Jessica Horton brings a wealth of contextual material and a compelling theoretical frame to her discussion of the influence of Native American history, culture, and politics on late twentieth-century American art.
Why would Durand, who believed so strongly that the role of landscape was to turn viewers’ thoughts from human activities to the work of God, take on a subject such as Progress?
By making his reflexive bodily movements the sole source as well as the transcriber of his ideas, Anastasi mobilized the concept of know-how, or techne. . . . His drawing practice helped him reconcile two emerging identities: one as a dedicated, ambitious artist and the other as an untrained amateur Conceptualist.
Today my ecocritical praxis continues to focus on literature of environmental justice and also involves biosemiotics, which is the study of qualitative semiotic or communicative capabilities that are considered to exist in a variety of nonhuman life forms, from the largest redwoods down to the simplest organisms living in the soil.
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