Bringing together artistic expressions that take place on bodies of water, this book connects contemporary creative explorations at sea with works by land, environmental, and conceptual artists. Among the artists included are Atelier Van Lieshout, Ant Farm, Chris Burden, Michael Combs, Mark Dion, Buckminster Fuller, Marie Lorenz, Robert Smithson, Simon Starling, and Swoon. Featured projects tackle subjects as diverse as freedom from the law of the land, Utopian impulses, and seaborne laboratories and studios.
Journey through uncharted literary waters and explore Melville’s epic in bold new light Come sail with I. We’re not taking the same trip, though you might recognize the familiar course. This time, the Pequod’s American voyage steers its course across the curvature of the Word Ocean without anyone at the helm. We are leaving one man and his madness on shore. Our ship overflows with glorious plurality—multiracial, visionary, queer, conflicted, polyphonic, playful, violent. But on this voyage something is different. Today we sail headless without any Captain. Instead of binding ourselves to the dismasted tyrant’s rage, the ship’s crew seeks only what we will find: currents teeming with life, a blue-watered alien globe, toothy cetacean smiles from vasty deeps. Treasures await those who sail without. This cycle of one hundred thirty-eight poems—one for each chapter in Moby-Dick, plus the Etymology, Extracts, and Epilogue—launches into oceanic chaos without the stabilizing mad focus of the Nantucket captain. Guided by waywardness and curiosity, these poems seek an alien ecopoetics of marine depths, the refraction of light, the taste of salt on skin. Directionless, these poems reach out to touch oceanic expanse and depth. It’s not an easy voyage, and not a certain one. It lures you forward. It has fixed its barbed hook in I. Sailing without means relinquishing goals, sleeping at the masthead, forgetting obsessions. I welcome you to trace wayward ways through these poems. Read them any way you can—back to front, at random, sideways, following the obscure promptings of your heart. It’s the turning that matters. It’s a blue wonder world that beckons.
"Gerald Horne draws on Smith's life to make insightful connections between labor radicalism, the Civil Rights Movement and American anticommunism, demonstrating that the gains of the former two were undermined by the latter. In so doing, he illustrates that although the left achieved some key legal victories in the mid-20th century, the right's war on labor unions resulted in dwindling job opportunities and shrinking salaries for African American workers. Moreover, Red Seas uncovers the little-known experiences of black sailors and their contribution to the struggle for labor and civil rights, the history of the Communist Party and its black members, and the significant dimensions of Jamaican labor and political radicalism."--BOOK JACKET.
"For over 200 years, artists have been inspired to capture the beauty, violence, poetry and transformative power of the sea in American life. Oceans play a key role in American society no matter where we live, and the sea continues to inspire painters today to capture its mystery and power. In American Waters reveals that marine painting is so much more than ship portraits. In this exhibition, visitors will also discover the sea as an expansive way to reflect on American culture and environment, learn how coastal and maritime symbols moved inland across the United States, and question what it means to be "in American waters." Be transported across time and water on the wave of a diverse range of modern and historical artists including Georgia O'Keeffe, Amy Sherald, Kay WalkingStick, Norman Rockwell, Hale Woodruff, Paul Cadmus, Thomas Hart Benton, Jacob Lawrence, Valerie Hegarty, Stuart Davis, and many others"--Publisher's website
The end of the Bronze Age in the Eastern Mediterranean was a time of social, political, and economic upheaval – conditions reflected, in many ways, in the world of Homer’s Odyssey. Jeffrey P. Emanuel examines the Odyssey’s Second Cretan Lie (xiv 191 – 359) in the context of this watershed transition, with particular emphasis on raiding, warfare, maritime technology and tactics, and the evidence for the so-called ‘Sea Peoples’ who have been connected to the events of this period. He focuses in particular on the hero’s description of his frequent raiding activities and on his subsequent sojourn in the land of the pharaohs, and connections between Odysseus’ false narrative and the historical experiences of one particular Sea Peoples group: the ‘Sherden of the Sea.’
Stephanie Springgay’s concept of feltness—which emerges from affect theory, queer and feminist theory, and feminist conceptions of more-than-human entanglements—is a set of intimate practices of creating art based on touch, affect, relationality, love, and responsibility. In this book, she explores how feltness is a radical pedagogy that can be practiced with diverse publics, including children, who are often left out of conversations about who can learn in radical ways. Springgay examines the results of a decade-long project in which researchers, artists, students, and teachers participated in events in North American elementary, secondary, and postsecondary institutions. In projects that ranged from children learning to be critics and artists to university students experimenting with building “a public” through art, participants blended participatory art creation with academic research to address social justice issues. Springgay shows how feltness can redefine who is imagined to be capable of complex feeling, experiential learning, embodied practice, social engagement, and intimate care. In this way, feltness fosters learning that disrupts and defamiliarizes schools and institutions, knowledge systems, values, and the legibility of art and research.
This book is a collection of essays addressing multiple aspects of African maritime history in attempt to counter the lack of academic research that exists in comparison to other nations and continents, and to assert the value of African topics to the global study of maritime history. Each essay addresses African maritime history whilst also demonstrating an inextricable link to the global maritime stage. The topics discussed include early human migration to Africa; early European contact with Africa; the role of West African maritime communities in the Atlantic slave trade; New World slaveholders and the exploitation of African maritime skillsets; the construction of Atlantic world racial discourses; the rise and fall of colonial rule; and African immigrant communities in Europe. These essays cover maritime topics such as seafaring labour, navigational technology, swimming, diving, surfing; plus political subjects that include colonisation, decolonisation, immigration and citizenship. The book consists of eight essays and an introduction that evaluates the existing research into African maritime history. It includes case studies from every major geographical part of the continent, bar North Africa, and covers the Early Modern period up to the twentieth century. The purpose is not to provide a comprehensive chronological history, but rather a diverse collection of topics across a range of periods and locations to reflect the wealth of maritime topics in the history of Africa and their global significance. It concludes with a call for further research into non-European maritime activity, to deepen the global historiography.
