, Kahlo, Magritte, and Miró—as well as numerous artists who are less widely known. Contributions from more than forty distinguished international scholars explore the network of Surrealist exchange and collaboration, artists' responses to the challenges of social and political unrest, and the experience of displacement and exile in the twentieth century. The multiple narratives addressed in this expansive book move beyond the borders of history, geography, and nationality to provocatively redraw the map of Surrealism.

From the Cold War through today, the U.S. has quietly assisted dozens of regimes around the world in suppressing civil unrest and securing the conditions for the smooth operation of capitalism. Casting a new light on American empire, Badges Without Borders shows, for the first time, that the very same people charged with global counterinsurgency also militarized American policing at home. In this groundbreaking exposé, Stuart Schrader shows how the United States projected imperial power overseas through police training and technical assistance—and how this effort reverberated to shape the policing of city streets at home. Examining diverse records, from recently declassified national security and intelligence materials to police textbooks and professional magazines, Schrader reveals how U.S. police leaders envisioned the beat to be as wide as the globe and worked to put everyday policing at the core of the Cold War project of counterinsurgency. A “smoking gun” book, Badges without Borders offers a new account of the War on Crime, “law and order” politics, and global counterinsurgency, revealing the connections between foreign and domestic racial control.

A sweeping exploration of revolutionary ideas that traveled the Atlantic in the late eighteenth century Nation-based histories cannot do justice to the rowdy, radical interchange of ideas around the Atlantic world during the tumultuous years from 1776 to 1804. National borders were powerless to restrict the flow of enticing new visions of human rights and universal freedom. This expansive history explores how the revolutionary ideas that spurred the American and French revolutions reverberated far and wide, connecting European, North American, African, and Caribbean peoples more closely than ever before. Historian Janet Polasky focuses on the eighteenth-century travelers who spread new notions of liberty and equality. It was an age of itinerant revolutionaries, she shows, who ignored borders and found allies with whom to imagine a borderless world. As paths crossed, ideas entangled. The author investigates these ideas and how they were disseminated long before the days of instant communications and social media or even an international postal system. Polasky analyzes the paper records--books, broadsides, journals, newspapers, novels, letters, and more--to follow the far-reaching trails of revolutionary zeal. What emerges clearly from rich historic records is that the dream of liberty among America's founders was part of a much larger picture. It was a dream embraced throughout the far-flung regions of the Atlantic world.

While the modern world has largely dismissed the figure of the saint as a throwback, we remain fascinated by excess, marginality, transgression, and porous subjectivity—categories that define the saint. In this collection, Françoise Meltzer and Jas Elsner bring together top scholars from across the humanities to reconsider our denial of saintliness and examine how modernity returns to the lure of saintly grace, energy, and charisma. Addressing such problems as how saints are made, the use of saints by political and secular orders, and how holiness is personified, Saints takes us on a photo tour of Graceland and the cult of Elvis and explores the changing political takes on Joan of Arc in France. It shows us the self-fashioning of culture through the reevaluation of saints in late-antique Judaism and Counter-Reformation Rome, and it questions the political intent of underlying claims to spiritual attainment of a Muslim sheikh in Morocco and of Sephardism in Israel. Populated with the likes of Francis of Assisi, Teresa of Avila, and Padre Pio, this book is a fascinating inquiry into the status of saints in the modern world.

A vivid narrative of education in a classroom in Beijing China, day by day, month by month, the book follows Ms. Franks' experiences teaching a seminar on the topic of change to gifted Chinses high-school students hoping for admission to American colleges and universities. Ms. Franks offers them a concept of education goes beyond knowing the right answers to questions on standardized tests. Instead, she raises questions about the best life, suffering and justice, that are an essential part of the education of a human, humane person. At the same time, Ms. Franks herself as she confronts her own assumptions and pre-suppositions about books and arguments that she has been familiar with her whole adult life. By looking through the eyes of her Chinese students, she sees for the first time the powerful strangeness of many of our Western texts and habits of mind. Reading Chinese classic texts, she engages in a mirror image of what she asked her students to do, bringing the insights gained to bear on her experience of China.