William Blake and the Age of Aquarius / by Stephen F. Eisenman -- Prophets, madmen, and millenarians: Blake and the (counter)culture of the 1790s / by Mark Crosby -- William Blake on the West Coast / Elizabeth Ferrell -- William Blake and art against surveillance / Jacob Henry Leveton -- Building Golgonooza in the Age of Aquarius / John Murphy -- "My teacher in all things": Sendak, Blake, and the visual language of childhood / Mark Crosby -- Blake then and now / W.J.T. Mitchell

In summer 1969, astronauts landed on the moon and hippie hordes descended on Woodstock—two era-defining events that are not entirely coincidental. Neil M. Maher shows how NASA’s celestial aspirations were tethered to terrestrial concerns of the time: the civil rights struggle, the antiwar movement, environmentalism, feminism, and the culture wars.

How did a decade that dawned with the Age of Aquarius end in Altamont and the Manson Family bloodbath? The 1960s were a time of revolution - political, social psychedelic, sexual. But there was another revolution that many historians forget the rise of a powerful current that permeated pop culture and has been a central influence on it ever since. It was a magical revolution - a revival of the occult. Previously rejected and ridiculed beliefs took centre stage, reaching the Beatles and the Rolling Stones, saturating the the hippies and flower power, hitting the big screen with Rosemary's Baby and the bookshelves with Lord of the Rings. The Tarot. I Ching, astrology, Kabbala, yogis, witchcraft, UFOs, Aleister Crowley. Yin Yang and the Tibetan Book of the Dead now became the common currency they are today. But the vibes went bad, the auras darkened. Did that darker undercurrent win out? Gary Lachman here charts this explosion, its rise and fall, and its enduring legacy --This text refers to an out of print or unavailable edition of this title.

Published in partnership with the Mary and Leigh Block Museum of Art to accompany its exhibit, this catalog of essays and more than fifty color exhibition plates invokes these two senses of "intelligent design"--one from the debates between science and theology and the other from the world of art, particularly architecture and the decorative arts. The extensive exhibition includes furniture, metalware, glassware, textiles, and designs on loan from public and private collections in the United States and England. Among the artwork included are items from William Morris, C. R. Ashbee, Christopher Dresser, C. F. A. Voysey, Frank Lloyd Wright, and Louis Sullivan.

The issue of zoos is not about treatment, but use; not about reform, but abolition. Zoos often pay lip-service to “education,” “enrichment,” and “conservation,” but the cruelty is systemic and follows from the idea of animals as commodities. As long as they are property, animals will continue to be treated as things, with no rights, who can be caged, bred, abused, or killed for a zoo’s profit and the public’s entertainment. In Zooicide, Sue Coe applies her bold and breathtaking artistic style to confront the institution of zoos, exposing them as a form of capitalist cruelty that is enmeshed with the violence of war, colonialism, and ecological destruction.

Examines the vast array of art produced by African Americans in response to the continuing impact of anti-Black violence and how it is used to protest, process, mourn and memorialize those events.

The eighteenth century saw the rise of new and more sympathetic understanding of animals as philosophy, literature, and art argued that animals could feel and therefore possess inalienable rights. This idea gave birth to a diverse movement that affects how we understand our relationship to the natural world. The Cry of Nature details a crucial period in the history of this movement, revealing the significant role art played in the growth of animal rights. Stephen F. Eisenman shows how artists from William Hogarth to Pablo Picasso and Sue Coe have represented the suffering, chastisement, and execution of animals. These artists, he demonstrates, illustrate the lessons of Montaigne, Rousseau, Darwin, Freud, and others—that humans and animals share an evolutionary heritage of sentience, intelligence, and empathy, and thus animals deserve equal access to the domain of moral right. Eisenman also traces the roots of speciesism to the classical world and describes the social role of animals in the demand for emancipation. Instructive, challenging, and always engaging, The Cry of Nature is a book for anyone interested in animal rights, art history, and the history of ideas.