The seemingly paradoxical phrase indicates that an enduring disposition toward Native cultures as earth-sensitive alternatives to the damaging ideologies and practices of Euro-American industrial modernity is inadequate to the challenges of complex crises.
in my view, the most compelling cultural work is that which explores and develops modes of ecology-as-intersectionality, wherein political ecology links with Indigenous and/or queer rights activism and/or movements against police brutality, media censorship, and capitalist extraction.
Instead of a river, time is now more like a vortex or maelstrom, a rotating body of water that draws down anything lying on the surface, yet at the same time—due to currents and cross currents—jettisons any objects, animals, and plants lying at depth.
Thomas Cole’s Journey: Atlantic Crossings marks a turning point for early American art in the popular consciousness, both at home and abroad, by challenging the nativism and conservatism that surrounds narratives of that most marketable and yet most fraught of Americanist brand names: “Hudson River School.”
Edmonton: University of Alberta Press, 2017; 376 pp.; 60 color illus.; 4 maps; ISBN: 9781772122985; Paperback: $34.95
Reviewed by: Katherine Mintie, Postdoctoral Scholar, DePauw University
This essay touches on continuities between Thiebaud’s food paintings and his landscape paintings, and on the ways his landscapes broach the seemingly irreconcilable differences between abstraction and representation. Centrally, it engages the ways in which his landscape paintings, focusing on the ecologies of California, engage major human concerns about place, space, and habitation.
Discourses of health, hygiene, and progress—visual and textual—provide the primary metric with which to recalibrate thinking about the Panama Canal enterprise and zone as an ecology located at the nexus of intersecting discourses.
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