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Plastic Matter
Plastic is ubiquitous. It is in the Arctic, in the depths of the Mariana Trench, and in the high mountaintops of the Pyrenees. It is in the air we breathe and the water we drink. Nanoplastics penetrate our cell walls. Plastic is not just any material—it is emblematic of life in the twentieth and twenty-first centuries. In Plastic Matter Heather Davis traces plastic’s relations to geology, media, biology, and race to show how matter itself has come to be understood as pliable, disposable, and consumable. The invention and widespread use of plastic, Davis contends, reveals the dominance of the Western orientation to matter and its assumption that matter exists to be endlessly manipulated and controlled by humans. Plastic’s materiality and pliability reinforces these expectations of what matter should be and do. Davis charts these relations to matter by mapping the queer multispecies relationships between humans and plastic-eating bacteria and analyzing photography that documents the racialized environmental violence of plastic production. In so doing, Davis provokes readers to reexamine their relationships to matter and life in light of plastic’s saturation.
Unashamed
Shame is everywhere. Whether it's related to relationships, body image, work difficulties, or a secret sin, we all experience shame at some point in our lives. While shame can manifest itself in different ways—fear, regret, and anger—it ultimately points us to our most fundamental need as human beings: redemption. Shame never disappears in solitude, and Heather Davis Nelson invites us to not only be healed of our own shame but also be a part of healing for others. She shines the life-giving light of the gospel on the things that leave us feeling worthless and rejected, giving us courage us to walk out of shame's shadows and offering hope for our bondage to brokenness. Through the gospel, we discover the only real and lasting antidote to shame: exchanging our shame for the righteousness of Christ alongside others on this same journey.
Art in the Anthropocene
Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and activists to address the geological reformation of the human species. With contributions by Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud, & I...
Wherever You Go
Seventeen-year-old Holly Mullen, overwhelmed with responsibility at home, grieving over her boyfriend Rob's tragic death, and confused by the sudden attention of his best friend, Jason, is further upset when her Alzheimer's-stricken Papa Aldo claims to be having conversations with Rob's ghost.
Desire Change
In the resistance to the violence of gender-based oppression, vibrant – but often ignored – worlds have emerged, full of nuance, humour, and beauty. Correcting an absence of writing about contemporary feminist work by Canadian artists, Desire Change considers the resurgence of feminist art, thought, and practice in the past decade by examining artworks that respond to themes of diversity and desire. Essays by historians, artists, and curators present an overview of a range of artistic practices including performance, installation, video, textiles, and photography. Contributors address the desire for change through three central frames: how feminist art has significantly contributed to the complex understanding of gender as it intersects with sexuality and race; the necessary critique of patriarchy and institutions as they relate to colonization within the Canadian nation-state; and the ways in which contemporary critiques are formed and expressed. Heavily illustrated with representative works, Desire Change raises both the stakes and the concerns of contemporary feminist art, with an understanding that feminism is always and necessarily plural.
More&More (The Invisible Oceans)
More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow's work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.
No Other Planet
Visions of utopia – some hopeful, others fearful – have become increasingly prevalent in recent times. This groundbreaking, timely book examines expressions of the utopian imagination with a focus on the pressing challenge of how to inhabit a climate-changed world. Forms of social dreaming are tracked across two domains: political theory and speculative fiction. The analysis aims to both uncover the key utopian and dystopian tendencies in contemporary debates around the Anthropocene; as well as to develop a political theory of radical transformation that avoids not only debilitating fatalism but also wishful thinking. This book juxtaposes theoretical interventions, from Bruno Latour to the members of the Dark Mountain collective, with fantasy and science fiction texts by N. K. Jemisin, Kim Stanley Robinson and Margaret Atwood, debating viable futures for a world that will look and feel very different from the one we live in right now.
I Can Sleep When the Wind Blows
I Can Sleep When The Wind Blows is a retelling of the classic story of Jim, a 17 year old boy who applies to work on a farm. His only qualification is that he can sleep when the wind blows. The farmer doesn't understand what he means, but he hires him. When a terrible storm comes in the night, the farmer learns the value of this unusual skill.This delightful story helps young children understand how to cope ahead to be prepared to deal with potentially stressful situations and how doing this can help them feel more in control and prepared when difficult times come. Young children who suffer from anxiety can follow Jim's example of planning ahead and believing in themselves and their ability ...
The Pitcher's Mom
Bottom-of-the-ninth dreams are the stuff that young boys are made of. But boys grow. Destiny arrives on the doorstep -or, more likely, fails to- and all the while mothers look on, impotent witnesses to the great unknown. Such is the turf of The Pitcher's Mom, a novel about big dreams, cup shopping, bleacher barbs, sore arms, mothers and sons, wrestling destiny, and the sacrifices we make for love.
Those Terrible First Hours
Everyone knows the characters of the cartoons Scooby-Doo, Where Are You? and Johnny Quest. In both of these cartoons, the characters did that which was right, without expecting anything in return-a far cry from what we have today. Even though we have many working for the common people of the nation, we have far too many who work for themselves. Even though I have the hope in Christ Jesus, I think that the media has done a good job showing that Donald Trump has an ego the size of Texas. But I feel that they do not know what to do with Hillary Rodham Clinton and therefore do not know how to criticize her. Furthermore, I don't think that it matters who gets in because I think they will be like the second Herbert Hoover.
