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The first complete history of Angel Island -- a journey through more than 200 years: Miwok Indians, Spanish explorers, soldiers, immigrants appear here in their varied roles -- a kaleidoscope of people and events from 1775 to the present.
Despite advances in modern communication and the proliferation of information, there remain areas of the world about which little is known. One such place is Somalia. The informed public is aware of a political meltdown and consequent chaos there, but few comprehend the causes of this tragic crisis. This new edition covers Somalia's origin, history, culture, and language, as well as current economic and political issues. The alphabetical arrangement of this Dictionary, with a complete chronology, list of acronyms, and in-depth bibliography provide useful information about the country in a convenient format. A vital addition to reference collections supporting undergraduate and graduate programs on Africa and the Middle East, international relations, and economics- a useful fact-filled compendium for government and public libraries, NGO's, and other special libraries
A reference guide to various forms of poetry with entries arranged in alphabetical order. Each entry defines the form and gives its history, examples, and suggestions for usage.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
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