Waste is political. Waste is social. Waste is economic, ecological, and colonial. It embodies traces of the past and imaginaries of the future. In this book, artists, designers, and art scholars discuss the perception and handling of waste materiality, including practical approaches to coexistence. Exploring transnational narratives of material traces, the contributions examine the interplay of representation, temporality, and technology. Attentive to the accumulated leftovers of previous generations and the unsettling prospect of a ‘new world disorder’, the publication emphasizes interconnectedness and dependency within a more-than-human world. Against the backdrop of a postcolonial understanding of material culture and the implications of the Anthropocene, how could a multi-perspective conception of waste in space and time be embraced?

• Waste and beyond
• Caring for planetary conditions
• Multifaceted perspectives on materiality

From the poet Laura Battiferri to the naturalist Maria Sibylla Merian, history has long tied female intellectual brilliance to an unattractive appearance. But what if ‘ugliness’ was not a curse, but a strategy? This groundbreaking study is the first to critically explore how literary and painted portraits of women in science and the arts - including philosopher Marie de Gournay and painter Rosalba Carriera – challenged conventions by deliberately staging unconventional beauty as a tool of emancipation. The book exposes the hidden negotiations between appearance, intellectual legitimacy, and artistic ambition in early modern Europe. Through vivid case studies, it uncovers the interplay between gender, the body, and creative genuineness, revealing how these remarkable women redefined female authority on their own terms.

• Innovative insights into female agency
• A feminist perspective on the portrait genre
• Current investigations into the 'unattractive' intellectual

Living Power explores the modernist aesthetics of the women's suffrage movement in the United States in the decades leading to the Nineteenth Amendment's passage in 1920. Artists and activists in this period envisioned, and even materialized, new forms of inclusive, modern political citizenship. But at the same time, many progressive advocates premised the right to vote on whiteness, splitting suffragists along racial lines. Lauren Kroiz analyzes how artworks—including Charlotte Perkins Gilman's design for soap trading cards, Adelaide Johnson's marble portrait busts, Anne Brigman's photographs in the California wilderness, and Meta Warrick Fuller's sculptures of mothers and children—interrogated the unstable divide between subjecthood and objecthood at the heart of demands for political agency. Expanding the scholarship of feminist art, Kroiz traces a history that remains both pivotal and unresolved.

Living Power explores the modernist aesthetics of the women's suffrage movement in the United States in the decades leading to the Nineteenth Amendment's passage in 1920. Artists and activists in this period envisioned, and even materialized, new forms of inclusive, modern political citizenship. But at the same time, many progressive advocates premised the right to vote on whiteness, splitting suffragists along racial lines. Lauren Kroiz analyzes how artworks—including Charlotte Perkins Gilman's design for soap trading cards, Adelaide Johnson's marble portrait busts, Anne Brigman's photographs in the California wilderness, and Meta Warrick Fuller's sculptures of mothers and children—interrogated the unstable divide between subjecthood and objecthood at the heart of demands for political agency. Expanding the scholarship of feminist art, Kroiz traces a history that remains both pivotal and unresolved.

Living Power explores the modernist aesthetics of the women's suffrage movement in the United States in the decades leading to the Nineteenth Amendment's passage in 1920. Artists and activists in this period envisioned, and even materialized, new forms of inclusive, modern political citizenship. But at the same time, many progressive advocates premised the right to vote on whiteness, splitting suffragists along racial lines. Lauren Kroiz analyzes how artworks—including Charlotte Perkins Gilman's design for soap trading cards, Adelaide Johnson's marble portrait busts, Anne Brigman's photographs in the California wilderness, and Meta Warrick Fuller's sculptures of mothers and children—interrogated the unstable divide between subjecthood and objecthood at the heart of demands for political agency. Expanding the scholarship of feminist art, Kroiz traces a history that remains both pivotal and unresolved.