"This book explores and presents research that centers on the historical, political, sociological, and economic factors that engender global inequities"--Provided by publisher.
A group of New Zealand's leading cultural studies scholars provide their perspectives on the politics of display in this thought-provoking collection of essays. Philip Armstrong, Roger Blackley, Kyla McFarlane, Annie Potts, and Paul Williams, among others, showcase their thinking about cultural activities--looking and showing, viewing and arranging--that are deeply embedded in ideology. From the antique plaster casts held by Auckland Museum to the wild foods on New Zealand's West Coast, the essays pursue a variety of trajectories on how New Zealanders display themselves and what they profess and contest in their collective representations.
Culture and Public Relations explores the impact of culture – societal and organizational – through the global lens of public relations. Structuring the volume around three themes -- culture as an environment for public relations; the culture of PR globally; and the impact of PR on culture -- the editors bring together compelling discussions on such questions as how spirituality, religion, and culture have affected public relations, and how public relations culture has been affected by the "corporate cultures" of business enterprises. Additionally, the volume provides studies on the effect of culture on public relations practice in specific countries. With contributors from Europe, Asia, Australia, and North America, this collection offers international perspectives on a topic that is growing increasingly important in public relations study and practice. It is required reading for scholars, researchers, and students in public relations and also has much to offer the business discipline, for those seeking to integrate culture and communication to their practices.
Place: Local Knowledge and New Media Practice explores tensions between global cosmopolitanism and local practices in the new media environment. This edited collection of work by practitioners and scholars emphasises political issues raised by artists working in an indigenous cultural setting. Indigenous epistemologies provide sophisticated structures for negotiating belonging among communities who may become widely dispersed from their homelands. New media, by contrast, demonstrates biases toward the the dislocated: a cosmopolitanism implicitly located in the urban, where communities form and fragment in “virtual” environments. Nonetheless, questions of belonging and identification remain for those of us who use new media networks. Through analysis of a range of contemporary art and film projects, and tracking recent developments in cultural theory, the book provides diverse perspectives on how long-held attachments to place are transforming in the new media context.
'The creation of new science requires moving beyond simply understanding one another's perspectives. We need to find transformative spaces for knowledge exchange and progress.' Māori have a long history of innovation based on mātauranga and tikanga – the knowledge and values passed down from ancestors. Yet Western science has routinely failed to acknowledge the contribution of Indigenous peoples and their vital worldviews. Drawing on the experiences of researchers and scientists from diverse backgrounds, this book raises two important questions. What contribution can mātauranga make to addressing grand challenges facing New Zealand and the world? And in turn, how can Western science and technology contribute to the wellbeing of Māori people and lands?
This is a collection of twelve academic essays that consider understandings of home and the impact of dominant societies on indigenous societies and their homes. The book covers home and language preservation, homelessness, retention of land, tobacco use in the home, loss of home through trauma and natural disaster, ageing and health, and the meaning of home. This is the third book in the Ngā Pae o te Māramatanga Edited Collections series.
A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.
The Queensland Art Gallery presents UNNERVED: THE NEW ZEALAND PROJECT, the second in a series of country-specific exhibition projects focusing on its contemporary collections. Since the 1990s, the Gallery's holdings of contemporary work from New Zealand have grown rapidly, partly through increased awareness and interest in the Asia Pacific Triennial of Contemporary Art exhibitions. UNNERVED, and its accompanying publication, explores a particularly rich dark vein that recurs in New Zealand contemporary art and cinema. Psychological or physical unease pervades many works in the exhibition, with humour, parody and poetic subtlety among the strategies used by artists across generations and genres. Major sculptures by Michael Parekowhai, installations by Lisa Reihana and Michael Stevenson and photographic series by Yvonne Todd, Anne Noble and Greg Semu feature alongside video art by Sriwhana Spong and Nathan Pohio. The exhibition is accompanied by the film program, New Zealand Noir.
This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving. The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.
This book examines the changing digital geographies of the Anthropocene. It analyses how technologies are providing new opportunities for communication and connection, while simultaneously deepening existing problems associated with isolation, global inequity and environmental harm. By offering a reading of digital technologies as ‘more-than-real’, the author argues that the productive and destructive possibilities of digital geographies are changing important aspects of human and non-human worlds. Like the more-than-human notion and how it emphasises interconnections of humans and non-humans in the world, the more-than-real inverts the diminishing that accompanies use of the terms ‘virtual’ and ‘immaterial’ as applied to digital spaces. Digital geographies are fluid, amorphous spaces made of contradictory possibilities in this Anthropocene moment. By sharing experiences of people involved in trying to improve digital geographies, this book offers stories of hope and possibility alongside stories of grief and despair. The more-than-real concept can help us understand such work – by feminists, digital rights activists, disability rights activists, environmentalists and more. Drawing on case studies from around the world, this book will appeal to academics, university students, and activists who are keen to learn from other people’s efforts to change digital geographies, and who also seek to remake digital geographies.