This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as a diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space, and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies, and Latin American/Caribbean studies.

This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and from Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space; and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies and Latin American/Caribbean studies.

This book excavates the depths of creative purpose and meaning-making and the extent to which artist autonomy and authenticity in art is a struggle against psychological conditioning, controlling cultural institutions and markets, key to which is representation. The chapters are underpinned by examples from the arts, and the narrative weaves a trail through a range of conceptualizations that are applied to various aspects of visual culture from mainstream canonical arts to avant-garde, community and public art; social and political art to commercial art; and ethereal art to the popular, edgy and kitsch. The book is wide-ranging and employs various aesthetic, cultural, philosophical, political, psycho-social and sociological debates to highlight the problems and contradictions that an encounter with the arts and creativity engenders. The book will be of interest to scholars working in art history, museum studies, arts management, cultural policy, cultural studies and cultural theory.

This study concentrates on the discourses around animal death in arts and the ways they changed over time. Chapter topics span from religious symbolism to natural history cabinets, from hunting laws to animal rights, from economic history to formalist views on art. In other words, the book asks why artists have represented animal death in visual culture, maintaining that the practice has, through the whole era, been a crucial part of the understanding of our relation to the world and our identity as humans. This is the first truly integrative book-length examination of the depiction of dead animals in Western art. The book will be of interest to scholars working in art history, animal studies, and cultural history.

Foregrounding street art in the capital cities of Cuba, Haiti, and Puerto Rico, this book argues that Antillean street artists diagnose the “impossible state” of the arrested present (colonized, occupied, or under dictatorship) while simultaneously imagining liberated futures and fully sovereign states. Jana Evans Braziel launches a comparative study of art, politics, history, urban street cultures, engaged citizenships, and social transformations in three Antillean capital cities—Havana, Cuba; Port-au-Prince, Haiti; and San Juan, Puerto Rico—of the Greater Caribbean. The book includes a photo documentary archive of street art, murals, and installations by key muralists in these cities: Yulier Rodriguez Pérez, "Jerry" Rosembert Moïse, and Colectivo Moriviví (Chachi González Colón, Raysa Rodríguez García, and Salomé Cortés). Braziel offers art historical and geopolitical analyses of the urban street art in their cities of production, underscoring street art as political, economic, and environmental engagements (and not as exclusively aesthetic ones) with urban space and street life. The book will be of interest to scholars working in art history, Caribbean studies, Latin American studies, and urban studies.

"An exhibition honoring the United States and the City of Miami, site of the 49th Annual Meeting of the Board of Governors of the Inter-American Development Bank."

In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.