What can art history tell us about how artists imagine, interpret, and bear witness to environmental change? The new exhibition Nature’s Nation uses ecocritical art history to explore American environmental history and pose tough questions about what we need to do move forward.
What haunts the land? Artists R.L. Martens and Bii Robertson dig up the tangled history of “the vampire crop,” slavery, and soil exhaustion in Maryland, revealing that the past is more present than you might think.
An audio-visual essay by Deborah A. Thomas responds to the 2010 state of emergency in West Kingston, Jamaica, known as the “Tivoli Incursion” and asks how archiving affects—not just events—might be a way to re-imagine justice, politics, and repair.
Is the Green New Deal real or science fiction? Kim Stanley Robinson’s novel New York 2140 imagines a flooded world where climate action is unavoidable.
Past is ominously prologue in these spring syllabus highlights from Gabrielle Hecht, Paul Sutter, and five other environmental scholars.
Given the often-debilitating realities of environmental issues, how can teachers build an environmental pedagogy that inspires creative change?
Edge Effects is currently accepting submissions to our series on the Plantationocene. We’re interested in previously unpublished essays (~1500-2000 words), photo essays, and other creative pieces from a diverse array of academic, artistic, and...
The Anthropocene gives a name to human-caused environmental change. The Plantationocene puts colonialism, capitalism, and enduring racial hierarchies at the center of the conversation and asks what past and future modes of resistance might emerge.
As 2018 draws to a close, our editors reflect on a year of climate crisis and environmental exploitation and consider the urgency of environmental art, activism, and scholarship.
“We can’t contain water.” Feminist philosopher Astrida Neimanis discusses the environmental inequalities and queer rhythms of the elusive fluid.
