What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.

A Guardian and Lit Hub most anticipated book of 2024 An exhilarating biography of the iconic poet, essayist and activist Audre Lorde Read these chapters like a collection of poems that speak in chorus in all directions. Understand each word as an opportunity for Audre’s fierce love, which is the same love that birthed the volcanoes and split the continents, to reach you, wherever you are. Audre Lorde was a survivor: of childhood disability injustice, of her best friend’s suicide, of the atomic age. She was a college activist against nuclear arms. A mother who knew poetry could help her children survive a racist world. And, ultimately, a cancer survivor, who understood the war going on within her cells was connected to the struggle against oppression taking place all around her. This stunning new account of Lorde’s life and work illuminates how, for Lorde, survival was not simply about getting through, or about resilience. It was about how to live on, and with, a planet in transformation. Lorde’s commitment to justice was intimately connected to her deep engagement with the natural world; with the planetary dynamics of geology, meteorology, and biology. For Lorde, ecological images are not simply metaphors but rather literal guides to how to be on earth, and how to live fully as a Black feminist lesbian warrior poet. In Survival Is a Promise, Alexis Pauline Gumbs, the first researcher to explore the full depths of Lorde’s manuscript archives, illuminates the eternal life of Audre Lorde. Her life and work swell to become a cosmic force, showing us the grand possibility of life together on earth.

Artwork and popular cultures are crucial sites of contesting and transforming power relationships in world politics. The contributors to this edited collection draw on their experiences across arts, activist, and academic communities to analyze how the global politics of colonialism, capitalism, and patriarchy are expressed and may be transformed through popular cultures and artistic labour. Through their methodological treatment of artwork and popular cultures as material sites of generating aesthetic knowledge and embodying global power, the authors foreground an analysis of global hierarchies and transformative empowerment through critically engaged political imagination and cultural projects. By centralizing an intersectional analysis of the racialized, gendered, economic dimensions of the praxis of culture, The Art of Global Power demonstrates how artwork and popular culture projects, events, and institutions are vital sites of transgressing the material conditions that produce and sustain unjust global power hierarchies. This book intervenes in the international relations popular culture literature by problematizing the idea of a single homogenizing global popular culture and engaging with multiple popular cultures articulated from diverse global locations and worldviews. To the international relations aesthetics literature this book contributes an intersectional analysis of aesthetics as an embodied process of knowledge production and action that takes place within global conditions of colonialism, capitalism, and patriarchy. This book will be of interest to students, researchers and practitioners of international relations, and gender, cultural and media studies.

Throughout his long career, Jacques Derrida had a close, collaborative relationship with Critical Inquiry and its editors. He saved some of his most important essays for the journal, and he relished the ensuing arguments and polemics that stemmed from the responses to his writing that Critical Inquiry encouraged. Collecting the best of Derrida’s work that was published in the journal between 1980 and 2002, Signature Derrida provides a remarkable introduction to the philosopher and the evolution of his thought. These essays define three significant “periods” in Derrida’s writing: his early, seemingly revolutionary phase; a middle stage, often autobiographical, that included spirited defense of his work; and his late period, when his persona as a public intellectual was prominent, and he wrote on topics such as animals and religion. The first period is represented by essays like “The Law of Genre,” in which Derrida produces a kind of phenomenological narratology. Another essay, “The Linguistic Circle of Geneva,” embodies the second, presenting deconstructionism at its best: Derrida shows that what was imagined to be an epistemological break in the study of linguistics was actually a repetition of earlier concepts. The final period of Derrida’s writing includes the essays “Of Spirit” and “The Animal That Therefore I Am (More to Follow),” and three eulogies to the intellectual legacies of Michel Foucault, Louis Marin, and Emmanuel Lévinas, in which Derrida uses the ideas of each thinker to push forward the implications of their theories. With an introduction by Francoise Meltzer that provides an overview of the oeuvre of this singular philosopher, Signature Derrida is the most wide-ranging, and thus most representative, anthology of Derrida’s work to date.

Surveying the major antiwar artists, art collectives, and iconic works, as well as offering an original typology of antiwar engagement, this is the first comprehensive history of American artistic protest against the Vietnam War.

This book marks an important contribution to colonial and postcolonial studies in its clarification of the African discourse of consciousness and its far-reaching analyses of a literature of animism. It will be of great interest to scholars in many fields including literary and critical theory, philosophy, anthropology, politics and psychoanalysis.

Recovering the U.S. Hispanic Literary Project is a national project to locate, identify, preserve and make accessible the literary contributions of U.S. Hispanics from colonial times through 1960 in what today comprises the fifty states of the United States.