208 pages | 17 B/W Illus.
Artwork and popular cultures are crucial sites of contesting and transforming power relationships in world politics. The contributors to this edited collection draw on their experiences across arts, activist, and academic communities to analyze how the global politics of colonialism, capitalism, and patriarchy are expressed and may be transformed through popular cultures and artistic labour.
Through their methodological treatment of artwork and popular cultures as material sites of generating aesthetic knowledge and embodying global power, the authors foreground an analysis of global hierarchies and transformative empowerment through critically engaged political imagination and cultural projects. By centralizing an intersectional analysis of the racialized, gendered, economic dimensions of the praxis of culture, The Art of Global Power demonstrates how artwork and popular culture projects, events, and institutions are vital sites of transgressing the material conditions that produce and sustain unjust global power hierarchies.
This book intervenes in the International Relations Popular Culture literature by problematizing the idea of a single homogenizing global popular culture and engaging with multiple popular cultures articulated from diverse global locations and worldviews. To the International Relations Aesthetics literature this book contributes an intersectional analysis of aesthetics as an embodied process of knowledge production and action that takes place within global conditions of colonialism, capitalism, and patriarchy. This book will be of interest to students, researchers and practitioners of International Relations, and gender, cultural and media studies.
Artwork and Popular Cultures as World-Making Practices
Section One – Artwork Un/Doing Disciplinary Boundaries
Chapter 1. The Art of Crossing-Over
A. C. Imperial
Chapter 2. Reproducing "Popular" Empire: Production, Consumption and Bodily Labour in ‘America the Gift Shop’
Armağan Teke and Jessica Jurgutis
Chapter 3. Interracial Picturesque: Lorraine O’Grady’s History of the Americas
Section Two –The Colonial Self/Other and Decolonial Popular Cultures
Chapter 4. Pop Goes the Boycott
Chapter 5. "Hybrid/Fusion Music and the Cosmopolitan Imaginary"
Chapter 6. Fashionably Worn: Qaddafi’s Radical Dress and His Shades
Anna M. Agathangelou
Section Three – Creative Methods as World Politics
Chapter 7. The Praxis of Intersectional Curating: The World, the Street, the Hand
The Popular Culture World Politics (PCWP) book series is the forum for leading interdisciplinary research that explores the profound and diverse interconnections between popular culture and world politics. It aims to bring further innovation, rigor, and recognition to this emerging sub-field of international relations.
To these ends, the PCWP series is interested in various themes, from the juxtaposition of cultural artefacts that are increasingly global in scope and regional, local and domestic forms of production, distribution and consumption; to the confrontations between cultural life and global political, social, and economic forces; to the new or emergent forms of politics that result from the rescaling or internationalization of popular culture.
Similarly, the PCWP series wishes to provide a venue for work that explores the effects of new technologies and new media on established practices of representation and the making of political meaning. It encourages engagement with popular culture as a means for contesting powerful narratives of particular events and political settlements as well as explorations of the ways that popular culture informs mainstream political discourse. The PCWP series promotes investigation into how popular culture contributes to changing perceptions of time, space, scale, identity, and participation while establishing the outer limits of what is popularly understood as ‘political’ or ‘cultural’.
In addition to film, television, literature, and art, the PCWP series actively encourages research into diverse artefacts including sound, music, food cultures, gaming, design, architecture, programming, leisure, sport, fandom and celebrity. The series is fiercely pluralist in its approaches to the study of popular culture and world politics and is interested in the past, present, and future cultural dimensions of hegemony, resistance and power.