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“Envisioning a More Just Future: Feminist Activist Art, Climate Change, and the Anthropocene.” A Companion to Contemporary Art in a Global Framework. Editors, Amelia Jones and Jane Chin Davidson; A Companion to Contemporary Art in a Global Framework. London: Wiley Blackwell (2023), pp. 227-238
For the table of contents and introduction see: https://www.google.com/books/edition/A_Companion_to_Contemporary_Art_in_a_Glo/Ci3bEAAAQBAJ?hl=en&gbpv=1&pg=RA1-PA3&printsec=frontcover
For purchase. E-Book is available at just $36.99: https://www.wiley.com/en-cn/A+Companion+to+Contemporary+Art+in+a+Global+Framework-p-9781119841807
I am excited that I will be giving an online book talk with the installation artist Judit Hersko who is one of the artists I write about in my book and the environmental humanities scholar Cheryl J. Fish on November 15th! You are invited to attend! It is for a month-long environmental humanities initiative in Helsinki, Finland.
(Click poster at left to enlarge).
The book is starting to get some more international attention thanks in part to Anne Hemendrias’ review in Germany, Alice Oates review in the UK, Barbara Opar’s review in North America, Elizabeth Berman’s review in the UK (See PDF since the link reaches a paywall and doesn’t show the entire review), and Jean Bundy’s book review for the Association Interartnationale des Critiques d’Art (AICA), Paromita Patranobish’s review in the latest issue of the Journal of Ecohumanism and Isabelle Gapp's review in Art History.
Quotes from these four authors
Alice Oates’ from Cambridge University in H-Environment: “This is a book capable of expanding a reader’s understanding whether they are drawn to it from the worlds of art, activism, critical scholarship, or some combination thereof. Connecting what is often separated, Climate Change and the New Polar Aesthetics is a vital read for artists, activists, and academics alike.”
Barbara Ann Opar writes in her review for the Arts Libraries Society of North America: “Bloom’s scholarship makes an important contribution to the literature for institutions with graduate programs and/or libraries which aim to include diverse views of the global environmental crisis.”
Paromita Patranobish writes in her review for the Journal of Ecohumanism: “The “justice-attentive aesthetic research practices” (p. 5) in Bloom’s book(chapters 4 and 5 co-written with Elena Glasberg) respond to the violence of visual foreclosure by foregrounding new ways of imagining contested spaces, highlighting industrial capitalist deployments of polar topographies that remain absent from representational parlance, and creating unconventional juxtapositions, continuities, and collaborations.”
Isabelle Gapp writes in her review for Art History: “In Lisa E. Bloom's ambitious work, ‘Climate Change and the New Polar Aesthetics,’ readers are taken on a captivating journey into the world of contemporary art that responds to the urgent issues of climate change, offering fresh perspectives and thought-provoking insights into the Arctic and Antarctic regions.”
This event will be held at the University of Wollongong's Sydney Campus in Australia, from November 29 to December 1, 2023.
The conference website is up and available should you wish to distribute it to your networks.
If you are in London, you are invited to attend my book talk at the Royal College of Art in London on October 17th from 5-7pm. The event will be held at the auditorium at the Byson Building, 1 Hester Road, London SW11 4AY.
It was written in English by the art historian Anne Hemkendreis and published on “ArtHist,” a leading platform consulted by art historians in Germany to get information on news events and publications: