Relational Undercurrents accompanies an exhibition by the same name that opens at the Museum of Latin American Art in Long Beach, California in September, 2017. The exhibition and edited volume call attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America.
The 'relational turn' is a movement affecting a range of disciplines including neuroscience, psychoanalysis, psychotherapy, organisational consulting and, more recently, coaching. Its primary focus is on the centrality of human relating in determining how individuals develop, make meaning and function individually and collectively. In The Theory and Practice of Relational Coaching: Complexity, Paradox and Integration, Simon Cavicchia and Maria Gilbert expand existing coaching theory and practice to focus on the implications of the relational turn for how coaches and clients think about the nature of identity, the self, change, learning, and individual and organisational development. Drawing on perspectives as varied as relational neuroscience, the relational foundations of personality development, psychoanalysis, psychotherapy, shame, vulnerability, complexity and systems ideas, the authors shed light on many of the paradoxes and challenges facing coaches and their clients in today’s fast-paced, volatile and uncertain organisational environments. These include holding tensions such as the uniqueness of individual needs with the requirements of organisational contexts, managing multiple stakeholder expectations and networks and balancing linear approaches to change with adjusting to emerging and unpredictable events. Given the ever-increasing volatility, complexity and uncertainty that coaches and their clients face, The Theory and Practice of Relational Coaching guides the reader through a series of illuminating perspectives, examples and practical suggestions. These will enable coaches to integrate a more relational orientation in their work and extend their range and that of their clients for responding creatively to the challenges of modern organisational life. The book will appeal to coaches and coaching psychologists in practice and training, as well as counsellors and psychotherapists retraining as coaches.
Instant New York Times Bestseller Longlisted for Andrew Carnegie Medal for Excellence 2020 New England Society Book Award Winner for Fiction “The Guest Book is monumental in a way that few novels dare attempt.” —The Washington Post The thought-provoking new novel by New York Times bestselling author Sarah Blake An exquisitely written, poignant family saga that illuminates the great divide, the gulf that separates the rich and poor, black and white, Protestant and Jew. Spanning three generations, The Guest Book deftly examines the life and legacy of one unforgettable family as they navigate the evolving social and political landscape from Crockett’s Island, their family retreat off the coast of Maine. Blake masterfully lays bare the memories and mistakes each generation makes while coming to terms with what it means to inherit the past.
Focusing on the Anglophone Caribbean, The Making of a Caribbean Avant-Garde describes the rise and gradual consolidation of the visual arts avant-garde, which came to local and international attention in the 1990s. The book is centered on the critical and aesthetic strategies employed by this avant-garde to repudiate the previous generation’s commitment to modernism and anti-colonialism. In three sections, it highlights the many converging factors, which have pushed this avant-garde to the forefront of the region’s contemporary scene, and places it all in the context of growing dissatisfaction with the post-colonial state and its cultural policies. This generational transition has manifested itself not only in a departure from “traditional” in favor of “new” media (i.e., installation, performance, and video rather than painting and sculpture), but also in the advancement of a “postnationalist postmodernism,” which reaches for diasporic and cosmopolitan frames of reference. Section one outlines the features of a preceding “Creole modernism” and explains the different guises of postnationalism in the region’s contemporary art. In section two, its momentum is connected to the proliferation of independent art spaces and transnational networks, which connect artists across and beyond the region and open up possibilities unavailable to earlier generations. Section three demonstrates the impact of this conceptual and organizational evolution on the selection and exhibition of Caribbean art in the metropole.
Gender as Soft Assembly weaves together insights from different disciplinary domains to open up new vistas of clinical understanding of what it means to inhabit, to perform, and to be, gendered. Opposing the traditional notion of development as the linear unfolding of predictable stages, Adrienne Harris argues that children become gendered in multiply configured contexts. And she proffers new developmental models to capture the fluid, constructed, and creative experiences of becoming and being gendered. According to Harris, these models, and the images to which they give rise, articulate not only with contemporary relational psychoanalysis but also with recent research into the origins of mentalization and symbolization. In urging us to think of gender as co-constructed in a variety of relational contexts, Harris enlarges her psychoanalytic sensibility with the insights of attachment theory, linguistics, queer theory, and feminist criticism. Nor is she inattentive to the impact of history and culture on gender meanings. Special consideration is given to chaos theory, which Harris positions at the cutting edge of developmental psychology and uses to generate new perspectives and new images for comprehending and working clinically with gender.
"Tatiana Reinoza examines how geography, immigration, and art all converged as deepening interests for Latinx graphic artists, specifically those working in different forms of printmaking. By highlighting the work of four artists, based out of four distinct studios in East LA, Tempe, Austin, and East Harlem, she is able to uncover how their work these past three decades has transcended the more defined lines of scholarship that focus on specific ethnic groups (Chicano, Puerto Rican, etc.). She makes a case for how spatial projects allow for a more collective critique of anti-immigrant discourse, visualize immigrant lives, and articulate the ways in which printmaking has been historically complicit in the colonizing of the Americas"--
OCEANS attends to the inextricable human and nonhuman agencies that affect and are affected by the sea and its running currents within contemporary art and visual culture. Oceans cover more than 70 percent of the Earth’s surface, dividing and connecting humans, who carry saltwater in their blood, sweat and tears. They also represent a powerful nonhuman force, rising, flooding, heating and raging in unprecedented ways as the climate crisis unfolds. Artists have envisioned the sea as a sublime wilderness, home to mythical creatures and bizarre species, a source of life and death, a site of new beginnings and tragic endings, both wondrous and disastrous. From migration to melting ice caps, the sea is omnipresent in international news and politics, leaking into popular culture and proliferating in recent art and exhibitions. This anthology gathers artists and writers to address the ocean not only as a theme but as a major agent of artistic and curatorial methods. Artists surveyed include Bas Jan Ader, Eileen Agar, John Akomfrah, Heba Y. Amin, Shuvinai Ashoona, Betty Beaumont, Leopold & Rudolf Blaschka, Heidi Bucher, Marcus Coates, Tacita Dean, Chris Dobrowolski, Léuli Eshrāghi, Ellen Gallagher, Ayesha Hameed, Barbara Hepworth, Klara Hobza, Isuma, Brian Jungen, Tania Kovats, Sonia Levy, Armin Linke, Lani Maestro, Ana Mendieta, Kasia Molga, Eleanor Morgan, Wangechi Mutu, Saskia Olde Wolbers, Jean Painlevé and Geneviève Hamon, Allan Sekula, Shimabuku, Ahren Warner, Christine & Margaret Wertheim, Alberta Whittle Writers include Stacy Alaimo, Bergit Arends, Erika Balsom, Karen Barad, Rachel Carson, Mel Y. Chen, T.J. Demos, Marion Endt-Jones, Kodwo Eshun, Paul Gilroy, Stefano Harney, Epeli Hau’ofa, Donna Haraway, Eva Hayward, Stefanie Hessler, Luce Irigaray, Zakiyyah Iman Jackson, Celina Jeffery, Melody Jue, Max Liboiron, Lana Lopesi, Chus Martínez, Jules Michelet, Fred Moten, Astrida Neimanis, Celeste Olalquiaga, Ralph Rugoff, John Ruskin, Marina Warner, Jan Verwoert
This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent, alongside the complexities of Africa-born artists who have migrated to other parts of the world. The group of international contributors emphasizes and accentuates the interplay between, for example, Caribbean art and African Diaspora art, or Latin American art and African Diaspora art, or Black British art and African Diaspora art. The book will be of interest to scholars and students working in art history, the various branches of African studies, African American studies, African Diaspora studies, Caribbean studies, and Latin American studies.
Like falling in love, this book argues that a relationship with God begins with surprise, proceeds with discovery, and shapes a life that comes to share a story of love. This book does not describe God, but pursues the nature of personally relating with the triune God. Consequently, it also engages how we relate with humans made in God's image. We finish the Face-to-Face series with this most mysterious and fulfilling encounter--a personal engagement with the Relational God, known as a community of persons who invite us to share in their life.
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.
