In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds.

Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art.

This is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

The Trilogy:

• Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections
• Transnational Feminisms and Art’s Transhemispheric Histories: Ecologies and Genealogies
• Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing

In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds.

Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art.

This is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

The Trilogy:

• Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections
• Transnational Feminisms and Art’s Transhemispheric Histories: Ecologies and Genealogies
• Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing

In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds.

Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art.

This is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

The Trilogy:

• Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections
• Transnational Feminisms and Art’s Transhemispheric Histories: Ecologies and Genealogies
• Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing