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Along with the socio-economic changes in Poland after 1989 and the beginning of the industrial restructuring process, many industrial architecture objects lost their original purpose. At present, sustainable processes of reusing the building stock left over from the industrial period are proceeding. One of the possibilities includes adaptation to culture-related goals, where such activities have an established tradition in the world. The aim of the article is to analyze the adaptive reuse of post-industrial facilities in Poland for the functions of art exhibitions, such as museums, galleries, and art centers. The study was based on descriptive qualitative and quantitative research, in the following stages: identification and analysis of adapted objects; developing a typology of adaptive reuse strategies; questionnaire research aimed at institutions located in adapted facilities. The analyses show that the leading group of adapted facilities constitute former power plants, which ensure favorable exhibition conditions. The main result is the recognition of five types of adaptive reuse strategies implemented in Poland, resulting from a diversified approach to the historic substance, such as: the method of extension of an object; placing an exhibition; the character of the exhibition space, along with the type of intervention in the interior of a historic building.

\"In 1967, the phrase \"flower power\" transformed the commonplace flower into a Buddhist-inspired symbol of peace. In honor of the fiftieth anniversary of San Francisco's Summer of Love, this book showcases the expressive powers of flowers in Asian arts and cultures. Beginning in ancient times, a language of flowers, where certain blooms suggest specific themes, was communicated in art throughout Asia. Here forty artworks, all drawn from the Asian Art Museum's renowned collection, focus on six celebrated flowers--lotus, plum blossom, cherry blossom, chrysanthemum, tulip, and rose--and the messages they convey\"-- Provided by publisher.

Societal Impact Statement People often undervalue plants, hindering botanical education and conservation efforts. This study demonstrates how art‐based approaches including audience co‐creation elements can yield new insights into human‐plant interactions. Analyzing plant‐related memories showed that reflecting on personal experiences with plants evokes emotions and can reconnect individuals to specific people and places. The role of multisensory experiences of plants was also highlighted. This knowledge can inform botanical education practices and improve the design of effective outreach programs, fostering greater societal plant awareness and appreciation. Summary The lack of plant appreciation, a manifestation of plant awareness disparity, is concerning in the context of plant conservation and preservation of botanical knowledge and skills. Developing effective strategies to foster plant awareness requires a better understanding of the nature of human interactions with plants. Art‐based approaches offer a new lens for attracting diverse audiences and can generate unique data through promoting self‐reflection and evoking emotional responses. Herein, we used the case study of visual exhibition “In Memory of Plants” to investigate how arts can be used to explore lasting connections to plants. The exhibition, presented at the Alternative Kilkenny Arts Festival 2022, was designed to inspire reflection on plants as elements of personal experiences and introduce the concept of plant awareness disparity. It also included a co‐creation component where visitors were invited to add their own plant‐related memories to a display board. These audience contributions were subjected to qualitative and quantitative analyses. The results underscored the ability of plants to act as memory anchors, providing lasting connections to places and people from the past. Additionally, the study yielded insights into the identity of “plant mentors” and highlighted the role of multisensory perception in human‐plant interactions. Presented observations can inform future projects focused on plant awareness and may encourage new collaborations between artists, botanists, and science communicators. Collectively, this study supports the use of arts‐based methods to both enhance and investigate plant awareness. People often undervalue plants, hindering botanical education and conservation efforts. This study demonstrates how art‐based approaches including audience co‐creation elements can yield new insights into human‐plant interactions. Analyzing plant‐related memories showed that reflecting on personal experiences with plants evokes emotions and can reconnect individuals to specific people and places. The role of multisensory experiences of plants was also highlighted. This knowledge can inform botanical education practices and improve the design of effective outreach programs, fostering greater societal plant awareness and appreciation.

\"The celebrated painter Vincent van Gogh (1853-1890) had a lifelong fascination with the natural world. He spent his youth in rural Holland, and the country's flat landscapes, trees, flowers, and birds would feature in his early art. After he moved to Paris, he encountered new radical thinking about art and humans' changing relationship with nature. Later, in Provence and Auvers, he discovered unfamiliar terrain, flora, and fauna that further influenced his artistic ideas and subject matter. Van Gogh's images of such diverse environments reflect not only his immediate surroundings but also the artist's evolving engagement with nature and art. Van Gogh and Nature is an eye-opening new catalogue that chronicles the artist's ongoing relationship with nature throughout his entire career. Among the featured works are Van Gogh's drawings and paintings, along with related materials that illuminate his reading, sources, and influences. Vivid color photography and explanatory texts based on new research by the authors clarify a central theme of Van Gogh's oeuvre. \"-- Provided by publisher.

This article maps the presentation of nuclear power as valuable cultural heritage in Soviet and post-Soviet Russia. Drawing on the analysis of archival documents, exhibitions, site visits and interviews, it argues that the nuclear cultural heritage-making that is taking place in Russia is not limited to self-promotion by the nuclear industry but is shaped by different professional and societal groups seeking to define their identity and gain recognition in the public sphere. The selected case studies, the Polytechnical Museum (Politekh) in Moscow and Rosatom's recent attempts to institutionalize nuclear cultural heritage, add new empirical material to the existing studies of Soviet and post-Soviet nuclear culture and offer new insights into its character.

\"Highlighting an enduring interest in natural history from the 16th century to the present, this gorgeous book explores depictions of the natural world, from centuries-old manuscripts to contemporary artists' books. It examines the scientific pursuits in the 18th and 19th centuries that resulted in the collecting and cataloguing of the natural world. It also investigates the aesthetically oriented activities of self-taught naturalists in the 19th century, who gathered flowers, ferns, seaweed, feathers, and other naturalia into albums. Examples of 20th- and 21st-century artists' books, including those of Eileen Hogan, Mandy Bonnell, and Tracey Bush, broaden the vision of the natural world to incorporate its interaction with consumer culture and with modern technologies. Featuring dazzling illustrations, the book itself is designed to evoke a fieldwork notebook, and features a collection pocket and ribbon markers. \"-- Provided by publisher.

A central thread of this article is to open a dialogue around traditional medicines such as sacred tabaco (tobacco) as it connects to Xicana Indígena ceremonial praxis, Mexican traditional medicine, and decolonial feminist futurities. I've argued elsewhere, as in the case of the 2019 Xicanx Futurity art exhibition, Xicana/x people have created a dignified path to self-determination that honors Indigenous roots and complex familial legacies and lineages across the hemisphere (Zepeda 2022, 141–153). In visual artist Gina Aparicio's installation titled, Ipan Nepantla Teotlailania Cachi Cualli Maztlacoyotl (Caught Between Worlds, Praying for a Better Future), she creates a sacred space for collective prayer in the context of an art exhibit through tobacco ties, intentionally creating a place for pause, reflection, and grounding, before taking the next steps into the larger part of the art installation that evokes a sacred circulo (Tello 2017). These tobacco-filled prayer ties in red cloth, because of their public visibility, became a site of contestation. This essay asks: what are the responsibilities and connections diasporic Mesoamerican peoples have to sacred plant medicine? Knowing that sanación (healing) arrives from working in collaboration with plants, what are the most respectful ways to work with tabaco : tobacco : picietl? What shapes the pathway of self-determination of Xicana/x peoples who are consciously re-rooting? How do we honor madre tierra, plant medicine, and ancestors?