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List of contents
Introduction: artwork and popular cultures as world-making practices Part I: Artwork un/doing disciplinary boundaries 1. The art of crossing-over 2. Reproducing ‘popular’ empire: production, consumption and bodily labour in ‘America the gift shop’ 3. Interracial picturesque: Lorraine O’Grady’s history of the Americas Part II: The colonial self/other and decolonial popular cultures 4. Pop goes the boycott 5. "Hybrid/fusion music and the cosmopolitan imaginary" 6. Fashionably worn: Qaddafi’s radical dress and his shades Part III: Creative methods as world politics 7. Intersectional curating: the world, the street, the hand
About the author
Emily Merson is Assistant Professor in the Department of Politics and International Studies at the University of Regina, Canada (1919-2020). Her research and teaching at the intersections of settler colonialism, Indigenous self-determination, and decolonizing global politics emphasizes the transformative power of artwork and popular cultures to unsettle international relations theories of power and popular imaginations of sovereignty. She is the author of a journal article published in Millennium: Journal of International Studies entitled "International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale" (2017), and a forthcoming book entitled Creative Presence: Settler Colonialism, Indigenous Self-Determination, and Decolonial Contemporary (2020).
Summary
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
