This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance.

Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities.

The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.

This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance.

Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities.

The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.

This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance.

Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities.

The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.