<p/><br></br><p><b> About the Book </b></p></br></br>By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. "Reparative Aesthetics" contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.<p/><br></br><p><b> Book Synopsis </b></p></br></br>By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. <br/><br/><i>Reparative Aesthetics</i> contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.<p/><br></br><p><b> About the Author </b></p></br></br><b>Susan Best</b> is Professor of Fine Art and Art Theory at Queensland College of Art, Griffith University, Australia. Recent publications include <i>Visualizing Feeling: Affect and the Feminine Avant-garde</i> (2011) which won the Art Association of Australia and New Zealand best book award in 2012.
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