Ecocriticism, whether coming from “back to nature” conservatives, Nature Conservancy liberals, or Earth First! radicals, is familiar enough. But when we listen do we really hear what these groups are saying? In a book that examines the terms of ecocriticism, Timothy W. Luke exposes how ecological critics, organizations, and movements manipulate our conception of the environment. Turning the tables on the ecocritics, Luke demonstrates how ecocriticism can move beyond its familiar confines to engage larger cultural, economic, and political questions.

Ecocritique rereads ecocriticism to reveal how power and economy, society and culture, community and technology compete over what are now widely regarded as the embattled ecosystems of nature. Luke considers in particular how the meanings and values attached to the environment by various groups—from the Worldwatch Institute, the Nature Conservancy, and Earth First! to proponents of green consumerism, social ecology, and sustainable development—articulate new visions of power and subjectivity for a post-Cold War era.

This accessibly written work opens with deep ecology and concludes with social ecology, along the way reconsidering thinkers with green philosophical leanings, including Herbert Marcuse, Paolo Soleri, and Murray Bookchin. In systematic critiques reexamining the cultural practices and ethical values of contemporary environmentalism, Luke highlights the political dilemmas of biocentrism and anthropocentrism in modern ecological thinking.

With its critical analysis of many contemporary environmental discourses and organizations, Ecocritique makes a major contribution to ongoing debates about the political relationships among nature, culture, and economics in the current global system.

It has long been considered a mark of naïveté to ask of a work of art: What does it say? But as Timothy W. Luke demonstrates in Shows of Force, artwork is capable of saying plenty, and much of the message resides in the way it is exhibited. By critically examining the exhibition of art in contemporary American museums, Luke identifies how art showings are elaborate works of theater that reveal underlying political, social, and economic agendas.
The first section, “Envisioning a Past, Imagining the West,” looks at art exhibitions devoted to artworks about or from the American West. Luke shows how these exhibitions—displaying nineteenth- and early-twentieth century works by artists such as George Caleb Bingham, Frederic Remington, Frederic Edwin Church, and Georgia O’Keefe—express contemporary political agendas in the way the portray “the past” and shape new visions of “the West.”
In “Developing the Present, Defining a World,” Luke considers artists from the post-1945 era, including Ilya Kabokov, Hans Haacke, Sue Coe, Roger Brown, and Robert Longo. Recent art exhibits, his analysis reveals, attempt to develop politically charged conceptions of the present, which in turn struggle to define the changing contemporary world and art’s various roles within it.
Luke brings to light the contradictions encoded in the exhibition of art and, in doing so, illuminates the political realities and cultural ideologies of the present. Shows of Force offers a timely and surely controversial contribution to current discussions of the politics of exhibiting art.