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This powerful collection highlights the importance of snapshots in Black American life: as tools to challenge stereotypes, and as a way to document family and cultureThoughtfully illustrated, this volume highlights a selection of photographs of African American family life between the 1970s and the early 2000s--pictures that were lost by their original owners and then found by the artist Zun Lee on a street in Detroit in 2012, marking the beginning of the Fade Resistance collection of more than 4,000 Polaroids. Lee describes the collection as an important record of Black visual self-representation and a means to "reflect the way Black people saw themselves on their terms--without the intention of being seen, or judged, by others." To Lee, these powerful photographs are an expression of "Black life mattering."These vivid images chronicle milestones such as weddings, birthdays and graduations, as well as quiet daily moments, offering contemporary views long ignored or erased by mainstream culture. Together, these works highlight the role snapshots have played in Black life, as tools to challenge stereotypical portrayals and as a means to memorialize family, culture and heritage.Topics such as self-representation, visual history and the social power of photographs are addressed in critical texts by Sophie Hackett, Stefano Harney, Zun Lee and Fred Moten, and an original contribution by celebrated poet Dawn Lundy Martin.

Showcasing a lesser-known aspect of Saar's art, Betye Saar: Serious Moonlight provides new insights into her explorations of ritual, spirituality and cosmologies, as well as themes of the African diaspora. Featured here are significant installations created by Saar from 1980 to 1998, including Oasis (1984), a work that will be reconfigured at ICA Miami's Saar exhibition for the first time in more than 30 years.00With compelling scholarship and rich illustration-combining new installation photography and archival material-the monograph provides a fresh look at this significant artist's critical and influential practice. Betye Saar: Serious Moonlight reinforces and celebrates Saar's standing as a visionary artist, storyteller and mythmaker, and the ongoing significance and relevance of her work to the most pressing issues in America today.00Exhibition: Institute of Contemporary Art, Miami, USA (28.10.2021 - 17.04.2022) / 49 Nord 6 Est ? FRAC Lorraine, Metz, France (06.2022) / Kunstmuseum Luzern, Lucerne, Switzerland (02.2023).

Including textiles, paintings and decorative arts, Archive of the World offers a lucid alternative to traditional interpretations of art from the so-called New WorldExquisitely illustrated with new photography, this stunning book represents the first comprehensive study of LACMA's notable holdings of Spanish American art. Following the arrival of the Spaniards in the Americas in the 15th century, the region developed complex artistic traditions that drew simultaneously on Indigenous, European, Asian and African art. In 1565 the Spaniards conquered the Philippines, inaugurating a new commercial route that connected Asia, Europe and the Americas. Private homes and civic and ecclesiastic institutions in Spanish America were filled with imported and locally made objects. This confluence of riches signaled the status of the Americas as a major entrepôt--what one contemporaneous author described as "the archive of the world." Many works created in Spanish America were also shipped across the globe, attesting to their wide appeal.Arranged into five thematic sections, the volume features a conversation about LACMA's collection and nearly 100 catalog entries by various scholars, including Pablo F. Amador Marrero, Aaron M. Hyman, Rachel Kaplan, Paula Mues Orts, Jeanette F. Peterson, Elena Phipps, Maya Stanfield-Mazzi and Luis Eduardo Wuffarden, among others. These authoritative texts offer multiple access points to appreciate the material, aesthetic and historical aspects of the works, providing a lasting reference in this increasingly influential area of art history.

New ways of understanding Caribbean visual culture, from historical photographs following emancipation to contemporary transnational perspectives, on the occasion of a major exhibition at the Art Gallery of Ontario, CanadaAnchored by an extensive selection from the world-class Montgomery Collection of Caribbean Photographs at the Art Gallery of Ontario, Fragments of Epic Memory situates a range of prints, postcards, daguerreotypes and albums from the period just after emancipation in 1838 within a broader context of visual culture in the Caribbean.This critical volume includes works by Caribbean artists such as Wifredo Lam from Cuba, and Sir Frank Bowling and Aubrey Williams from Guyana--who represent the first generation of migrant modernist artists--alongside 21st-century artists such as Paul Anthony Smith from Jamaica (based in the US), Zak Ové from Britain (of Trinidadian heritage), Nadia Huggins from Trinidad (based in St. Vincent) and Sandra Brewster from Canada (of Guyanese heritage), among others. Their works, along with texts by prominent writers of Caribbean descent, serve as counterpoints to the historical photographs and the violence of the imperial project, constituting a conceptual generational bridge across history, geography, time and space.

"This volume presents for the first time a recently rediscovered series of pencil drawings from the early 1990s, through which Wyeth imagined his own funeral. Chapters by leading art historians explore the significance of picturing one's own death in both the context of Wyeth's late career and contemporary American art. The book connects the funeral series to Wyeth's decades-long engagement with death as an artistic subject in painting, his relationships with the models depicted, and his use of drawing as an expressive and exploratory medium. It further inserts Wyeth's work into a larger conversation about mortality and self-portraiture that developed in American art since the 1960s, and includes works by Duane Michals, Andy Warhol, David Wojnarowicz, George Tooker, Janaina Tschèape and Mario Moore. While his contemporaries posed a variety of existential questions in picturing their own passing, those that interrogate the universality of death as a human experience have become especially urgent in the wake of the coronavirus pandemic and the national reckoning with racial inequality that emerged in 2020. Andrew Wyeth: Life and Death thus addresses ideas about loss, grief, vulnerability and (im)mortality that pervade the current moment."--

A sourcebook, reader and document of the MoMA PS1 exhibition gathering an intergenerational and international group of 47 artists and collectives with deep ties to New YorkThrough images, artist writings, roundtable conversations and oral histories highlighting key artists from the fifth edition of Greater New York at MoMA PS1, this book expands core themes in the exhibition, such as the interrelation of the surrealistic and the documentary; New York as site of Indigenous and diasporic cultural production; and the everyday challenges of living as an artist in a rapidly changing city. Central to the book is a wide selection of primary source materials: writings, poetry, notes, sketches and scripts by exhibition artists--offering, in their own words, a window into their interdisciplinary processes and approaches.Artists include: Yuji Agematsu, Nadia Ayari, BlackMass Publishing, Diane Burns, Kristi Cavataro, Curtis Cuffie, Hadi Fallahpisheh, Rotimi Fani-Kayode, Raque Ford, Luis Frangella, Dolores Furtado, Julio Galán, Doreen Garner, Emilie Louise Gossiaux, Robin Graubard, Milford Graves, Bettina Grossman, Avijit Halder, Bill Hayden, Steffani Jemison, G. Peter Jemison, E'wao Kagoshima, Marie Karlberg, Matthew Langan-Peck, Las Nietas de Nonó, Athena LaTocha, Carolyn Lazard, Sean-Kierre Lyons, Hiram Maristany, Servane Mary, Rosemary Mayer, Alan Michelson, Ahmed Morsi, Nicolas Moufarrege, Marilyn Nance, Tammy Nguyen, Shelley Niro, Kayode Ojo, Paulina Peavy, Freya Powell, Raha Raissnia, Andy Robert, Diane Severin Nguyen, Shanzhai Lyric, Regina Vater, Stanley Wolukau-Wanambwa and Lachell Workman.

Multimedia expressions of a universal human impulse: the desire to record our daily lives, from cave paintings to TikTokHome movies capture everything from mundane events to rites of passage: a child's first steps, a family vacation or a birthday party. These everyday subjects that fascinate amateur filmmakers have also long inspired visual artists. I AM HERE presents home movies alongside art by Njideka Akunyili Crosby, Nicole Eisenman, Keith Haring, David Hockney, Arthur Jafa, Ed Ruscha and others, as well as personal artifacts including family photo albums, mixtapes, time capsules, postcards and home movies. This book embraces a more-is-more visual approach with reproductions of art and film stills, plus an eye-popping cover by Toronto-based artist Fiona Smyth.

"Jackson's paintings synthesize connections shared by local residents of color around experiences of transportation, housing, agriculture and labor" -New York TimesThe first monograph on Tomashi Jackson (born 1980), The Land Claim illustrates the Cambridge- and New York-based artist's unique work and research methodology that focuses on the historic and contemporary lived experiences of Indigenous, Black and Latinx families on the East End of Long Island, and how the role of women, the meaning of labor and the sacredness of land link these communities. Jackson's intricately layered and boldly composed large-scale paintings are featured alongside transcribed interviews and archival images from her research. Jackson provokes an urgent discourse around historical narratives of labor, collective memory, educational access, transportation and land rights experienced by communities of color.

British designer Lee Alexander McQueen's collections synthesized his training in Savile Row tailoring, theatrical design, and haute couture with references spanning time, geography, mediums, and technology. Taking a look at McQueen's design process, this book documents the designer's diverse sources of inspiration by displaying McQueen's fashions alongside related artworks. McQueen's encyclopedic references range from ancient Greece and Rome to Tibetan silk brocade patterns, 17th-century Dutch painting, the prints of Goya, and the films of Stanley Kubrick. In each of these cases and beyond, examples of McQueen's work are displayed alongside artworks from LACMA's permanent collection.

Houle's painting blends Western abstraction, postmodernism and conceptualism with First Nations art history and techniques, challenging expectations about Indigenous aestheticsAn extensive survey spanning more than 50 years, Robert Houle: Red Is Beautiful celebrates Houle's ongoing career as an internationally recognized Indigenous artist, curator and writer, calling attention to First Nations and settler-colonialist histories through the critical lens of his impressive oeuvre. Painful personal experiences from the time he spent in residential school as a youth are brought into sharp relief through painting. Houle's visual commentary tackles global topics including commercial appropriation, Indigenous resistance movements, land rights, religion and war, among others. A leader in challenging systemic racial biases, Houle has played a significant role at successfully introducing Indigenous art and its relationship to the contemporary art world in Canada and beyond. Rare excerpts from the artist's archive are featured alongside major scholarly texts, poetic writings and personal anecdotes from fellow prominent Indigenous thinkers and creators, offering new insights about an artist ahead of his time.Robert Houle (born 1947) teaches at the OCADU and has collaborated on projects that seek to establish awareness of First Nations contemporary art, such as the Land, Spirit, Power exhibition at the National Gallery of Canada in 1992. He is represented by Kinsman Robinson Galleries in Toronto.

The most comprehensive publication to date on Sarah Cain's exuberant paintings and installationsLos Angeles-based painter Sarah Cain (born 1979) works on canvases of all sizes, often modifying them by cutting and braiding, painting on all sides and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, furniture and dollar bills.Cain's process often involves altering and disfiguring a composition until the original image is no longer recognizable. Her process of creation and destruction frequently includes found objects and is steeped in the history of painting and feminist art practices. Cain's work is a challenge to the patriarchal hierarchies of painting. "Almost everything about Cain's paintings--their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity--seems to undermine the gravitas that large-scale painting traditionally projects," wrote Jonathan Griffin, in the New York Times.Sarah Cain: Enter the Center features new writings and previously unpublished photographs and documentation of dozens of artworks with a focus on the last decade of Cain's exuberant and unique paintings and installations.

Trouvs evident investment in tricks of the eyeand of the mindpaint her as a 21st-century surrealist IArtforum/I

This first ever book on the Bay Area Beat artist reveals a unique drawing style that dovetails Cocteau with Japanese and Renaissance printmaking

A career retrospective on the conceptually complex sculpture of the Canadian postminimalist

Directors Inspiration. An inspirational trove of film posters and ephemera, photographs, artwork and more from the collection of Spike Lee

An unprecedented look at Nellie Mae Rowe's art as a radical act of self-expression and liberation in the post-civil rights-era SouthA New York Times critics' pick Best Art Books 2021 During the last 15 years of her life, Nellie Mae Rowe lived on Paces Ferry Road, a major thoroughfare in Vinings, Georgia, and welcomed visitors to her "Playhouse," which she decorated with found-object installations, handmade dolls, chewing-gum sculptures and hundreds of drawings. Rowe created her first works as a child in rural Fayetteville, Georgia, but only found the time and space to reclaim her artistic practice in the late 1960s, following the deaths of her second husband and her longtime employer. This book offers an unprecedented view of how Rowe cultivated her drawing practice late in life, starting with colorful and at times simple sketches on found materials and moving toward her most celebrated, highly complex compositions on paper. Through photographs and reconstructions of her Playhouse created for an experimental documentary on her life, this publication is also the first to juxtapose her drawings with her art environment. Nellie Mae Rowe (1900-82) grew up in rural Fayetteville, Georgia. When her Playhouse became an Atlanta attraction, she began to exhibit her art outside of her home, beginning with Missing Pieces: Georgia Folk Art, 1770-1976, a traveling exhibition that brought attention to several Southern self-taught artists, including Rowe and Howard Finster. In 1982, the year she died, Rowe's work received a new level of acclaim, as she was honored in a solo exhibition at Spelman College and included as one of three women artists in the Corcoran Gallery of Art's landmark exhibition .

"Published in conjunction with the touring exhibition, Light, Space, Surface. Itinerary: Addison Gallery of American Art, Phillips Academy October 2, 2021-January 30, 2022 Frist Art Museum June 3, 2022-September 6, 2022"--

Artists defy Western conceptions of the "human" The term "no humans involved" emerged shortly after the 1991 beating of Rodney King, when it was discovered that the Los Angeles Police Department was using the term as a shorthand for casework that involved Black and Latino men and sex workers. In 1994, Jamaican scholar and theorist Sylvia Wynter challenged her academic colleagues to consider how they themselves might be contributing to the cultural mindset that gave rise to this exclusionary definition of human. In particular, Wynter highlighted the strong influence the notion of race has on the definition of the human and the social hierarchies and injustices that result from this link.No Humans Involved collects works by contemporary artists that serve as a response to Wynter's prompt. Among the artists featured are Eddie Aparicio, who uses large-scale, rubber casts of trees to document social and economic relationships between Latin America and the United States; Tau Lewis, a multidisciplinary artist who creates portraits out of culturally relevant found objects and recycled materials; and Wilmer Wilson IV, who investigates the marginalization of Black bodies in social relations through performance, sculpture, photography and other mediums. This collection of artworks from a diverse group of artists provides a contemporary response to Wynter's call to action, addressing the social divisions present today and exploring opportunities for social unity.Artists include: Eddie Aparicio, Tau Lewis, Las Nietas De Nonó, Sondra Perry, Sangree, Wangshui and Wilmer Wilson IV.

Sixteen international artists at the forefront of feminismThis book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women's marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms.The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women's rights.Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.

On a sculptural recreation of a room from an ancient Iraqi palace, in the wake of lootings by Western archaeologists and ISISUsing Arab-language newspapers and wrappers from food products imported from the Middle East, Iraqi American artist Michael Rakowitz (born 1973) has recreated to scale Room H from the Northwest Palace of the ancient Assyrian city of Nimrud (Kalhu). Part of a reception suite, Room H was originally lined with seven-foot-tall carved stone reliefs, including an inscription detailing Ashurnasirpal II's achievements and winged male figures, many of which have been removed by Western archaeologists over the last 150 years. Here, Rakowitz has "reappeared" only those panels that were in situ in Room H when the remains of the palace were destroyed by the jihadist group the Islamic State (ISIS) in 2015. Areas from which the reliefs had already been removed by 19th-century archaeologists are left blank, resulting in what Rakowitz calls "a palimpsest of different moments of removal."

The first monograph on the powerful painting of Janiva Ellis, exploring abstraction, figuration, race and social accelerationThis volume introduces the work of American painter Janiva Ellis, who participated in the New Museum Triennial 2018 and the Whitney Biennial 2019. Featuring a suite of new paintings created over the past year, Rats is published on the occasion of the first solo museum exhibition for Ellis, whose paintings use formal themes of speed and transformation to explore fractured states of personal and cultural perception. Her works produce abundant imagery, invented as well as appropriated. She draws from a broad array of material, including art history and pop culture, to comment on the insidious nature of white supremacist mythology and its denial of itself as a brutal social and structural force. The humor in her work aims to create space for release as well as renewal. Ellis uses figuration to paint Blackness expansively, communicating the complexity of navigating such a lopsided and violent landscape.

Art in the space between magic and activism: an introduction to the participatory, multimedia creations of Glenn KainoPublished for the Los Angeles-based interdisciplinary artist Glenn Kaino's (born 1972) largest exhibition to date, In the Light of a Shadow, this book showcases his work and how art can chronicle parallel trajectories of disparate political and geographical contexts, utilizing history to speak about our present, and art to facilitate political action and hope. Kaino has built his career in the space between these two; creating projects that are based on the magic of trust, fair promises and righting the lapses in memory and omissions of history, all while creating beautifully hopeful and immersive installations.This Book Is a Promise is organized in a galaxy-like structure, with different aspects of Kaino's production over the years represented as intertwined constellations. Additionally, the book reads in two directions, Memory and Promise, each with their own cover. The Memory side presents a retrospective survey, while the Promise surveys the MASS MoCA exhibition. Themes explored include equity, visibility, belief, regeneration and space-making. This publication gives context to Kaino's diverse practice, provides promises for people to follow to live in a better, more humane world and serves as a field guide to being human.

An artist's book exploring the language of protestA new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images.Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like "ACAB" or "1312," further reducible to the elements "A, B, C," "1, 2, 3."In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

The ongoing legacy of the East Asian ink tradition in contemporary artIncluding the work of more than 50 contemporary artists--from Xu Bing and Lin Tianmiao to Lee Ufan and Hiroshi Sugimoto--and featuring artists from China, Taiwan, Hong Kong and Singapore to South Korea, Japan, Vietnam, Europe and the United States, this book offers a reevaluation of what defines ink art, arguing that it is not the conceptual threads of its history that define what contemporary ink art can be. The gatekeepers who have tied ink art to the continent of Asia and prescribed a strict set of tools for its execution--ink, brush, paper, silk--are nowhere in sight here. Instead, this collection recognizes a spirit of ink painting that transcends medium or place of origin. Ink Dreams seeks to delineate that spirit in the context of a contemporary, globalizing art world, by recognizing three major facets of ink art history that go beyond the tradition's concrete attributes. Exquisitely designed and illustrated, this publication features one of the most important collections of contemporary ink art in the world, from Dora and Gérard Cognié. While there are books on traditional Chinese ink painting, this unique book examines how contemporary art extends an expanded practice into the present day.Artists include: Bingyi, gu wenda, Li Huasheng, Li Huayi, Chen Haiyan, Lin Tianmiao, Liu Dan, Liu Guosong, Lui Shou-kwan, Qiu Shihua, Idris Khan, Wang Tiande, Wucius Wong, Xu Bing, Yang Jiechang, Zhang Yu, Zheng Chongbin, Park Seo-bo, Lee Ufan, Kitamura Junko, Kim Ho-deuk, Shirazeh Houshiary, Jorma Puranen, Matti Kujasalo, Ophélie Asch, Irma Blank, Michael Cherney, Shi Guorui, Hai Bo, Hiroshi Sugimoto and Min Byung Hun.

An epic exploration of the artist internationally renowned for his unique gunpowder artThis is the first publication to synthesize the fundamental concepts and methodological pursuits behind the art of Cai Guo-Qiang (born 1957), since his 2008 Guggenheim retrospective exhibition catalog I Want to Believe. Introduced through a comprehensive map and chronology and encompassing the visual and textual records from over three decades of Cai Guo-Qiang's career, this book showcases the work of an artist renowned for his unique gunpowder art through his Individual's Journey Through Western Art History. In a series of exhibitions at major museums and cultural sites around the world, including the Prado Museum, Uffizi Galleries, Pushkin State Museum of Fine Arts, National Archaeological Museum of Naples and Pompeii Archaeological Park, and Solomon R. Guggenheim Museum, Cai has engaged in dialogues with periods of Western art history as presented by the institutions. The series also retraces Cai's expansive journey of homecoming through dialogues with his original passion for painting, the spirit of Chinese culture and his eternal home in the Cosmos.This publication presents the culmination of Cai's Journey with the exhibition Odyssey and Homecoming at the Palace Museum, the first ever by a contemporary artist, coinciding with the 600th anniversary of the Forbidden City.

A multidisciplinary look at the foremost archive of Black American visual culture, as recast by Theaster GatesThis book features essays and other reflections commissioned in response to the Facsimile Cabinet of Women Origin Stories, a monumental participatory work by Theaster Gates (born 1973). The Cabinet includes nearly 3,000 framed images of women from the Johnson Publishing Company archive, and highlights from the collection appear in this edited volume.Founded in 1942, Chicago-based Johnson Publishing chronicled the lives of Black Americans for more than seven decades through the magazines Ebony and Jet. Composed from arguably the most important archive of American Black visual culture in the 20th century, Gates' work centers the essential and too often unsung role of women in this history.When the Cabinet was exhibited at the Colby College Museum of Art, 12 women from a wide range of disciplines (including archivists, legal scholars, anthropologists and librarians, as well as curators, visual artists, filmmakers, writers and art historians) were invited to reflect on a work that brings a sisterhood of images to light.

"This substantial new monograph on the work of Edgar Degas (1834-1917), one of the most significant artists of the 19th and 20th centuries, is a decisive contribution to the literature on the French Impressionist artist. An innovative and groundbreaking book, with underlying discussions related to 'dance, politics and society,' it pays special attention to issues of gender, identity, labor, race and the representation of women. Degas worked in various mediums, and, at the end of his life, left around 6,000 works, including 2,000 related to the world of dance and ballet. The contradictions and ambiguities of his art, especially the way he straddles both tradition and modernity, reaffirm both his uniqueness and significance in the history of Western art. Degas: Dance, Politics and Society includes ten essays, never before published, by experts around the world, and also features a visual essay of black-and-white photographs of the bronze sculptures, including Little Dancer Aged Fourteen, by the Brazilian artist Sofia Borges. Through her camera, Borges reinterprets and conceives new images of Degas' most cherished and classic sculptures"

"This is the most comprehensive book to date on Beatriz Milhazes, featuring many previously unpublished paintings and prints. Milhazes, a pivotal figure in contemporary art and the history of abstraction, works with a complex repertoire of images associated with different motifs, origins and sources. She works mainly in painting, printmaking and collage, but also in drawing, sculpture, artist's books and textiles, among other mediums. Oscillating between abstraction and figuration, geometry and free form, her compositions are intricate, dense, multicolored and literally full of layers--of colors, paints, papers and meanings. Milhazes' sources are diverse and varied: from modernism to the Baroque, from folk art or "arte popular" to pop culture, from fashion to jewelry, from architecture to abstraction, from the history of art to nature. Her work encompasses multiple references, including the artists Hilma af Klint, Sonia Delaunay, Bridget Riley, Henri Matisse, Tarsila do Amaral and Piet Mondrian."