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.

"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

The contested creation of free movement—for people and goods—in the Schengen area of Europe Europe is a place of free movement among nations—or is it? The Schengen area, established in 1985 and today encompassing twenty-nine European countries, allows people, goods, and capital to cross borders without restraint. Schengen transformed European life, advancing both a democratic project of transnational citizenship and a neoliberal project of international free trade. But the right of free movement always excluded non-Europeans, especially migrants of color from former colonies of the Schengen states. In Europe without Borders, Isaac Stanley-Becker explores the contested creation of free movement in Schengen, from treatymaking at European summits and disputes in international courts to the street protests of undocumented immigrants who claimed free movement as a human right. Schengen laid the groundwork for the making of a single market and the founding of the European Union. Yet its emergence is one of the great untold stories of modern European history, one hidden in archives long embargoed. Stanley-Becker is among the first to have access to records of the treatymaking—such as letters between France’s François Mitterrand and West Germany’s Helmut Kohl—and Europe without Borders offers a pathbreaking account of Schengen’s creation. Stanley-Becker argues that Schengen gave a humanist cast to a market paradigm; but even in pairing the border crossing of human beings with the principles of free-market exchange, this vision of free movement was hedged by alarm about foreign migrants. Meanwhile, these migrants—the sans-papiers—saw in the promise of a borderless Europe only a neocolonial enterprise.

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.

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This book compares two competing theories of human nature: the more traditional theory espoused in different forms by centuries of western philosophy and the newer, Darwinian model. In the traditional view, the human being is a hybrid being, with a lower, animal nature and a higher, rational or “spiritual” component. The competing Darwinian account does away with the idea of a higher nature and attempts to provide a complete reduction of human nature to the evolutionary goals of survival and reproduction. Whitley Kaufman presents the case that the traditional conception, regardless of one's religious views or other beliefs, provides a superior account of human nature and culture. We are animals, but we are also rational animals. Kaufman explores the most fundamental philosophical questions as they relate to this debate over human nature—for example: Is free will an illusion? Is morality a product of evolution, with no objective basis? Is reason merely a tool for promoting reproductive success? Is art an adaptation for attracting mates? Is there any higher meaning or purpose to human life? Human Nature and the Limits of Darwinism aims to assess the competing views of human nature and present a clear account of the issues on this most pressing of questions. It engages in a close analysis of the numerous recent attempts to explain all human aims in terms of Darwinian processes and presents the arguments in support of the traditional conception of human nature.

This book presents interdisciplinary scholarship on art and visual culture that explores disability in terms of lived experience. It will expand critical disability studies scholarship on representation and embodiment, which is theoretically rich, but lacking in attention to art. It is organized in five thematic parts: methodologies of access, agency, and ethics in cultural institutions; the politics and ethics of collaboration; embodied representations of artists with disabilities in the visual and performing arts; negotiating the outsider art label; and first-person reflections on disability and artmaking. This volume will be of interest to scholars who study disability studies, art history, art education, gender studies, museum studies, and visual culture.

Incapacity and Theatricality acknowledges the distinctive contribution to contemporary theatrical performance made by actors with intellectual disabilities. It presents a close examination of certain key theatrical performances across a variety of different media, including John Cassavetes’ 1963 social issues film A Child Is Waiting; the performance art collaboration between Robert Wilson and Christopher Knowles; and the provocative pranksterism of Christoph Schlingensief’s talent show mockumentary FreakStars 3000. Tracing a global path of performances, Incapacity and Theatricality offers an analysis of how actors with intellectual disabilities have emerged onto the main stage, and how their inclusion calls into question long-held assumptions about both theatre and intellectual disability. For postgraduate students, or anyone interested in the shifting dynamics of twenty-first century theatre, McCaffrey’s work offers a vital consideration of the intersubjective relations between people with and without intellectual disabilities and ultimately addresses urgent questions about the situation and representation of the contemporary subject caught up somewhere between incapacity and theatricality.

Graphic artist, illustrator, painter, and cartoonist Rahel Szalit (1888–1942) was among the best-known Jewish women artists in Weimar Berlin. But after she was arrested by the French police and then murdered by the Nazis at Auschwitz, she was all but lost to history, and most of her paintings have been destroyed or gone missing. Drawing on a range of primary and secondary sources, this biography recovers Szalit’s life and presents a stunning collection of her art. Szalit was a sought-after artist. Highly regarded by art historians and critics of her day, she made a name for herself with soulful, sometimes humorous illustrations of Jewish and world literature by Sholem Aleichem, Heinrich Heine, Leo Tolstoy, Charles Dickens, and others. She published her work in the mainstream German and Jewish press, and she ran in artists’ and queer circles in Weimar Berlin and in 1930s Paris. Szalit’s fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements by experimenting with different media and genres. This engaging and deeply moving biography explores the life, work, and cultural contexts of an exceptional Jewish woman artist. Complementing studies such as Michael Brenner’s The Renaissance of Jewish Culture in Weimar Germany, this book brings Rahel Szalit into the larger conversation about Jewish artists, Expressionism, and modern art.

This book examines both border policies and oppositional narratives of “the border,” 2011–2021, demonstrating that the term designates not merely a line of territorial control but also a set of social relations shaped by persistent, racially differentiated colonial structures and, more recently, by neoliberal modes of accumulation. These relations are shown to determine access to wealth and/or resources and to enable the management of labor, the extraction of surplus, and the accumulation of capital. Discussion in the book is informed by the history of these policies and by the critical literature on borders. Various cultural texts focusing on two border zones—the US–Mexico and the EU–Southern Mediterranean—are analyzed: specifically, two novels, two films, and two murals examined in conjunction with a music video. A path to a borderless future is suggested: an abolitionist refusal of border rules with an insistence on the necessity of abolition.