Kristine Stiles has played a vital role in establishing trauma studies within the humanities. A formidable force in the art world, Stiles examines the significance of traumatic experiences both in the individual lives and works of artists and in contemporary international cultures since World War II. In Concerning Consequences, she considers some of the most notorious art of the second half of the twentieth century by artists who use their bodies to address destruction and violence.

The essays in this book focus primarily on performance art and photography. From war and environmental pollution to racism and sexual assault, Stiles analyzes the consequences of trauma as seen in the works of artists like Marina Abramovic, Pope.L, and Chris Burden. Assembling rich intellectual explorations on everything from Paleolithic paintings to the Bible’s patriarchal legacies to documentary images of nuclear explosions, Concerning Consequences explores how art can provide a distinctive means of understanding trauma and promote individual and collective healing.

Creator of such acclaimed works as the performance Meat Joy and the film Fuses, for decades the artist Carolee Schneemann has saved the letters she has written and received. Much of this correspondence is published here for the first time, providing an epistolary history of Schneemann and other figures central to the international avant-garde of happenings, Fluxus, performance, and conceptual art. Schneemann corresponded for more than forty years with such figures as the composer James Tenney, the filmmaker Stan Brakhage, the artist Dick Higgins, the dancer and filmmaker Yvonne Rainer, the poet Clayton Eshleman, and the psychiatrist Joseph Berke. Her “tribe,” as she called it, altered the conditions under which art is made and the form in which it is presented, shifting emphasis from the private creation of unique objects to direct engagement with the public in ephemeral performances and in expanded, nontraditional forms of music, film, dance, theater, and literature.

Kristine Stiles selected, edited, annotated, and wrote the introduction to the letters, assembling them so that readers can follow the development of Schneemann’s art, thought, and private and public relationships. The correspondence chronicles a history of energy and invention, joy and sorrow, and charged personal and artistic struggles. It sheds light on the internecine aesthetic politics and mundane activities that constitute the exasperating vicissitudes of making art, building an artistic reputation, and negotiating an industry as unpredictable and demanding as the art world in the mid- to late twentieth century.

This book presents Peter d'Agostino's World-Wide-Walks project, providing a unique perspective on walking practices across time and place considered through the framework of evolving technologies and changes in climate. Performed on six continents during the past five decades, d’Agostino’s work lays a groundwork for considering walks as portals for crossing natural, cultural, and virtual frontiers.  Broad in scope, it addresses topics ranging from historical concerns including traditional Australian Aboriginal rites of passage and the exploits of explorers such as John Ledyard, to artists’ walks and related themes covered in the mass media in recent years. D’Agostino’s work shows that the act of walking places the individual within a world of empirical awareness, statistical knowledge, expectation, and surprise through phenomena like anticipating unknown encounters around the bend. In mediating the frontiers of human knowledge, walking and other forms of exploration remain a critical means of engaging global challenges, especially notable now as environmental boundaries are undergoing radical and potential cataclysmic change.