New Books in Art

Museums everywhere have the potential to serve as agents of change—bringing people together, contributing to local communities, and changing people’s lives. So how can we, as individuals, radically expand the work of museums to live up to this potential? How can we more fiercely recognize the meaningful work that museums are doing to enact change around the relevant issues in our communities? How can we work together to build a stronger culture of equity and care within museums? Questions like these are increasingly vital for all museum professionals to consider, no matter what your role is within your institution. They are also important questions for all of us to be thinking about more deeply as citizens and community members. Museums as Agents of Change: A Guide to Becoming a Changemaker (Rowman & Littlefield, 2021) is about the work we need to do to become changemakers and demand that that our museums take action toward positive social change and bring people together into a more just, equitable, compassionate, and connected society. It is a journey toward tapping the energies within all of us to make change happen and proactively shape a new future. Mike Murawski is a consultant, change leader, and educator living in Portland, Oregon. After more than 20 years of work in education and museums, Mike brings his personal core values of collaboration and care along with a deeper understanding of placed-based connections into the work that he leads within organizations, non-profits, schools, and communities. Mike is the author of Museums as Agents of Change, and author of the Substack publication Agents of Change. In 2016, he co-founded Super Nature Adventures LLC, a place-based education and creative design business that partners with parks, government agencies, schools, and non-profits to expand learning in the outdoors and public spaces. When he's not working on place-based projects or supporting change in nonprofits, you can find Mike on long trail runs in the forests and mountains of the Pacific Northwest. Callie Smith is a poet and museum educator living in Louisiana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Tim Harte's Faster, Higher, Stronger, Comrades!: Sports, Art, and Ideology in Late Russian and Early Soviet Culture (U Wisconsin Press, 2020) looks at sport as artistic subject matter, in late Imperial and early Soviet Russia. In sport, artists found inspiration that could be applied both to improvement of the self and to social progress as artists defined it. In the long run, the constraints of the Socialist Realist aesthetic came to constrain the creative freedom of artists, but until the late 1920's, sport served as a focus of genuine artistic interest, for its own sake and for its ability to provide a reservoir of metaphors that artists could use to make broader, more ideological commentary. Aaron Weinacht is Professor of History at the University of Montana Western, in Dillon, MT. He teaches courses on Russian and Soviet History, World History, and Philosophy of History. His research interests include the sociological theorist Philip Rieff and the influence of Russian nihilism on American libertarianism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms. Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, and images of decay in early modern allegory. Stewart looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing his art. Lively and engaging, The Ruins Lesson: Meaning and Material in Western Culture (U Chicago Press, 2020) ultimately asks what can resist ruination--and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure. John Yargo holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including The Tempest, Oroonoko, and the poetry of Milton. He has published in Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Angela Vanhaelen's The Moving Statues of Seventeenth-Century Amsterdam: Automata, Waxworks, Fountains, Labyrinths (Penn State University Press, 2022) opens a window onto a fascinating and understudied aspect of the visual, material, intellectual, and cultural history of seventeenth-century Amsterdam: the role played by its inns and taverns, specifically the doolhoven. Doolhoven were a type of labyrinth unique to early modern Amsterdam. Offering guest lodgings, these licensed public houses also housed remarkable displays of artwork in their gardens and galleries. The main attractions were inventive displays of moving mechanical figures (automata) and a famed set of waxwork portraits of the rulers of Protestant Europe. Publicized as the most innovative artworks on display in Amsterdam, the doolhoven exhibits presented the mercantile city as a global center of artistic and technological advancement. This evocative tour through the doolhoven pub gardens—where drinking, entertainment, and the acquisition of knowledge mingled in encounters with lively displays of animated artifacts—shows that the exhibits had a forceful and transformative impact on visitors, one that moved them toward Protestant reform. Deeply researched and decidedly original, The Moving Statues of Seventeenth-Century Amsterdam uncovers a wealth of information about these nearly forgotten public pleasure parks, situating them within popular culture, religious controversies, global trade relations, and intellectual debates of the seventeenth century. It will appeal in particular to scholars in art history and early modern studies. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Adorno and the Ban on Images (Bloomsbury, 2022) upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism. Sebastian Truskolaski argues that Adorno's writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno's writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author's overall project from a radically new perspective (Adorno's famous 'standpoint of redemption'), and brings his central concerns to bear on the problems of today. On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno's recurrent reference to the Old Testament ban on making images of God. By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum. Lukas Hoffman is a Doctoral Candidate at the Carolina-Duke Graduate Program in German Studies and is currently supported by a DAAD research grant as a Visiting Scholar at the Humboldt University in Berlin. He is currently working on a book manuscript that examines how the persistence of religious imagery in German modernist lyric reimagines the ways in which traditional, religious attitudes overlap with revolutionary political thought. Recently, he has published an article in Monatshefte, titled “Love of Things: Reconsidering Adorno’s Criticism of Rilke” (Summer 2022) and has a forthcoming article in New German Critique, titled “Abject Eve: A Revolutionary Reading of Lasker-Schüler’s ‘Erkenntnis.’” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Patrick McCray, Professor of History at University of California, Santa Barbara, talks about his book, Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture, with Peoples & Things host, Lee Vinsel. The book shows how artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works after World War II. McCray and Vinsel also discuss how this history connects to more recent developments such as the creation of the MIT Media Lab and so-called “STEAM education.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art has a long history of engaging with conflict and violence. From the antiquities, through Goya, to Guernica, our museums are filled with depictions of battles, pogroms, uprisings, and their suppression. Not all of these stories are told from the perspective of the victors. Many contemporary creatives have continued this tradition. While the position of the official war artist seems to have gone out of fashion, conflict hasn’t. Artists are compelled to document the violence and conflict that for some is the matter of the everyday. Kaelan Wilson-Goldie's Beautiful, Gruesome, and True: Artists at Work in the Face of War (Columbia Global Reports, 2022) is an account of the lives and practices of three such artists Teresa Margolles, Amar Kanwar, and the collective Abounadorra. The documents which these practices produce have found their way into the mainstream contemporary art world, for better, or often worse. Kaelan Wilson-Goldie speaks about the implicit contracts artists enter with their communities, the art world's exploitative interest in conflict, and the role of aesthetic expression in mediating, if not ameliorating conflict. Kaelen Wilson-Goldie is a writer and critic who contributes regularly to Artforum, Aperture, and Afterall, among other publications. She is the author of Etel Adnan, a monographic study on the paintings of the Lebanese-American poet Etel Adnan, and a contributor to numerous books on modern and contemporary art, including Art Cities of the Future: 21st-Century Avant-Gardes and Huguette Caland: Everything Takes the Shape of a Person. She lives in New York City and Beirut. Teresa Margolles was born in Culiacán, Mexico, and is a conceptual artist known for incorporating the physical memory of conflict and pain into her work. Documentation of Margolles' pavilion in in Venice in 2009, Her works at Mor Charpenter and Peter Kilchmann, Her Fourth Plinth proposal for London. Abounaddara is an anonymous collective known for producing more than 400 short films chronicling the uprising and civil war in Syria. Abounaddara at Documenta 14, The Right to the Image (in Arabic) The Islamic State for Dummies - Part One, 2014. Amar Kanwar was born in New Delhi, India, and has distinguished himself through films and multi‐media works which explore the politics of power, violence and justice. Amar Kanwar's The Season Outside, 1997, and Many Faces of Madness, 2000. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Opening Kailasanatha: The Temple in Kanchipuram Revealed in Time and Space (U Washington Press, 2020), Padma Kaimal deciphers the intentions of the monument’s makers, reaching back across centuries to illuminate worldviews of the ancient Indic south. By focusing on the material form of the complex—the architecture, inscriptions, and sculptures, along with the spaces they carve out that guide light, shadow, sound, and footsteps—Kaimal offers insights that complement what surviving texts tell us about Shaiva Siddhanta ideas and practices, providing a rare opportunity to walk in the distant past. Raj Balkaran is a scholar, online educator, and life coach. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Feeling down about museums? We have so many reasons to, but Chris Newell, Tribal Community Member-in-Residence at UConn and Director of Education at the Akomawt Educational Initiative, gives a dose of optimism about the future of museums. Learn more about the Seeing Truth exhibition at our website. Follow us on Twitter @WhyArguePod and on Instagram @WhyWeArguePod Alexis L. Boylan is the director of academic affairs of the University of Connecticut Humanities Institute (UCHI) and an associate professor with a joint appointment in the Art and Art History Department and the Africana Studies Institute Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

These are troubling days for the humanities. In response, a recent proliferation of works defending the humanities has emerged. But, taken together, what are these works really saying, and how persuasive do they prove? The Battle of the Classics: How a Nineteenth-Century Debate Can Save the Humanities Today (Oxford UP, 2020) demonstrates the crucial downsides of contemporary apologetics for the humanities and presents in its place a historically informed case for a different approach to rescuing the humanistic disciplines in higher education. It reopens the passionate debates about the classics that took place in late nineteenth- and early twentieth-century America as a springboard for crafting a novel foundation for the humanistic tradition. Eric Adler demonstrates that current defenses of the humanities rely on the humanistic disciplines as inculcators of certain poorly defined skills such as "critical thinking." It criticizes this conventional approach, contending that humanists cannot hope to save their disciplines without arguing in favor of particular humanities content. As the uninspired defenses of the classical humanities in the late nineteenth century prove, instrumental apologetics are bound to fail. All the same, the book shows that proponents of the Great Books favor a curriculum that is too intellectually narrow for the twenty-first century. The Battle of the Classics thus lays out a substance-based approach to undergraduate education that will revive the humanities, even as it steers clear of overreliance on the Western canon. The book envisions a global humanities based on the examination of masterworks from manifold cultures as the heart of an intellectually and morally sound education. Eric Adler is a Professor of Classics at the University of Maryland. Adler's scholarly interests include Roman historiography, Latin prose, the history of classical scholarship, and the history of the humanities. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Many histories of science have been written, but A New History of the Humanities (Oxford UP, 2014) offers the first overarching history of the humanities from Antiquity to the present. There are already historical studies of musicology, logic, art history, linguistics, and historiography, but this volume gathers these, and many other humanities disciplines, into a single coherent account. Its central theme is the way in which scholars throughout the ages and in virtually all civilizations have sought to identify patterns in texts, art, music, languages, literature, and the past. What rules can we apply if we wish to determine whether a tale about the past is trustworthy? By what criteria are we to distinguish consonant from dissonant musical intervals? What rules jointly describe all possible grammatical sentences in a language? How can modern digital methods enhance pattern-seeking in the humanities? Rens Bod contends that the hallowed opposition between the sciences (mathematical, experimental, dominated by universal laws) and the humanities (allegedly concerned with unique events and hermeneutic methods) is a mistake born of a myopic failure to appreciate the pattern-seeking that lies at the heart of this inquiry. A New History of the Humanities amounts to a persuasive plea to give Panini, Valla, Bopp, and countless other often overlooked intellectual giants their rightful place next to the likes of Galileo, Newton, and Einstein. Rens Bod is a professor of humanities at the University of Amsterdam. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the issue. Focusing on why individual players are motivated to entertain immoral and violent fantasies, Christopher Bartel's book Video Games, Violence, and the Ethics of Fantasy: Killing Time (Bloomsbury, 2020) advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Characterized by a search for meaning, Hirsch’s oeuvre connects psychological, scientific, and philosophical implications of form, bringing together ideas in art, science, ecology, and human consciousness. The artworks in multiple and mixed media provide an evolving history of Hirsch’s ideas and craft as they illustrate the progression of her original research on the origin of all alphabets. Her elegant theory about five fundamental shapes in nature that reflect forms of neurons and neural processes of perception and cognition as the source of all letterforms in alphabets ancient to modern has gained acceptance in scientific circles. Her evidence shows that while cultures and languages bring unique beauty and richness to the world, we, as humankind, are more alike than different. Since the 1980s, Hirsch has also been a pioneer in the field of mind/body healing, developing a type of visualization practice that serves as an instrument toward wellness. By organizing seemingly disparate information into a far-reaching scientific theory, Hirsch is recognized internationally for these techniques and has advanced healing practices through the arts. Archaeology of Metaphor: The Art of Gilah Yelin Hirsch (Skira, 2022) connects the artist’s visual themes to her philosophy and ideas, simultaneously encouraging greater awareness of pattern recognition, social dynamics, and interconnectedness. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Thomas Kuhn’s The Structure of Scientific Revolutions revolutionized the way philosophers and historians of science thought about science, scientific progress, and the nature of scientific knowledge. But Kuhn himself also considered later on how his framework might apply to art. In After Thomas Kuhn: The Structure of Aesthetic Revolutions (De Gruyter, 2022), Oana Serban elaborates on the suggestions and proposals of Kuhn and others to develop a new view of aesthetic and artistic progress and change based in Kuhn’s work. Serban, who is a lecturer in philosophy at the University of Bucharest, adds the key concept of aesthetic validity to the Kuhnian analysis as central to the concept of an aesthetic revolution. The dominance of a particular aesthetic paradigm depends on broadly political factors and are responses to particular ideological questions, such as “What is the relation between humans and God?” Artistic revolutions, in contrast, are stylistic expressions of these ideological frames, such that the norms, values, and styles in art can be transgressive without being Kuhnian revolutions. Carrie Figdor is professor of philosophy at the University of Iowa. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 1982, the Institute held a multi day discussion of censorship. In this session from the Vault, sociologist Richard Sennett talks about Jean Jacques Rousseau’s ideas about censorship in the arts. The discussion is moderated by Aryeh Neier, and includes Sidney Morgenbesser, Susan Sontag, Joseph Brodskey, Richard Gillman, Frances Fitzgerald, Karen Kennerly, Hans Magnus Enzensberger, and Michael Scammell. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The "Black Desert" in the northern Arabian Peninsula is home to thousands of pieces of rock art - both written inscriptions and figural images - left there by the region's nomadic inhabitants during the Hellenistic and Roman periods ca. 2,000 years ago. Dr. Nathalie Brusgaard received her PhD (Leiden University, 2019) for her research into this rock art, exploring their content and themes and what they can tell us about the cultures, lifestyles, and subsistence methods of the Black Desert's nomadic peoples. In this episode, she joins me to share her findings and to discuss how archaeology and material remains can illuminate the lives and practices of ancient nomadic pastoralists. Dr. Brusgaard's book (open access), "Carving Interactions: Rock Art in the Nomadic Landscape of the Black Desert, North-Eastern Jordan." Explore examples of ancient North Arabian inscriptions and rock art via OCIANA (the Online Corpus of the Inscriptions of Ancient North Arabia), Music in this episode: Desert City by Kevin MacLeod. License. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A conversation with Dr. Salah Hatem and Dr. Jaafar Jotheri, professors of archaeology at al-Qadisiyah University, about their research project documenting the intangible cultural heritage of the Bedouin in southern Iraq. This episode covers topics ranging from the lifestyle of the Iraqi Bedouin to their indigenous knowledge (how to find water in the desert; plants that can be used as medicine) to how cultural heritage can be a tool for social change. Their research project is funded by the Nahrein Network at University College London, which has as its mission to foster the sustainable development of antiquity, cultural heritage, and the humanities in Iraq. Learn more about the Nahrein network here. Desert City by Kevin MacLeod. License. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rebecca Binn's Gee Vaucher: Beyond Punk, Feminism and the Avante Garde (Manchester University Press, 2022) is the first book-length work dedicated to the life and career of Vaucher. As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognized the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. The book explores how her life has shaped her output, with particular focus on the open-house collective at Dial House in Essex, a centre for radical creativity. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In April 2006, The Institute held a two day symposium about copyright and intellectual property, titled Comedies of Fair Use. In this session, Lewis Hyde talks about owning art and ideas. Hyde is a cultural critic and scholar, whose work focuses on the nature of imagination, creativity, and property. He is best known for his books, The Gift: Imagination and the Erotic Life of Property, and Trickster Makes This World: Mischief, Myth and Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros’ Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton’s exhibition and book traces the network’s history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form’s development in Western art capitals and gave artists access to unprecedented production budgets, international networking opportunities, and access to new media technologies. Moulton proposes that the Centres played an underappreciated role in orienting artists ideologically in pro-Western and pro-neoliberal directions, a that the extent of their influence has been underappreciated. In societies making the transition from socialism to free-reign capitalism, the actions of a single NGO which habitually outspent all other funders appear to have been glossed over if not outright expunged from memory. The book invites a conversation about the global art world, the role of activism in art, and the power of institutional critique. Its proposals should be a warning to anyone attempting to understand the role of capital in forming cultural consciousness today. If a single NGO could be credited with creating the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders? Aaron Moulton speaks to Pierre d’Alancaisez about the legacy of the Soros Centers of Contemporary Art Network, gonzo anthropology and conspiratorial theorising as methods for writing art history from neglected vantage points, and the antisemitic, bogeyman tropes which appear along the way. Aaron Multon trained at the RCA, London and was the editor of Flash Art International and a curator at Gagosian Gallery. He founded the Berlin exhibition space Feinkost. The Influencing Machine exhibition at CCA Ujazdowski Castle Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Regarded as the “9th Art”, French bande desinée have a much longer history of serious socio-political engagement than American comics. Since the Algerian War (1954–62), postcolonialism, migration, anti-racism are major themes in francophone comics. Mark McKinney’s newest book studies the genre from the formal dismantling of the French colonial empire in 1962 up to the present. Postcolonialism and Migration in French Comics (Leuven UP, 2021) analyses comics representing a gamut of perspectives on immigration and postcolonial ethnic minorities, ranging from staunch defense to violent rejection. Individual chapters are dedicated to specific artists, artistic collectives, comics, or themes, including avant-gardism, undocumented migrants in comics, and racism in far-right comics. Dr. Mark McKinney is Professor of French at Miami University, Ohio. Postcolonialism and Migration in French Comics(Leuven University Press, 2020) is the final installment of a trilogy of sorts that includes The Colonial Heritage of French Comics (Liverpool University Press, 2011) and Redrawing French Empire in Comics (Ohio State University Press, 2013). Dr. McKinney co-edited with Alec G. Hargreaves, Post-Colonial Cultures in France (Routledge, 1997) and edited History and Politics in French-Language Comics and Graphic Novels (University Press of Mississippi, 2008). From 2008-2015, along with Laurence Grove and Ann Miller, he edited the academic journal European Comic Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A formal approach to anime rethinks globalization and transnationality under neoliberalism Anime has become synonymous with Japanese culture, but its global reach raises a perplexing question--what happens when anime is produced outside of Japan? Who actually makes anime, and how can this help us rethink notions of cultural production? In Anime's Identity: Performativity and Form Beyond Japan (U Minnesota Press, 2021), Stevie Suan examines how anime's recognizable media-form--no matter where it is produced--reflects the problematics of globalization. The result is an incisive look at not only anime but also the tensions of transnationality. Far from valorizing the individualistic "originality" so often touted in national creative industries, anime reveals an alternate type of creativity based in repetition and variation. In exploring this alternative creativity and its accompanying aesthetics, Suan examines anime from fresh angles, including considerations of how anime operates like a brand of media, the intricacies of anime production occurring across national borders, inquiries into the selfhood involved in anime's character acting, and analyses of various anime works that present differing modes of transnationality. Anime's Identity deftly merges theories from media studies and performance studies, introducing innovative formal concepts that connect anime to questions of dislocation on a global scale, creating a transformative new lens for analyzing popular media. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens. Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Why is the internet making us so unhappy? Why is it in capital’s interests to cultivate populations that are depressed and desperate rather than driven by the same irrational exuberance that moves money? Sadness is now a design problem. The highs and lows of melancholy are coded into social media platforms. After all the clicking, browsing, swiping and liking, all we are left with is the flat and empty aftermath of time lost to the app. Sad by Design: On Platform Nihilism (Pluto Press, 2019) by Geert Lovink offers a critical analysis of the controversies which drive our online media behaviours. Lovink calls for us to embrace the engineered intimacy of social media, messenger apps and selfies because boredom is the first stage of overcoming ‘platform nihilism’. Geert Lovink speaks to Pierre d'Alancaisez about the frustrations of studying the internet as it evolves from networks to platforms, the politically-contingent notions of online 'communities', and cycles of ideological production and capture. Geert Lovink is a media theorist and internet critic who has chronicled the development of internet and network cultures as they came of age alongside him. He is the author of Zero Comments, Networks Without a Cause, Social Media Abyss, and most recently Struck on the Platform. He is the founder of the Institute of Network Cultures. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the turn of the millennium, there has been an unusually large number of court cases against artists and curators in Russia. Focusing on prominent cases against the organizers of the exhibitions Caution, Religion! (2003) and Forbidden Art 2006 (2007), Frimmel examines the ways in which the meaning of art and its socio-political effects are argued in court. By placing these cases in a historical context, and comparing them with a number of international case studies, Art Judgements: Art on Trial in Russia After Perestroika (Vernon Press, 2021) reveals how these proceedings have intensified juridical power over artistic freedom (of speech) in Russia over the past two decades. Sandra Frimmel is Research Coordinator of the Centre of Arts and Cultural Theory (ZKK) and an affiliate of the Department for Slavic Studies at the University of Zürich. Her research interests include Russian art from 19th century through to today, as well as the concepts of art, law, justice, power, and society. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. Tom McLeish's The Poetry and Music of Science: Comparing Creativity in Science and Art (Oxford UP, 2021) challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime. Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ariana Huberman's Keeping the Mystery Alive: Jewish Mysticism in Latin American Cultural Production (Academic Studies Press, 2022) delves into creative renditions of key aspects of Jewish Mysticism in Latin American literature, film, and art from the perspective of literary and cultural studies. It introduces the work of Latin American authors and artists who have been inspired by Jewish Mysticism from the 1960s to the present focusing on representations of dybbuks (transmigratory souls), the presence of Eros as part of the experience of mystical prayer, reformulations of Zoharic fables, and the search for Tikkun Olam (cosmic repair), among other key topics of Jewish Mysticism. The purpose of this book is to open up these aspects of their work to a broad audience who may or may not be familiar with Jewish Mysticism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Many of the creative industries look like an hourglass. On the one side, you have creators; on the other, the rest of us. In the middle, Rebecca Giblin and Cory Doctorow say there's often a 'chokepoint.' Corporate behemoths -- be they streaming apps, publishers, tech giants, or others -- put on the squeeze, exploiting their market power to extract rents, push down wages, and push up costs. But Cory and Rebecca have solutions to break the stranglehold, and in this episode of Darts and Letters Cory helps Jay explore various chokepoints, from concert tickets to audiobooks, and how we can open up the industries and get workers paid. SUPPORT THE SHOW You can support the show for free by following or subscribing on Spotify, Apple Podcasts, or whichever app you use. This is the best way to help us out and it costs nothing so we’d really appreciate you clicking that button. If you want to do a little more we would love it if you chip in. You can find us on patreon.com/dartsandletters. Patrons get content early, and occasionally there’s bonus material on there too. ABOUT THE SHOW For a full list of credits, contact information, and more, visit our about page. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy’s “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger’s book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger’s own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger’s book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy’s “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger’s book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger’s own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger’s book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The first monograph devoted to women artists of the Republican period, The Golden Key: Women Artists and Gender Negotiations in Republican China (1911-1949) (Brill, 2020) , authored by Amanda Wangwright, recovers the history of a groundbreaking yet forgotten force in China's modern art world. Through its detailed examination of the lives and careers of six female artists—Guan Zilan, Qiu Ti, Pan Yuliang, Fang Junbi, Yu Feng, and Liang Baibo—this book argues that women were central to the emergence of modernist art in early twentieth-century China and to the nation’s larger modernization project. Amanda S. Wangwright’s analysis of a wealth of primary sources demonstrates how these women constructed public personas, negotiated space within art societies, applied feminist thought to their artistic praxis, and surmounted obstacles to their careers—wielding art as the “golden key” to professional advancement and gender equality. Huiying Chen is an Assistant Professor in History at Purdue University. She is interested in the circulation of people, goods, and ideas and how societies in history and today cope with the challenges wrought by increased travel in aspects of culture, politics, commerce, law, science, and technology. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai’s films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai’s films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai’s cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai’s body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft. Global Objects: Toward a Connected Art History (Princeton UP, 2022) points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Inspired by the lapidaries of the ancient world, Lapidarium: The Secret Lives of Stones (John Murray/Penguin, 2022) by Hettie Judah is a beautifully designed collection of true stories/essays about sixty different stones that have influenced our shared history. The earliest scientists ground and processed minerals in a centuries-long quest for a mythic stone that would prolong human life. Michelangelo climbed mountains in Tuscany searching for the sugar-white marble that would yield his sculptures. Catherine the Great wore the wealth of Russia stitched in gemstones onto the front of her bodices. Through the realms of art, myth, geology, philosophy and power, the story of humanity can be told through the minerals and materials that have allowed us to evolve and create. From the Taiwanese national treasure known as the Meat-Shaped Stone to Malta’s prehistoric “fat lady” temples carved in globigerina limestone to the amethyst crystals still believed to have healing powers, Lapidarium is a jewel box of sixty far-flung stones and the stories that accompany them. Together, they explore how human culture has formed stone, and the roles stone has played in forming human culture. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

When Kasimir’s Malevich’s Black Square was produced in 1915, no one had ever seen anything like it before. And yet it does have precedents. In fact, over the previous five hundred years, several painters, writers, philosophers, scientists, and censors alighted on the form of the black square or rectangle, as if for the first time. Foreshadowed: Malevich’s "Black Square" and Its Precursors (Reaktion Books, 2022) explores the resonances between Malevich’s Black Square and its precursors, revealing layers of meaning that are often overlooked but which are as relevant today as ever. In this interview, Allison Leigh explores these ideas with Andrew Spira. Their conversation ranges from how Andrew chose the overall structure for the book and his process of researching it, to why Malevich’s canvas should be seen as one of the most interesting and beautiful paintings ever made. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The two parallel Palace Museums in Beijing and Taiwan, and their separate collections of thousands of precious artworks and artifacts from imperial times, reflects a key moment in the 1940s when the Republic of China and the People’s Republic became distinct entities. But the very survival of these vast troves of porcelain, sculpture, jade, paintings, books and many other items up to that moment was far from guaranteed given the epochal events unfolding across East Asia in the early part of the twentieth century. In Fragile Cargo: The World War II Race to Save the Treasures of China's Forbidden City (Atria Books, 2022), Adam Brookes tells the story of the evacuation and survival of these delicate ‘treasures’, which during the 1930s to the 1940s travelled from their erstwhile palace home thousands of miles into western China, following rivers, railways and roads to evade the tides of war and revolution which threatened to catch up with and destroy them. Marshaled by attentive and often very brave curators, these objects and their improbable physical and symbolic journeys offer – in Brookes’ vivid telling – an extraordinary and revealing perspective on a critically important era of imperial collapse, civil war and foreign invasion. Ed Pulford is an Anthropologist and Lecturer in Chinese Studies at the University of Manchester. His research focuses on friendships and histories between the Chinese, Korean and Russian worlds, and indigeneity in northeast Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Monica Juneja and Sumathi Ramaswamy's Motherland: Pushpamala N.'s 'Woman and Nation' (Roli Books, 2022) examines Motherland, an important series of photo-performances by the acclaimed artist Pushpamala N. on the Indian nation personified as woman, mother, and goddess. The series shows Pushpamala taking on Mother India's myriad personifications: nubile beauty and saintly renunciant; militant goddess wearing a garland of skulls or receiving the ultimate sacrifice of a warrior's head; the mother-surgeon activating the birth of model citizens; and destitute widow, bent from years of abject labor. As she does so, she reveals that nations are invented, as are national embodiments. The artist's burden is to reveal the ingredients of such inventions. Ujaan Ghosh is a graduate student at the Department of Art History at University of Wisconsin, Madison Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train’s and Ebony’s promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair’s look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In African Ecomedia: Network Forms, Planetary Politics (Duke UP, 2021), Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo's photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai's documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet's finite natural resources. In foregrounding Africa's centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it. Dr. Cajetan Iheka is a Professor in the English Department at Yale University. Before African Ecomedia he published Naturalizing Africa: Ecological Violence, Agency, and Postcolonial Resistance in African Literature in 2018, which won two prizes - the Ecocriticism Book Award of the Association for the Study of Literature and Environment, and the African Literature Association First Book Prize. Dr. Iheka has also edited the volume, Teaching Postcolonial Environmental Literature and Media, and co-edited another titled African Migration Narratives: Politics, Race, and Space. Sara Katz is a Postdoctoral Associate in the History Department at Duke University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Few transportation maps can boast the pedigree that London’s iconic ‘Tube’ map can. Sported on t-shirts, keyrings, duvet covers, and most recently, downloaded an astonishing twenty million times in app form, the map remains a long-standing icon of British design and ingenuity. Hailed by the art and design community as a cultural artefact, it has also inspired other culturally important pieces of artwork, and in 2006 was voted second in BBC 2’s Great British Design Test. But it almost didn’t make it out of the notepad it was designed in. The story of how the Underground map evolved is almost as troubled and fraught with complexities as the transport network it represents. Mapping the Underground was not for the faint-hearted – it rapidly became a source of frustration, and in some cases obsession – often driving its custodians to the point of distraction. The solution, when eventually found, would not only revolutionise the movement of people around the city but change the way we visualise London forever. Caroline Roope’s wonderfully researched book The History of the London Underground Map (Pen & Sword, 2022) casts the Underground in a new light, placing the world’s most famous transit network and its even more famous map in its wider historical and cultural context, revealing the people not just behind the iconic map, but behind the Underground’s artistic and architectural heritage. From pioneers to visionaries, disruptors to dissenters – the Underground has had them all – as well as a constant stream of (often disgruntled) passengers. It is thanks to the legacy of a host of reformers that the Tube and the diagram that finally provided the key to understanding it, have endured as masterpieces of both engineering and design. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artist Valerie Hegarty like to rip things up, twist them, distort them, and then leave audiences to ponder the results of her violence against imagery. Join us for a conversation about making objects, tearing them up, origin stories, and what can happen to if you grow up in a revival historic home filled with fake artifacts. Learn more about the Seeing Truth exhibition at here. Follow us on Twitter @WhyArguePod and on Instagram @WhyWeArguePod Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Laureline Latour founded Women In Art Magazine in July 2022 from a desire to bring together artists from different countries. She studied German and Russian ab initio at Oxford University. Women In Art Magazine's teams are based between Oxford, London, Paris and beyond. Caleb Zakarin is the Assistant Editor of the New Books Network (Twitter: @caleb_zakarin). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Aquaman and the War against Oceans (University of Nebraska Press, 2022), Ryan Poll explores ways the New 52 reimagining of Aquaman--a massive overhaul and rebranding of all DC Comics--transformed the character from a joke to an important figure of ecological justice. In this series, Aquaman becomes an accessible figure for charting environmental violences endemic to global capitalism and for developing a progressive and popular ecological imagination. Poll argues that The New 52 Aquaman should be read as an allegory that responds to the crises of the Anthropocene, in which the oceans have become a site of warfare and mass death. Poll contends that the series, which works to bridge the terrestrial and watery worlds, can be understood as a form of comics activism by visualizing and verbalizing how the oceans are both beyond the projects of the "human" and "humanism," and simultaneously, all-too-human geographies that are inextricable from the violent structures of capitalism, white supremacy, and patriarchy. The New 52 Aquaman, Poll demonstrates, proves an important form of ocean literacy in particular and ecological literacy more generally. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It’s easy to forget that the cultural archetypes that pass for queerness today have historical roots. Some of these roots are mere years away from today’s reality but they are nonetheless distinct and come with their own artefacts and subcultures. Peter Rehberg’s book Hipster Porn: Queer Masculinities and Affective Sexualities in the Fanzine 'Butt' (Routledge, 2022) looks at one such source artefact and its fandom, using as its matter the pink-papered magazine Butt which gained a cult following among European gay men in the first decade of the 2000s. The book reconstructs an important chapter of recent gay and queer history in order to make sense of the cultural shifts of the last 20 years in the contemporary gay world. Peter Rehberg speaks to Pierre d’Alancaisez about pornography after porn, Butt‘s outsized influence and the ultimate failures of its politics, as well as queer theory’s urgent need to refocus on the realities of sex and sexuality. Peter Rehberg is a writer, critic, and curator. He holds a PhD in German Literature from New York University and has taught and researched at universities and institutes including Cornell, Northwestern, Brown, University of Bonn, The University of Texas at Austin, and The University of Illinois, Chicago. He has published two novels and a collection of short stories. He also writes regularly for German media. In his academic work, he focusses on queer theory, queer visual culture, and popular culture. He is also the head of collections and archives at Schwules Museum, Berlin. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Object-oriented ontology has become increasingly popular among architectural theorists and practitioners in recent years. Architecture and Objects (U Minnesota Press, 2022), the first book on architecture by the founder of object-oriented ontology (OOO), deepens the exchange between architecture and philosophy, providing a new roadmap to OOO’s influence on the language and practice of contemporary architecture and offering new conceptions of the relationship between form and function. Graham Harman opens with a critique of Heidegger, Derrida, and Deleuze, the three philosophers whose ideas have left the deepest imprint on the field, highlighting the limits of their thinking for architecture. Instead, Harman contends, architecture can employ OOO to reconsider traditional notions of form and function that emphasize their relational characteristics—form with a building’s visual style, function with its stated purpose—and constrain architecture’s possibilities through literalism. Harman challenges these understandings by proposing de-relationalized versions of both (zero-form and zero-function) that together provide a convincing rejoinder to Immanuel Kant’s dismissal of architecture as “impure.” Through critical engagement with the writings of Peter Eisenman and fresh assessments of buildings by Rem Koolhaas, Frank Gehry, and Zaha Hadid, Architecture and Objects forwards a bold vision of architecture. Overcoming the difficult task of “zeroing” function, Harman concludes, would place architecture at the forefront of a necessary revitalization of exhausted aesthetic paradigms. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi’i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Design in Motion: Film Experiments at the Bauhaus (MIT Press, 2022) provides the first comprehensive history of film experiments at the Bauhaus, the famous art school that operated between 1919 and 1933 and was located in Weimar, before moving to Dessau and later to Berlin. While the Bauhaus is commonly associated with the development of modern architecture and industrial design, Design in Motion focuses on film, and demonstrates how the cinematic medium became a proving ground for some of the school’s most innovative work. Laura Frahm is John L. Loeb Associate Professor of the Humanities at the Department of Art, Film, and Visual Studies at Harvard University. Frahm's work explores film and media through the lens of architecture, design, spatial theory, ecological thought, and process philosophy. In addition to her latest book Design in Motion: Film Experiments at the Bauhaus (2022), she is the author of Beyond Space: Cinematic Topologies of the Urban (2010), Moving Spaces: Spatial Configurations in Music Videos by Jonathan Glazer, Chris Cunningham, Mark Romanek, and Michel Gondry (2007) and Introduction to Media Cultural Studies (co-edited, 2005). Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Frederik Ruysch (1638-1731) was a celebrated Dutch anatomist, master embalmer, and museologist. He is best remembered today for strange tableaux, crafted from fetal skeletons and other human remains, that flicker provocatively at the edges of science, art, and memento mori. Ruysch exhibited these pieces, along with hundreds of other artful specimens, in his home museum and catalogued them in his lavishly illustrated Frederik Ruysch and His Thesaurus Anatomicus (MIT Press, 2022). This book offers the first English translation of Ruysch's guide to his collection, along with all the illustrations from the original volume, photographs of some his most imaginative extant specimens, and more. Ruysch was at once a brilliant scientist, a preternaturally gifted technician, an esteemed physician, a religious moralizer, and an artist whose prime form of expression was the medium of human remains. His works were sometimes described as Rembrandts of anatomical preparation; today they seem so strange that we can hardly believe that they even existed, much less that they were so popular in their time. His combination of the religious and the scientific, the painstakingly accurate and the extravagantly fantastical, offers vivid testimony of an era in which science overlapped seamlessly with religion and art. Essays accompanying Ruysch's text and images consider such topics as the historical context of Ruysch's work, the paradox of an artist of death whose work engenders the illusion of life, the conservation of Ruysch's specimens, and the shifting ascendancies of romanticism and rationality in the natural sciences. Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Common views of religion typically focus on the beliefs and meanings derived from revealed scriptures, ideas, and doctrines. David Morgan has broadened that framework radically to encompass the understanding that religions are fundamentally embodied, material forms of practice. The Thing about Religion: An Introduction to the Material Study of Religions (UNC Press, 2021) shows readers how to study what has come to be termed material religion—the ways religious meaning is enacted in the material world. Material religion includes the things people wear, eat, sing, touch, look at, create, and avoid. It also encompasses the places where religion and the social realities of everyday life, including gender, class, and race, intersect in physical ways. This interdisciplinary approach brings religious studies into conversation with art history, anthropology, and other fields. In the book, Morgan lays out a range of theories, terms, and concepts and shows how they work together to center materiality in the study of religion. After integrating carefully curated visual evidence, Morgan then applies these ideas and methods to case studies across various religious traditions, modeling step-by-step analysis and emphasizing the importance of historical context. The Thing about Religion will be an essential tool for experts and students alike. Tiatemsu Longkumer is a Ph.D. scholar working on ‘Anthropology of Religion’ at North-Eastern Hill University, Shillong: India. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What can we know about ourselves and the world through the sense of touch and what are the epistemic limits of touch? Scepticism claims that there is always something that slips through the epistemologist's grasp. A Touch of Doubt: On Haptic Scepticism (de Gruyter, 2021) explores the significance of touch for the history of philosophical scepticism as well as for scepticism as an embodied form of subversive political, religious, and artistic practice. Drawing on the tradition of scepticism within nineteenth- and twentieth-century continental philosophy and psychoanalysis, this volume discusses how the sense of touch uncovers contradictions within our knowledge of ourselves and the world. It questions 1) what we can know through touch, 2) what we can know about touch itself, and 3) how our experience of touching the other and ourselves throws us into a state of doubt. This volume is intended for students and scholars who wish to reconsider the experience of touching in intersections of philosophy, religion, art, and social and political practice. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Queer China: Lesbian and Gay Literature and Visual Culture Under Postsocialism (Routledge, 2020), associate professor of media and cultural studies at the University of Nottingham Hongwei Bao returns with a theory-driven, methodologically-diverse, empathetic, and insightful analysis of LGBTQ literature and visual culture in postsocialist China. A thorough introduction positions Bao as a participant observer and explores key concepts including “postsocialist metamorphosis,” defined as “the transformation of subjectivity, desire and sense of belonging in the postsocialist era” (4). After exploring the history of homosexuality’s (re-)emergence in China’s reform era by tracing public, intellectual discourse, Bao counters the misperception that Chinese gay and lesbian identities are the result of the influence of global (Western) gay culture. Instead, he identifies a variety of gender and sexual subjectivities unique to China’s postsocialist conditions and historical context. Each chapter then explores rich case studies from queer China, touching upon a wide variety of cultural production types. From poetry to papercutting art, from comrade (tongzhi)/gay literature to girls’ love fan fiction, from lesbian films to activist documentaries, and from a drag show in Shanghai to a public performance of a same-sex wedding in Beijing, Queer China provides unique analysis and insights and also acts as an archive of queer cultural production in postsocialist China. Laurie Dickmeyer is an Assistant Professor of History at Angelo State University, where she teaches courses in Asian and US history. Her research concerns nineteenth century US-China relations. She can be reached at laurie.dickmeyer@angelo.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of the Vault, we hear Harry Berger’s talk about Leonardo da Vinci and Vassari’s "Lives of the Painters." Harry Berger was a scholar of Renaissance English literature who wrote books about art history, anthropology, and philosophy. He taught at UC Santa Cruz, where he was an emeritus professor until he died in 2021, at age 96. Since 1977, the New York Institute for the Humanities has brought together distinguished scholars, writers, artists, and publishing professionals to foster crucial discussions around the public humanities. For more information and to support the NYIH, visit nyihumanities.org. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Reframing Disability in Manga (University of Hawaii Press, 2020) analyzes popular Japanese manga published from the 1990s to the present that portray the everyday lives of adults and children with disabilities in an ableist society. It focuses on five representative conditions currently classified as shōgai (disabilities) in Japan―deafness, blindness, paraplegia, autism, and gender identity disorder―and explores the complexities and sociocultural issues surrounding each. Author Yoshiko Okuyama begins by looking at preindustrial understandings of difference in Japanese myths and legends before moving on to an overview of contemporary representations of disability in popular culture, uncovering socio-historical attitudes toward the physically, neurologically, or intellectually marked Other. She critiques how characters with disabilities have been represented in mass media, which has reinforced ableism in society and negatively influenced our understanding of human diversity in the past. Okuyama then presents fifteen case studies, each centered on a manga or manga series, that showcase how careful depictions of such characters as differently abled, rather than disabled or impaired, can influence cultural constructions of shōgai and promote social change. Informed by numerous interviews with manga authors and disability activists, Okuyama reveals positive messages of diversity embedded in manga and argues that greater awareness of disability in Japan in the last two decades is due in part to the popularity of these works, the accessibility of the medium, and the authentic stories they tell. Scholars and students in disability studies will find this book an invaluable resource as well as those with interests in Japanese cultural and media studies in general and manga and queer narrative and anti-normative discourse in Japan in particular. Yoshiko Okuyama is Professor of Japanese studies at the University of Hawai’i at Hilo, USA. Her recent publications include Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime (2015) and Reframing Disability in Manga (2020). Shu Wan is currently matriculated as a doctoral student in history at the University at Buffalo. As a digital and disability historian, he serves in the editorial team of Digital Humanities Quarterly and Nursing Clio. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the tradition of The Lady in Gold and The Hare with Amber Eyes, the remarkable history behind one of the world's most beloved paintings, Leonardo da Vinci's Lady with an Ermine More than half a millennium ago, a young woman sat before a Grecian-nosed artist known as Leonardo da Vinci. Her name was Cecilia Gallerani, and she was the fourteen-year-old mistress of Ludovico Sforza, Duke of Milan. Her lover, a ruthless man, was aware that da Vinci's brilliance as a painter would not only capture his mistress's beauty but reflect his own political prowess. Indeed, with this beguiling painting--in which Gallerani holds a strange white ermine close to her breast--da Vinci revolutionized the genre, changing not just what a portrait looked like, but also its purpose. But despite the work's importance in its own time, no records of it from the three hundred years following Gallerini's death exist. In What the Ermine Saw: The Extraordinary Journey of Leonardo Da Vinci's Most Mysterious Portrait (Doubleday Books, 2022), Eden Collinsworth illuminates the eventual history of this exquisite oil painting, as it journeyed from one owner to the next--from the brutal Milanese Duke to a Polish noblewoman to the Nazis, who added it to Hitler's private collection, to the Czartoryski Museum in Krakow where it is currently displayed. Along the way, Collinsworth reveals a bewildering maze of social alliances and cultural upheavals, polarizing political divisions and territorial fragmentation. Expertly researched and deftly told, What the Ermine Saw is an enthralling account of Renaissance Italy and its actors, a comprehensive study of artistry and innovation, and a reminder that genius, power, and beauty always have a price. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

There has been no greater surge in global fashion trends and expressions of personal style than in the contemporary era of social media fashion influencers. But what constitutes “being in fashion” amongst this multiplicity of interpretations? In this episode of Humanities Matter, Dr. Laura Petican, Professor of Sociology at the National University, San Diego, and Dr. Jacque Lynn Foltyn, Associate Professor and Director of University Galleries at Texas A&M University-Corpus Christi, explore various disciplinary, professional, and creative perspectives to expand their proposition that fashion is about self-presentation. In Fashion: Culture, Commerce, Craft, and Identity, published by Brill and edited by Drs. Petican and Foltyn, is a deep exploration of fashion representations; being fashionable, shopping, luxury, and vintage; fashion materials, craft, industry, and innovation; museum-worthy fashion; and fashioning cultural identities. Summary: A conversation on the cultural, commercial, and creative perspectives of what it means to be ‘in fashion’ in the modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Formless, mutable, transparent: the element of water posed major challenges for the visual artists of the Renaissance. To the engineers of the era, water represented a force that could be harnessed for human industry but was equally possessed of formidable destructive power. For Leonardo da Vinci, water was an enduring fascination, appearing in myriad forms throughout his work. In Watermarks, Leslie Geddes explores the extraordinary range of Leonardo’s interest in water and shows how artworks by him and his peers contributed to hydraulic engineering and the construction of large river and canal systems. In this interview, Allison Leigh talks to Leslie Geddes about transforming your dissertation into a book, how one tackles a body of scholarly literature as immense as that on Leonardo, and whether or not the famous Salvator Mundi was indeed painted by Leonardo. Their conversation ranges from what it is like to examine the artist’s Renaissance drawings in person to the power of comparisons within art historical writing and research. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Camera Palaestina: Photography and Displaced Histories of Palestine (U California Press, 2022) is a critical exploration of Jerusalemite chronicler Wasif Jawhariyyeh (1904–1972) and his seven photography albums entitled The Illustrated History of Palestine. Jawhariyyeh’s nine hundred images narrate the rich cultural and political milieu of Ottoman and Mandate Palestine. Nassar, Sheehi, and Tamari locate this archive at the juncture between the history of photography in the Arab world and the social history of Palestine. Shedding new light on this foundational period, the authors explore not just major historical events and the development of an urban bourgeois lifestyle but a social field of vision of Palestinian life as exemplified in the Jerusalem community. Tracking the interplay between photographic images, the authors offer evidence of the unbroken field of material, historical, and collective experience from the living past to the living present of Arab Palestine. In this podcast we discussed the origins of the book, its methodological approach and what the work of Wasif Jawhariyyeh can tell us about Palestine. The three ways conversation does not just discuss the book, but it serves as a companion and provides a great introduction to the life and work of Wasif Jawhariyyeh. Roberto Mazza is currently an independent scholar. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Twitter and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Asmat are an indigenous people of Indonesian Papua and are renowned for their artistic carving flair and complex life-cycle rituals. They also have big ambitions that reach as far as the Vatican. Over the past five decades, pressures from the state, religious authorities, and the global art market, have led to profound cultural changes and a widespread sense of predicament, dysphoria and disempowerment among the Asmat. In this episode of SSEAC Stories, Dr Natali Pearson is joined by Dr Roberto Costa to discuss the social changes experienced by the Asmat people, and the material and ethical alternatives they are developing in response to a wide range of socio-cultural, religious, and ecological predicaments. About Roberto Costa: Roberto Costa (PhD in Anthropology, 2021) currently works as a sessional academic at the Department of Anthropology at the University of Sydney and the School of Social Sciences at Macquarie University. He has published in the areas of politics, religion, ethics, materiality and human-non-human relations, mainly on his research in Indonesia and Papua/Melanesia. His research interests also include digital activism, phenomenology, and visual and sensory anthropology, the latter stemming from his prior educational formation as a musician. His present project focuses on rewriting his doctoral thesis into a book. In his doctoral research, he looked at the efforts of the Asmat, a people group in the south of Indonesian Papua, to actualise material and ethical alternatives to socio-cultural, religious and ecological predicaments. For more information or to browse additional resources, visit the Sydney Southeast Asia Centre’s website: www.sydney.edu.au/sseac. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Comics and Nation: Power, Pop Culture, and Political Transformation in Poland (Ohio State UP, 2022) offers a fresh perspective on the role of popular culture in the one-hundred-year history of the Polish state, from its foundation in 1918 to the present. Drawing on dozens of press articles, interviews, and readers' letters, Ewa Stańczyk discusses how journalists, artists, and audiences used comics to probe the boundaries of national culture and scrutinize the established notions of Polishness. Critical moments of Poland's political transformation --the establishment of the interwar Polish Republic, the Cold War, the liberalization of the 1970s, the 1989 democratic transition, the turn to memory politics in the 2000s--have all been reflected in the history of Polish comics. Stańczyk offers new insights into how the production of homegrown comics and the influx of foreign works enabled commentators to express their fears, hopes, and disillusionment with political, economic, and cultural changes in Poland and beyond. At its core, Comics and Nation rethinks the impact of popular culture and transnational exchange on Polish nation building, citizenship formation, and the legitimation of power. Roland Clark is a Reader in Modern European History at the University of Liverpool, a Senior Fellow with the Centre for Analysis of the Radical Right, and the Principal Investigator of an AHRC-funded project on European Fascist Movements. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is criticism for? Over the past few decades, violent disagreements over that question in the academy have burst into the news media. These conflicts have renewed the Culture Wars over the legacy of the 1960s, becoming entangled in national politics and leading to a new set of questions. Does a concern with race, gender, and sexuality, with unacknowledged power and privilege, with identity, give present critics the right to criticize the great works of the past? If we have learned to see those works in terms of historical differences rather than universal truths, how is it that they speak to us at all? In the study of the world's cultures, there is more than one way to avoid being Eurocentric; which way should we choose? Re-examining key thinkers since 1970, including Walter Benjamin, Michel Foucault, Judith Butler, Edward Said, Hortense Spillers, Fredric Jameson, and Stuart Hall, Bruce Robbins' book Criticism and Politics: A Polemical Introduction (Stanford UP, 2022) offers both a non-specialist introduction to recent cultural theory and a strong new interpretation of how this theory applies to the everyday issue of what cultural critics do and how they should feel about what they do. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How does the state support writers? In State Sponsored Literature: Britain and Cultural Diversity after 1945 (Oxford UP, 2020), Asha Rogers, Senior Lecturer in Contemporary Postcolonial Literature at the University of Birmingham, explores the history of authors, institutions, and governments approach to literature in a changing, imperial and post-imperial, Britain. The book uses a wealth of examples, from key organisations such as the British Council and the Arts Council of Great Britain, through case studies of key authors such as Salman Rushdie, to concepts such as multiculturalism and cultural diversity. Making a significant contribution to English literature and cultural policy, the book will be essential reading across the arts and humanities and social sciences, as well as for anyone interested in the relationship between governments and literature. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Metabolic Museum (Hatje Cantz, 2020), Clémentine Deliss, a curator, researcher, and former director of the Frankfurt Weltkulturen Museum, explores possible functions for anthropological museums in a postcolonial culture. Anthropological museums in Europe, as products of imperialism, have been compelled to legitimate themselves because the very basis of their exhibitions, the history of their collections, came about all too often through colonial appropriation and outright theft. In this book, Deliss addresses this reality for enthographic or world culture museums in Europe, exploring the possible futures for these institutions. Connecting to reflections on her own work as the director of the Frankfurt Weltkulturen Museum with discussions of filmmakers, artists and authors to argue for an entity she calls the Metabolic Museum―an interventionist laboratory that opens up the potential of anthropological collections for the future. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Games are a unique art form. Games work in the medium of agency. Game designers tell us who to be and what to care about during the game. Game designers sculpt alternate agencies, and game players submerge themselves in those alternate agencies. Thus, the fact that we play games demonstrates the fluidity of our own agency. We can throw ourselves, for a little while, into a different and temporary motivations. This volume presents a new theory of games which insists on their unique value. In Games: Agency as Art (Oxford UP, 2020), C. Thi Nguyen argues that games are an integral part our systems of communication and our art. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. When we play games, we can pursue a goal, not for its own value, but for the value of the struggle. Thus, playing games involves a motivational inversion from normal life. We adopt an interest in winning temporarily, so we can experience the beauty of the struggle. Games offer us a temporary experience of life under utterly clear values, in a world engineered to fit to our abilities and goals. Games also let us to experience forms of agency we might never have developed on our own. Games, it turns out, are a special technique for communication. They are a technology that lets us record and transmit forms of agency. Our games form a "library of agency" and we can explore that library to develop our autonomy. Games use temporary restrictions to force us into new postures of agency. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi’i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What comes to mind when we think of swans? Likely their beauty in domestic settings, their preserved status, their association with royalty, and possibly even the phrase ‘swan song’. Dr. Natalie Goodison’s Introducing the Medieval Swan (University of Wales Press, 2022) explores the emergence of each of these ideas, starting with an examination of the medieval swan in natural history, exploring classical writings and their medieval interpretations and demonstrating how the idea of a swan’s song developed. Dr. Goodison then proceeds to consider literary motifs of swan-to-human transformation, particularly the legend of the Knight of the Swan. Although this legend is known today only through Wagner’s opera, it was a best-seller in the Middle Ages, and courts throughout Europe strove to be associated as ancestors of this Swan Knight. Consequently, the swan was projected as an icon of courtly and eventual royal status. The book’s third chapter looks at the swan as icon of the Lancasters, particularly important during the reign of Richard II and the War of the Roses, and the final chapter examines the swan as an important item of feasting, focusing on cookery and husbandry to argue that over time the right to keep swans became an increasingly restricted right controlled by the English crown. Each of the swan’s medieval associations are explored as they developed over time to the modern day. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It is often thought that the story of Tutankhamun ended when the thousands of items discovered by Howard Carter and Lord Carnarvon were transported to the Egyptian Museum in Cairo and put on display. But there is far more to Tutankhamun's story. Tutankhamun and the Tomb that Changed the World (Oxford UP, 2022) explores the 100 years of research on Tutankhamun that has taken place since the tomb's discovery: we learn that several objects in the tomb were made of meteoritic iron that came from outer space; new evidence shows that Tutankhamun may have been a warrior who went into battle; and author Bob Brier takes readers behind the scenes of the recent CAT-scanning of his mummy to reveal secrets of the pharaoh. The book also illustrates the wide-ranging impact the discovery of Tutankhamun's tomb had on fields beyond Egyptology. Included is an examination of how the discovery of the tomb influenced Egyptian politics and contributed to the downfall of colonialism in Egypt. Outside Egypt, the modern blockbuster exhibitions that raise great sums of monies for museums around the world all began with Tutankhamun, as did the idea of documenting every object discovered in place, before it was moved. And to a great extent, the modern fascination with ancient Egypt--Egyptomania--was also greatly promoted by the Tutmania that surrounded the discovery of the tomb. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Juliane Noth’s Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Breathing Aesthetics (Duke University Press (2022), Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Greg Marchildon interviews Diana Nemiroff. As a former curator of contemporary and modern art at the National Gallery of Canada and former director of the Carleton University Art Gallery, and an adjunct professor of art history at both Carleton University and the University of Ottawa, she was well placed to write this definitive history of the transformation of the National Gallery of Canada from the 1960s to the 1990s. As result of the leadership of three remarkable women directors, the National Gallery of Canada has become one of the great art galleries in the world housed in a striking building that has become a landmark in the National Capital Region. The end result is a remarkable cultural history of the visual arts through the lens of the most important art gallery in the country. This interview was produced with the support of The Champlain Society. The mission of The Champlain Society is to increase public awareness of, and accessibility to, Canada’s rich store of historical records. Gregory P. Marchildon is the Ontario Research Chair in Health Policy and System Design with the Institute of Health Policy, Management and Evaluation at the University of Toronto. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art (Lund Humphries, 2021) maps, critiques, and celebrates activist art, exploring its current urgency alongside the processes which have given rise to activism by artists, and activist forms of art. Gregory Sholette speaks to Pierre d'Alancaisez about the vanishing distinctions between art, art activism, and traditional political activism, and the political dimensions of culture in a hyper-aestheticised world that is indicative of a broader crisis of capitalism. Sholette describes a new wave of activist art taking place not only within community-based protest groups, as it has for decades, but amongst professionally trained artists many of whom refuse to respect the conventional borders separating painting from protest, or art from utility. Gregory Sholette is an artist, writer, and activist. He has participated in, documented, and written about activist art for over forty years. He is the co-convenor of the school Social Practice Queens, a pioneering programme training artists to become social and political activists. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Renowned choreographer Annie-B Parson's new book The Choreography of Everyday Life (Verso, 2022) is many things: a pandemic diary, a discourse of Greek tragedy, and a tribute to Parson's many inspirations, from Trisha Brown to Hilma af Klint. Mostly though, it's a leisurely walk through a brilliant mind. This book weaves together personal and theoretical reflections with evocative images from famous works of art and Parson's own casual snapshots. The result will be oddly familiar to any follower of her company Big Dance Theater. It's a delightful clash of high art and low culture, sparklingly intelligent yet warmly conversational. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, often for performing ‘morality’ or ‘authenticity’. In Against Decolonization: Taking African Agency Seriously (Hurst, 2022), Olúfẹ́mi Táíwò fiercely rejects the indiscriminate application of ‘decolonisation’ to everything from literature, language and philosophy to sociology, psychology and medicine. Olúfẹ́mi Táíwò speaks to Pierre d’Alancaisez about the project of ‘decolonisation’ as intellectually unsound and unrealistic. Táíwò rejects decolonisation’s conflation of modernity with coloniality and takes to task the decolonisers’ confused attempts at undoing of global society’s foundations. He argues that the decolonisation industry, obsessed with cataloguing wrongs, is seriously harming scholarship on and in Africa. Worst of all, today’s movement attacks its own cause: ‘decolonisers’ themselves are disregarding, infantilising and imposing values on contemporary African thinkers. This much-needed intervention questions whether today’s ‘decolonisation’ truly serves African empowerment. Táíwò’s is a bold challenge to respect African intellectuals as innovative adaptors, appropriators and synthesisers of ideas they have always seen as universally relevant. Olúfẹ́mi Táíwò is Professor of African Political Thought and Chair at the Africana Studies and Research Center, Cornell University. His writings have been translated into French, Italian, German and Portuguese. His book How Colonialism Preempted Modernity in Africa won the Frantz Fanon Award in 2015. NBN interview with Olúfẹ́mi on Africa Must Be Modern Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How are art and social justice intertwined? In Creating Worlds Otherwise: Art, Collective Action, and (Post)Extractivism Paula Serafini, a Lecturer in Creative and Cultural Industries at Queen Mary University of London, explores the importance of art, artistic practice, and artistic movements to the struggle for social, environmental, and cultural justice in Latin America. Primarily focused on case studies from Argentina, although reflecting the cross-national nature of art and justice struggles, the book introduces the idea of extractivism, and demonstrates how art can be used to critique, challenge, and offer alternatives. Theoretically rich, with a huge range of examples, the book is essential reading across the arts, cultural studies, and social sciences, as well as for anyone interested in how art can change, and perhaps even save, the world. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Pilgrimage to the Museum: Man's Search for God through Art and Time (Sophia Institute Press, 2022), Stephen Auth takes you on a provocative and colorful journey through the history of Western art, interpreted through a lens of Christian spirituality -- appropriately so since, in Auth's view, much of Western art expresses humanity's search for God, the Divine Artist-Creator. Leaving all the art-history jargon behind, Auth will transport you in his spiritual time machine from Egypt's Old Kingdom, through Greece and Rome, to medieval Europe; from the age of the Renaissance, through the Ages of Exploration and Enlightenment; and from the rise of atheism in the late 1800s to the seeds of a spiritual rebirth in the modern era. Along the way, you will experience anew the masterpieces of many artists, from Polykleitos to Raphael, Duccio to Rembrandt, Monet to Picasso. Through the works of these great artists, you will discover how the various themes and motifs of man's spiritual struggle occur, morph, fade, and then reoccur centuries later. And you will never look at a work of art the same way again. Daniel Peris is Senior Vice President at Federated Hermes in Pittsburgh. He can be reached at DanielxPeris@gmail.com or via Twitter @HistoryInvestor. His History and Investing blog and Keep Calm & Carry On Investing podcast are here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Alex Nathanson's book A History of Solar Power Art and Design (Routledge, 2021) examines the history of creative applications of photovoltaic (PV) solar power, including sound art, wearable technology, public art, industrial design, digital media, building integrated design, and many others. The growth in artists and designers incorporating solar power into their work reflects broader social, economic, and political events. As the cost of PV cells has come down, they have become more accessible and have found their way into a growing range of design applications and artistic practices. As climate change continues to transform our environment and becomes a greater public concern, the importance of integrating sustainable energy technologies into our culture grows as well. The book will be of interest to scholars working in art history, design history, design studies, environmental studies, environmental humanities, and sustainable energy design. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How we relate to orphaned space matters. Voids, marginalia, empty spaces—from abandoned gas stations to polluted waterways—are created and maintained by politics, and often go unquestioned. In Loving Orphaned Space: The Art and Science of Belonging to Earth (Temple UP, 2022), Mrill Ingram provides a call to action to claim and to cherish these neglected spaces and make them a source of inspiration through art and/or remuneration. Ingram advocates not only for “urban greening” and “green planning,” but also for “radical caring.” These efforts create awareness and understanding of ecological connectivity and environmental justice issues—from the expropriation of land from tribal nations, to how race and class issues contribute to creating orphaned space. Case studies feature artists, scientists, and community collaborations in Chicago, New York, and Fargo, ND, where grounded and practical work of a fundamentally feminist nature challenges us to build networks of connection and care. The work of environmental artists who venture into and transform these disconnected sites of infrastructure allow us to rethink how to manage the enormous amount of existing overlooked and abused space. Loving Orphaned Space provides new ways humans can negotiate being better citizens of Earth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism. Not, however, in West Germany. In Sustainable Utopias: The Art and Politics of Hope in Germany (Harvard UP, 2022), Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politics―a society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. Berlin’s History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia (U Washington Press, 2021), Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually “postwar.” Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists’ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism. Featuring a variety of creative production, including staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art After Liberalism (Columbia UP, 2022) is an account of creative practice at a moment of converging political and social rifts – a moment that could be described as a crisis of liberalism. The apparent failures of liberal thinking are a starting point for an inquiry into emergent ways of living, acting, and making art in the company of others. What happens when the framework of the nation-state, the figure of the enterprising individual, and the premise of limitless development can no longer be counted on to produce a world worth living in? It is increasingly clear that these commonplace liberal conceptions have failed to improve life in any lasting way. In fact, they conceal fundamental connections to enslavement, colonization, moral debt, and ecological devastation. Nicholas Gamso speaks to Pierre d’Alancaisez about the ills of liberalism and art’s role in deciding on what may come after the impasse. Nicholas Gamso is a writer and academic who works across theory, visual culture, performance, and space/place. He’s an editor at Places. Kara Walker, A Subtlety, 2014 Manaf Halbouni, Monument, 2017 Warren Kanders controversy at the Whitney Triple Chaser by Forensic Architecture My conversations with and on Forensic Architecture Wolfgang Tillmans and his anti-Brexit campaign Ren Hang Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2008, the artist Renzo Martens released his controversial film Episode 3: Enjoy Poverty filmed in the Democratic Republic of Congo. The film portrayed the artist as a colonial explorer travelling around the Congo’s plantations with the naiveté of the cartoon character Tintin. Martens encounters poverty, hunger, and abuse, all the while narrating the way in which these experiences enrich him as a western observer. In a manner now familiar in mainstream critical culture, the film was labelled as 'problematic'. Martens’ work and method were critiqued widely by an array of commentators. Some have changed their mind in light of Martens’ further work. Others - and I know this from speaking with an editor of a prominent art magazine - won’t come anywhere near it even twelve years on "for fear of inadvertently promoting the Martens' practice". Critique in Practice: Renzo Martens' Episode III (Enjoy Poverty) (Sternberg Press, 2020), a volume edited by Anthony Downey brings together a range of responses to Enjoy Poverty, some dating from 2008, others more recent. It contains essays by the likes of Dan Fox, Ana Teixeira Pinto, Artur Zmijewski, TJ Demos, JJ Charlesworth, Ariella Aisha Azoulay, JA Koster, and Gregory Sholette. The book explores the limits of artistic practice as critique, challenging both Martens and the writers. Because it would be impossible to speak to them and because I already interviewed Anthony Downy not long ago, I invited Renzo Martens, the subject of the book and its critiques to join me. Watch Episode III: Enjoy Poverty Institute of Human Activities The Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) CATPC at Sculpture Center Article in The New Yorker The Balot NFT My interview with Anthony Downey Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Manifesto of Futurism was published in 1909, on the front page of Le Figaro, the oldest daily newspaper in France. Its author was Filippo Tomasso Marinetti, a 33-year-old Italian writer who was born in Alexandria, Egypt, in 1876 and was educated in Egypt and France. With his Manifesto of Futurism, Marinetti launched a new artistic movement that opposed what he called pastism, the worship of the past. Jeffrey Schnapp is a Carl A. Pescosolido Professor of Romance Languages and Literatures and of Comparative Literature at Harvard University. He specializes in Italian language and culture, art, and media. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master’s degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The discussion about objects, human remains and archives from former colonial territories is becoming increasingly heated. Over the centuries, a multitude of items – including a cannon of the King of Kandy, power-objects from DR Congo, Benin bronzes, Javanese temple statues, Mori heads and strategic documents – has ended up in museums and private collections in Belgium and the Netherlands by improper means. Since gaining independence, former colonies have been calling for the return of their lost heritage. As continued possession of these objects only grows more uncomfortable, governments and museums must decide what to do. Inconvenient Heritage: Colonial Collections and Restitution in the Netherlands and Belgium (Amsterdam University Press, 2022) by Dr. Jos van Beurden asks: How did these objects get here? Are they all looted, and how can we find out? How does restitution work in practice? Are there any appealing examples? How do other former colonial powers deal with restitution? Do former colonies trust their intentions? The book, provided open access, discusses the answers to these questions - which are far from unambiguous, but indispensable for a balanced discussion This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Faced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they have assumed the role of institutional arbiter in issues of social justice and accountability. The canon of Institutional Critique has responded to the social embeddedness of art institutions by looking at the inner workings of such organisations and has found them wanting. In After Institutions, Karen Archey expands the definition of Institutional Critique to develop a broader understanding of contemporary art’s sociopolitical entanglements, looking beyond what cultural institutions were to what they are and what they might become. Karen Archey speaks to Pierre d’Alancaisez about the histories and futures of Institutional Critique, the museum’s neoliberal catch-22, and about an exhibition that didn’t happen. Karen Archey is Curator of Contemporary Art at Stedelijk Museum Amsterdam. Formerly based in Berlin and New York, she worked earlier as an independent curator, editor, and art critic, writing for publications such as Artforum and frieze. Lawrence Weiner, A Square Removal from a Rug in Use, 1969 Mel Bochner, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, 1966 Seth Siegelaub, The Xerox Book, 1968 Hans Haacke, Condenstation Cube, 1963-68 Steyerl, Hito. ‘The Institution of Critique’. In Art and Contemporary Critical Practice: Reinventing Institutional Critique, edited by Gerald Raunig and Gene Ray, 13–20. London: MayFlyBooks, 2009 Mario García Torres, Preliminary Sketches for the Past and the Future (Stedelijk Museum), 2007 Isa Genzken, Ohr (Ear), 1980 Josh Kline Park McArthur, Ramps  Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art (The Africa Institute and Skira, 2021), art historian and curator Selene Wendt presents lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide. The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. The book includes artists John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women’s New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists’ aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For years following reunification, Berlin was the largest construction site in Europe, with striking new architecture proliferating throughout the city in the 1990s and early 2000s. Among the most visible and the most contested of the new projects were those designed for the national government and its related functions. Julia Walker's Berlin Contemporary: Architecture and Politics After 1990 (Bloomsbury, 2021) explores these buildings and plans, tracing their antecedents while also situating their iconic forms and influential designers within the spectacular world of global contemporary architecture. Close studies of these sites, including the Reichstag, the Chancellery, and the reconstruction of the Berlin Stadtschloss (now known as the Humboldt Forum), demonstrate the complexity of Berlin's political and architectural “rebuilding”-and reveal the intricate historical negotiations that architecture was summoned to perform. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Andrea Karnes' book Women Painting Women (Delmonico Books, 2022) documents a wide-ranging exhibit inclusive of women as both the makers and subjects of paintings. The artists hail from around the world, and over the past half-century. Our conversation took several directions. One was to discuss the power of the gaze; who’s looking, who’s being seen, and the poses evident more a matter of self-agency or passivity. Another angle was the body itself, with these female images being more realistic and often far less glamorous than commercial popular culture allows for. Third, what subject matter tropes are being overturned – from Christianity to pornography, and points in between. As the exhibit strived to accomplish, there should be something here for everyone – women especially. Andrea Karnes is the Chief Curator at the Modern Art Museum of forth Worth. She joined the museum as a receptionist in 1989 and has risen through the ranks into her current role, where she has served as the curator for over 40 shows that mostly focus on female artists. Dan Hill, PhD, is the author of ten books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). His newest book is Emotionomics 2.0: The Emotional Dynamics Underlying Key Business Goals. To check out his related “Dan Hill’s EQ Spotlight” blog, visit https://emotionswizard.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Sara Farrington's The Lost Conversation: Interviews with an Enduring Avant-Garde (53rd State Press, 2021) is a collection of interviews with a host of influential artists in experimental theatre, including Richard Foreman, Lee Breuer, Adrienne Kennedy, Maude Mitchell, and Jessica Hagedorn. They discuss process, making a living as an artist, the changes that have rocked the New York theatre scene since the 1970s, AIDS, COVID, and so much more in wide-ranging and insightful conversations. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

During the early years of photography, settlers around the Pacific World were fascinated with the landscapes of the places they conquered. According to Dr. Jarrod Hore, a postdoctoral researcher and co-director of the New Earth Histories Research Program at the University of New South Wales, wilderness images helped Americans and Australians make sense of the places they were in the process of dispossessing. In Visions of Nature: How Landscape Photography Shaped Settler Colonialism (U California Press, 2022), Hore tells the story of six landscape photographers from around the Pacific World and explains how their images of places like the Tasmanian Central Highlands, the Yosemite Valley, and even California's Spanish Missions, helped construct a narrative of wild frontier spaces emptied of people, waiting to be settled and improved by white hands. Hore places these photographers in their context as imperial actors, and in doing so explains how images attempted to legitimize settler colonialism in the American West and elsewhere at the end of the nineteenth century. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How can a library change the world? How can an art library change the art school or the gallery? Or even an art practice? In Shelf Documents: Art Library as Practice (Royal Academy of Fine Arts in Antwerp, 2021), artists, writers, curators, teachers, and librarians reflect on how they can use the beloved library as a source of inspiration or a field of action. In thinking about diversity in collections, the publication proposes art libraries as sites of intersubjective communion. shelf documents is rooted in a collaborative book acquisition project, initiated by the artist Heide Hinrichs at the Royal Academy of Fine Arts in Antwerp, in which her group integrated over 200 new titles in art libraries as a way to fill gaps, to amplify voices, and seek out the self-initiated or the overlooked. Heide Hinrichs, Elizabeth Haines, and Jo-ey Tang speak to Pierre d’Alancaisez about working with institutions, working slowly, and working together to interfere with the permanence of libraries. Heide Hinrichs is an artist who works with found and existing materials. For the first Kathmandu Triennale, she developed the project On Some of the Birds of Nepal. In 2018, she published Silent Sisters/Stille Schwestern, an unauthorised German translation of Theresa Hak Kyng Cha’s novel Dictee. Elizabeth Haines is a historian and Vice-Chancellor’s Fellow at the University of Bristol. Her interdisciplinary interest in the materiality of knowledge productions draws on her education in fine arts. Jo-ey Tang is an artist, curator, and writer. He was previously the director of exhibitions at the Beeler Galery at Columbus College of Art & Design and is currently the director of Kadist, San Francisco. The list of books involved in the project is available at second-shelf.org. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2018 India's prime minister, Narendra Modi, inaugurated the world's tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India's economic reforms of the 1990s. In Gods in the Time of Democracy (Duke UP, 2021), Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the "infrastructures of the sensible." Raj Balkaran is a scholar, online educator, and life coach. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Alan John Ainsworth's book Sight Readings: Photographers and American Jazz, 1900-1960 (Intellect, 2022) explores the work of a wide range of American photographers attracted to jazz during the period 1900–60. It includes discussions of jazz as a visual subject, its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did. While some of these photographers are widely recognized for their work, many African American photojournalists, studio photographers, early twentieth-century émigrés, the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory backed up by extensive archival research, this book allows the reader to explore and understand twentieth-century jazz photography in both an engaging and comprehensive fashion. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi’i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

China’s urban landscapes are full of radically different architectural styles which memorialise different eras in the country’s political past, from the remains of imperial palaces or city walls, to Republican-era shophouses, early-PRC medium-rise apartments, and soaring glass buildings of twenty-first-century vintage. But lodged – both temporally and physically – between these latter two are constructions from a time that is only now beginning to receive more attention, namely the early reform period of the 1970s-90s. This is exactly the timespan covered in Cole Roskam’s excellent new book Designing Reform: Architecture in the People's Republic of China, 1970-1992 (Yale UP, 2021) which shows that architecture had a key place in the emerging political, social and cultural developments of China’s pivotal post-Mao years. Examining stylistic, institutional, sociological and aesthetic aspects to Chinese architecture and its cross-border entanglements, this is a book which – as we transition deeper into Xi Jinping’s ‘new era’ – has much to say about an intriguing and occluded period of recent history which is not just Chinese but truly global. Ed Pulford is an Anthropologist and Lecturer in Chinese Studies at the University of Manchester. His research focuses on friendships and histories between the Chinese, Korean and Russian worlds, and indigeneity in northeast Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

As a way to comment on a person’s style or taste, the word “tacky” has distinctly southern origins, with its roots tracing back to the so-called “tackies” who tacked horses on South Carolina farms prior to the Civil War. The Tacky South (LSU Press, 2022) presents eighteen fun, insightful essays that examine connections between tackiness and the American South, ranging from nineteenth-century local color fiction and the television series Murder, She Wrote to red velvet cake and the ubiquitous influence of Dolly Parton. Charting the gender, race, and class constructions at work in regional aesthetics, The Tacky South explores what shifting notions of "tackiness" reveal about US culture as a whole and the role that region plays in addressing national and global issues of culture and identity. Editors Katharine Burnett and Monica Carol Miller have created a Spotify playlist celebrating tackiness. Follow them on Twitter @thetackysouth or visit their website. Carrie Helms Tippen is Associate Professor of English and Assistant Dean of the School of Arts, Science, and Business at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Erin L. Thompson talks about monuments, and their role in American public life. Public art intervenes in directly in politics, shaping social behavior in the present. Monuments, in her account, are a bid for immortality that says “this is how things are” but often means “this is how things should be.” In the episode she talks about The Houston Museum of African American Culture. They are engaged in a super exciting project reinterpreting the cultural memory of the US Civil War, as the first Black cultural institution that has re-housed a Confederate monument. If you’re keen on the history and politics of monuments, check out her brand new book: Smashing Statues: The Rise and Fall of America’s Public Monuments. It’s coming out from Norton this Tuesday (Feb 8)! You learn more about the book, and her upcoming talks on her website: artcrimeprof.com Erin L. Thompson is an associate professor of Art Crime at the John Jay College of Criminal Justice of the City University of New York. Her first book Possession (Yale UP, 2016) studied the history of theft at the heart of private art collections from the Ancient World to the present. Image: Statue of a man on a horse, part of the the Ulysses S. Grant Memorial at the US Capital, described in this article from the Architect of the Capital, US government website. Music used in promotional material: ‘Morrisson’s jig – Leslie’s march’ by Aislinn Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Selfie Aesthetics: Seeing Trans Feminist Futures in Self-Representational Art (Duke University Press, 2022) Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience. Daniela Meneses Sala is Peruvian Academic and Journalist. She holds an MSc in Gender (Sexuality) from the London School of Economics and Political Science. In October, she is starting a PhD in Latin American Studies at Cambridge University, funded by the Harding Distinguished Postgraduate Scholars Programme. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Reenvisioning Israel Through Political Cartoons: Visual Discourses During the 2018-2021 Electoral Crisis (Lexington Books, 2022) by Matt Reingold, published by Lexington Books as part of its Lexington Studies in Jewish Literature series, offers an incisive—and prescient, given the recent dissolution of the incumbent government—consideration of how political cartoonists in Israel broaden the conversation about the various challenges faced by the country. Organized thematically around issues that emerged at various points across the three-year period under consideration (including political mudslinging, the ultra-Orthodox community, the Coronavirus pandemic, and coverage of Benjamin Netanyahu in the right-leaning press), analysis of the cartoons complemented by interviews with many of the cartoonists whose works feature in the book, Reenvisioning Israel Through Political Cartoons moves the conversation about the Jewish State away from its typically partisan (and thus limiting) vistas. Reingold shows how with humor, satirical nous, and a sophisticated awareness of their audiences, the cartoonists’ work often cut across the traditional faultlines of Israeli society (Religious/Secular; Ashkenazi/Mizrachi; Cosmopolitan/Narrow; and of course, “Left”/”Right”), engaging with a more representative (if, of necessity, less tidy) discussion about Israel today. As Israel prepares for its fifth election in three years, following the collapse of the most broad-based coalition government in the country’s history (led, not-entirely-incidentally, by the country’s first religiously observant prime minister), Reingold’s book gives nuance and context to the conversation about Israel in Israel. Matt Reinhold has a PhD in Jewish Education. He teaches Jewish history and Jewish thought at Tanenbaum CHAT, a community Jewish high school in Toronto, Canada. Akin Ajayi (@AkinAjayi) is a writer and editor, based in Tel Aviv. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Formulations: Architecture, Mathematics, Culture (MIT Press, 2022), Andrew Witt examines the visual, methodological, and cultural intersections between architecture and mathematics. The linkages Witt explores involve not the mystic transcendence of numbers invoked throughout architectural history, but rather architecture’s encounters with a range of calculational systems—techniques that architects inventively retooled for design. Witt offers a catalog of mid-twentieth-century practices of mathematical drawing and calculation in design that preceded and anticipated digitization as well as an account of the formal compendia that became a cultural currency shared between modern mathematicians and modern architects. Witt presents a series of extensively illustrated “biographies of method”—episodes that chart the myriad ways in which mathematics, particularly the mathematical notion of modeling and drawing, was spliced into the creative practice of design. These include early drawing machines that mechanized curvature; the incorporation of geometric maquettes—“theorems made flesh”—into the toolbox of design; the virtualization of buildings and landscapes through surveyed triangulation and photogrammetry; formal and functional topology; stereoscopic drawing; the economic implications of cubic matrices; and a strange synthesis of the technological, mineral, and biological: crystallographic design. Trained in both architecture and mathematics, Witt uses mathematics as a lens through which to understand the relationship between architecture and a much broader set of sciences and visual techniques. Through an intercultural exchange with other disciplines, he argues, architecture adapted not only the shapes and surfaces of mathematics but also its values and epistemic ideals. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In October 1946, shortly before Independence, Mulk Raj Anand founded Marg, a magazine that soon became a pioneering forum for research on Indian and South Asian art and architecture. Over its 75 years, Marg (in its quarterly magazine as well as books) has promoted a deeper understanding of eras past while examining contemporary art practices. To mark our platinum anniversary, we are delving into Marg's archive of writing on temple art and architecture, to understand the shifts in perspective over the decades. The result is a lavishly illustrated magazine, which could also serve as a guide for educators teaching the Indian Temple over a semester. It presents a cross-section of themes and covers both key sites—Khajuraho, Thanjavur and Konarak—and those less written about—Kashmir, Bangladesh, Nepal, Sri Lanka, and Kerala. These are unique not only architecturally, but also from the point of view of patronage and the diverse public functions they served. Conceptualized and curated by our General Editor, Dr Naman P. Ahuja, the essays have been contextualised through a contemporary lens. Raj Balkaran is a scholar, online educator, and life coach. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It is a scary and disorienting time for art, as it is a scary and disorienting time in general. Aesthetic experience is both overshadowed by the spectacle of current events and pressed into new connection with them. The self-image of art as a social good is collapsing under the weight of capitalism’s dysfunction. Art in the After-Culture: Capitalist Crisis and Cultural Strategy (Haymarket Books, 2022), art critic Ben Davis makes sense of our extreme present as an emerging "after-culture"—a culture whose forms and functions are being radically reshaped by cataclysmic events. In the face of catastrophe, he holds out hope that reckoning with the new realities of art, technology, activism, and the media, can help us weather the super-storms of the future. Louisa Hann recently attained a PhD in English and American studies from the University of Manchester, specialising in the political economy of HIV/AIDS theatres. She has published work on the memorialisation of HIV/AIDS on the contemporary stage and the use of documentary theatre as a neoliberal harm reduction tool. She is currently working on a monograph based on her doctoral thesis. You can get in touch with her at louisahann92@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Who are the girls that helped build America? Conventional history books shed little light on the influence and impact of girls’ contributions to society and culture. This oversight is challenged by Girl Museum and their team, who give voice to the most neglected, yet profoundly impactful, historical narratives of American history: young girls. Exploring American Girlhood through 50 Historic Treasures (Rowman and Littlefield, 2021) showcases girls and their experiences through the lens of place and material culture. Discover how the objects and sites that girls left behind tell stories about America that you have never heard before. Through a fascinating collection of historic sites, archaeological evidence, artifacts, literature, and music, the authors tell a groundbreaking new story of America itself, one that finally showcases the role that girls have played in the nation’s history and development. In this interview, Allison Leigh talks to Ashley Remer and Tiffany Isselhardt about how they researched 12,000 years of history, how they picked the objects, sites, and monuments they describe, and the difficulties of reconstructing a history of girlhood when so much has been lost or deliberately destroyed. This episode is for anyone who is yearning for a more balanced representation in historic narratives, as well as those who are interested in advocacy-based history. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

We are not what we think we are. Our self-image as natural individuated subjects is determined behind our backs: historically by political forces, cognitively by the language we use, and neurologically by sub-personal mechanisms, as revealed by scientific and philosophical analyses. Under contemporary capitalism, as the gap between this self-image and reality becomes an ever greater source of social and mental distress, these theoretical insights are potential dynamite. Shifting his explorations from the sonic to the social, amplifying alienation and playing with psychic noise, artist and performer Mattin finally lights the fuse. The noise is here to stay. Alienation is a constitutive part of subjectivity and an enabling condition for exploring social dissonance—the territory upon which we already find ourselves, the condition we inhabit today. Mattin speaks (and sings) to Pierre d’Alancaisez about his performance score Social Dissonance, in which the audience is the instrument and the legacy of the Marxist theory of alienation. Mattin is an artist, musician and theorist working conceptually with noise and improvisation. Through his practice and writing, he explores performative forms of estrangement as a way to deal with structural alienation. Mattin has exhibited and toured worldwide. He has performed in festivals such as Performa and Club Transmediale and lectured in institutions such as Dutch Art Institute, Cal Arts, Bard, and Goldsmiths. Mattin is part of the bands Billy Bao and Regler and has over 100 releases on different labels worldwide. He co-hosts the podcast Social Discipline. Mattin took part in 2017 in documenta14 in Athens and Kassel. Information on the Social Dissonance concert at Documenta 14 A video recording of one of the performances Social Discipline podcast Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Manuscripts teem with life. They are not only the stuff of history and literature, but they offer some of the only tangible evidence we have of entire lives, long receded. Hidden Hands: The Lives of Manuscripts and Their Makers (Riverrun, 2021) tells the stories of the artisans, artists, scribes and readers, patrons and collectors who made and kept the beautiful, fragile objects that have survived the ravages of fire, water and deliberate destruction to form a picture of both English culture and the wider European culture of which it is part. Without manuscripts, she shows, many historical figures would be lost to us, as well as those of lower social status, women and people of colour, their stories erased, and the remnants of their labours destroyed. From the Cuthbert Bible, to works including those by the Beowulf poet, Margery Kempe, Julian of Norwich, Sir Thomas Malory, Chaucer, the Paston Letters and Shakespeare, Mary Wellesley describes the production and preservation of these priceless objects. With an insistent emphasis on the early role of women as authors and artists and illustrated with over fifty colour plates, Hidden Hands is an important contribution to our understanding of literature and history. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ella Hawkins talks about the biscuits she makes, inspired by her research on Elizabethan dress, and on everything from William Morris wallpapers to TV shows like Outlander and Game of Thrones. She also talks about her upcoming monograph, titled Shakespeare in Elizabethan Costume: ‘Period Dress’ in Twenty-First-Century Performance (forthcomin from Bloomsbury), which examines how early modern garments are recycled and reimagined in contemporary costume design for Shakespeare. (You’ll hear Saronik trying, and failing, to recall something Oscar Wilde said. Turns out he was slightly misremembering the exact quote; it’s in “The Soul of Man Under Socialism” and the passage begins with the sentence: “Now, I have said that the community by means of organisation of machinery will supply the useful things, and that the beautiful things will be made by the individual.”) Ella is a design historian and artist based in Birmingham, England. She has a PhD in Shakespeare Studies and specializes in the study of stage and costume design, dress history, and material culture. Drawing on her academic work, Ella creates edible art inspired by museum collections, art history, and costumes designed for the stage and screen. She uses a range of decorative techniques to make iced biscuit sets that celebrate the material culture of the past and present.Ella has previously worked with the Victoria & Albert Museum, the Shakespeare Birthplace Trust, and the Royal Shakespeare Company on various projects relating to design and theatre history. (For our American listeners, ‘biscuit’ in this case means ‘cookie’.) Image: Assortment of Ella’s biscuits Music used in promotional material: ‘pastorale’ by Dee Yan-Key Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The ongoing debate surrounding who gets to determine the subjects of public commemoration, particularly in the form of statues, has become more heated over the past few years. In his timely book, A History of Love and Hate in 21 Statues (Aurum Press, 2021), Peter Hughes examines the long history of statues being used to articulate the values of rulers, governments, organizations, and average citizens. Of course, that also means statues are often targets of people who want to challenge those values. In this wide-ranging conversation, we discuss whether the motivation for public commemorations, as well as the opposition to them, can be found first and foremost in a society’s emotional relationship to the person (or god, for that matter) being commemorated, as is suggested in the book’s title; or, if the timeless debate over who does and doesn’t get commemorated is really about power. Lia Paradis is a professor of History at Slippery Rock University and co-host of the NBN partner podcast, Lies Agreed Upon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women’s emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Labour has taken an about-turn. From Adam Smith’s proposal for specialisation which saw the factory line reorganised so that each worker needed to understand only a small aspect of the production process, many industries now rely on access to specialised skills and resources that are commanded at-hoc in discrete, time- and output-bound chunks. This is the logic of projects. The workforce no longer dedicates itself to the making of a singular commodity, as it was the case with Smith, but bids for discrete pieces of work when those are in demand. In some industries, for example, in the art world, the workforce is also charged with building the demand for their work by initiating the project which would then employ them. The ABC of the Projectariat: Living and Working in a Precarious Art World (Manchester UP, 2021) by Kuba Szreder contributes new thinking on and practical responses to the widespread problem of precarious labour in contemporary art. It is both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide. Kuba Szreder speaks to Pierre d’Alancaisez about the artistic project, and the effects of projectarisation on workers’ solidarity, communal governance, and the precarity of artistic activity. Kuba Szreder is a lecturer in the department of art theory at the Academy of Fine Arts in Warsaw. He combines his research with independent curatorial practice. His previous publications include Joy Forever: Political Economy of Social Creativity (2011) and Art Factory: Division of Labor and Distribution of Resources in the Field of Contemporary Art in Poland (2014). In 2018, together with Kathrin Böhm, he initiated Centre for Plausible Economies, a cluster devoted to reimagining economies of contemporary art and using artistic imagination to redraw the economy at large. A report on the Free/Slow University of Warsaw Pierre’s interview with François Matarasso on community art Pierre’s essay on the social artist’s absorption into the professional-managerial class Kuba’s work with Kathrin Böhm (Company Drinks/myvillages) on the Centre for Plausible Economies, which contributed to Documenta 15 A New Books Network Interview with Dave O’Brien et al on Culture is Bad for You Pierre’s review of Sam Friedman’s and Daniel Laurison’s The Class Ceiling Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Hygienic Apparatus: Weimar Cinema and Environmental Disorder (Northwestern UP, 2022) traces how the environmental effects of industrialization reverberated through the cinema of Germany’s Weimar Republic. In the early twentieth century, hygiene encompassed the myriad attempts to create healthy spaces for life and work amid the pollution, disease, accidents, and noise of industrial modernity. Examining classic films—including The Last Laugh, Faust, and Kuhle Wampe—as well as documentaries, cinema architecture, and studio practices, Paul Dobryden demonstrates how cinema envisioned and interrogated hygienic concerns about environmental disorder. Framing hygiene within the project of national reconstruction after World War I, The Hygienic Apparatus explores cinema’s material contexts alongside its representations of housework, urban space, traffic, pollution, disability, aging, and labor. Reformers worried about the health risks associated with moviegoing but later used film to popularize hygienic ideas, encouraging viewers to see the world and themselves in relation to public health objectives. Modernist architecture and design fashioned theaters into regenerative environments for fatigued spectators. Filmmakers like F. W. Murnau and Slatan Dudow, meanwhile, explored the aesthetic and political possibilities of dirt, contagion, intoxication, and disorder. Dobryden recovers a set of ecological and biopolitical concerns to show how the problem of environmental disorder fundamentally shaped cinema’s relationship to modernity. As accessible as it is persuasive, the book adds to a growing body of scholarship on biopolitics within German studies and reveals fresh ways of understanding the apparatus of Weimar cinema. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Images of Japanese and Japanese American women can teach us what it meant to be visible at specific moments in history. In Shadow Traces: Seeing Japanese/American and Ainu Women in Photographic Archives (U Illinois Press, 2022), Elena Tajima Creef employs an Asian American feminist vantage point to examine ways of looking at indigenous Japanese Ainu women taking part in the 1904 Louisiana Purchase Exposition; Japanese immigrant picture brides of the early twentieth century; interned Nisei women in World War II camps; and Japanese war brides who immigrated to the United States in the 1950s. Creef illustrates how an against-the-grain viewing of these images and other archival materials offers textual traces that invite us to reconsider the visual history of these women and other distinct historical groups. As she shows, using an archival collection's range as a lens and frame helps us discover new intersections between race, class, gender, history, and photography. Innovative and engaging, Shadow Traces illuminates how photographs shape the history of marginalized people and outlines a method for using such materials in interdisciplinary research. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Lilianne Milgrom about L' Origine: The Secret Life of the World's Most Erotic Masterpiece (Girl Friday Books, 2021). In 1866, maverick French artist Gustave Courbet painted one of the most iconic images in the history of art: a sexually explicit portrait of a woman's exposed genitals. Audaciously titled L'Origine du monde (The Origin of the World), the scandalous painting was kept hidden for a century and a half. Today, it hangs in the world-renowned Orsay Museum in Paris, viewed by millions of visitors a year. As the first artist authorized by the Orsay Museum to re-create Courbet's The Origin of the World, author Lilianne Milgrom was thrust into the painting's intimate orbit, spending six weeks replicating every fold, crevice, and pubic hair. The experience inspired her to share her story and the painting's riveting clandestine history with readers beyond the confines of the art world. Pallavi Joshi is a PhD Candidate in French Studies at the University of Warwick. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Wanda M. Corn's book Georgia O'Keeffe: Living Modern (Prestel Publishing, 2017) explores how Georgia O’Keeffe lived her life steeped in modernism, bringing the same style she developed in her art to her dress, her homes, and her lifestyle. Richly illustrated with images of her art and views of the two homes she designed and furnished in New Mexico, the book also includes never before published photographs of O’Keeffe’s clothes. The author has attributed some of the most exquisite of these garments to O’Keeffe, a skilled seamstress who understood fabric and design, and who has become an icon in today’s fashion world as much for her personal style as for her art. As one of her friends stated, O’Keeffe “never allowed her life to be one thing and her painting another.” This fresh and carefully researched study brings O’Keeffe’s style to life, illuminating how this beloved American artist purposefully proclaimed her modernity in the way she dressed and posed for photographers, from Alfred Stieglitz to Bruce Weber. This beautiful book accompanied the first museum exhibition to bring together photographs, clothes, and art to explore O’Keeffe’s unified modernist aesthetic. WANDA M. CORN is Robert and Ruth Halperin Professor Emerita in Art History at Stanford University in Palo Alto, California. Her publications include Grant Wood: The Regionalist Vision; The Great American Thing: Modern Art and National ldentity, 7975-7935; and Seeing Gertrude Stein: Five Stories. Susan Grelock-Yusem, PhD, is an independent scholar trained in depth psychology, with an emphasis on community, liberation, and eco-psychologies. Her work centers around interconnection and encompasses regenerative food systems, the arts and conservation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Sarah Teasley's Designing Modern Japan (Reaktion, 2022) unpicks the history of Japanese design from the mid-nineteenth century to the end of the twentieth, focusing on continuities and disruptions within communities and practices of design. Designing Modern Japan explores design in the unfolding contexts of modernization, empire and war, defeat and reconstruction, postwar economic acceleration, and beyond. Throughout, Teasley is sensitive to issues of gender and class within the communities of design she studies. The book combines the history of design with social, economic, and geopolitical history, placing design and its material objects carefully in the larger currents of modern and contemporary Japan. Designing Modern Japan is a history of both the people who shaped Japanese design and the designs that were integral to life in modern Japan. Nathan Hopson is an associate professor of Japanese language and history in the University of Bergen's Department of Foreign Languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Yi Gu's Chinese Ways of Seeing and Open-Air Painting (Harvard UP, 2020) examines the rise of open-air painting in 20th-century China, showing how this emphatically new form of landscape painting precipitated and participated in an ocular turn. In its urgent embrace of Cartesian optics and its interrelationship with new technologies like photography, open-air painting taught Chinese artists (and citizens) new, modern "ways of seeing." Gu traces the birth of the form in the early 20th century, showing readers the rise of this new perceptual mode not only through close analysis of painting, but also through her rich archive of sources like textbooks and art treatises that demonstrate the urgency and importance of the open-air movement to Chinese modernity. Indeed, as Gu shows in her third chapter, this modern way of painting and seeing significantly impacted how "traditional" Chinese landscape painting was (and continues to be) understood. Gu demonstrates that this "tradition" was invented precisely in relation to the new optics of open-air painting. The book also analyzes the role of open-air landscape painting in China's wartime struggle and in the new socialist state, both moments in which artists were compelled (by patriotism and then, the state) to represent the nation in politically appropriate ways. In Gu's narrative, open-air landscape thus emerges as a crucial political form. Her compelling theoretical argument is enriched not only with nuanced visual analysis and careful archival work, but also beautiful images that fill her book. As you will hear in our short aside about archives and sources, obtaining such visual materials for the book was no easy task! I look forward to teaching my students new ways of seeing Chinese media history by assigning this book in future classes. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art forms have rules, usually implicit, that govern the experiences that artists want their audiences to have: for example, a representational painting should be hung right-side-up, the same sort of paint medium should be used in restoration, and the painting should not be touched. In Immaterial: Rules in Contemporary Art (Oxford University Press 2022), Sherri Irvin argues that contemporary conceptual art is constituted by custom rules as well as by their physical medium: the artist may specify that the work is intended to be handled, eaten, made out of anything, or even installed however the gallery or museum wants to. On Irvin’s view, such rules are essential for expressing a work’s meaning, even though they can also make that meaning difficult for audiences to grasp. In this illustrated volume, Irvin, who is research professor of philosophy at the University of Oklahoma, considers a wide range of contemporary works to present, elaborate, and address challenges to her view. Carrie Figdor is professor of philosophy at the University of Iowa. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Minor China: Method, Materialisms, and the Aesthetic (Duke UP, 2021), Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.” Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method—tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yinghua Lu, and others, Yapp demonstrates that the minor allows for discussing non-Western art more broadly and for reconfiguring dominant political and aesthetic institutions and structures. Hentyle Yapp, Associate Professor of Performance Studies at the University of California, San Diego and coeditor of Saturation: Race, Art, and the Circulation of Value. Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists, but according to Mary Beth Willard, it’s hard to find good reasons to do so. In Why It's OK to Enjoy the Work of Immoral Artists (Routledge, 2021), she contends that because most boycotts of artists won’t succeed, there’s no ethical reason to do so most of the time. She then argues that canceling artists is ethically risky because it encourages moral grandstanding. In this interview, Allison Leigh talks to Mary Beth Willard about the differences between enjoyment and engagement when it comes to immoral artists, as well as whether we should enjoy artworks that have immoral outlooks and behaviors embedded in them. Their conversation ranges from the problems associated with collective versus individual actions, the positive effects that giving up the work of immoral artists may have for shifting cultural norms, and the distinction between public and private enjoyment. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The internet’s potential to perform political miracles has been a source of both hope and disappointment for many grassroots movements. We remember that the Sanders campaign tried to master the meme to mobilise a young, eager audience. Equally, we ascribe Trump’s electoral victory in 2016 to seemingly leaderless internet misinformation.Many of such events have been the subject of academic study - but research is often slow to keep up with the rapidly changing scene. If a researcher tracing the role of the meme to the politicisation and radicalisation of online communities struggles to keep up what hope does an artist have? Joshua Citarella’s practice starts with the understanding that it is impossible to predict what the next generation of meme posters will be interested in and whether their memes will reach beyond their tiny echo chambers. What is clear is that mainstream politics, particularly the politics of the left, remains afraid of these unruly communities that can just as easily turn to the dark corners of the demonised alt-right as they are to carry the flag for Bernie. Joshua Citarella speaks to Pierre d'Alancaisez about researching internet subcultures, playing politics with the extremely online, the multiple meanings of radicalisation, strategies for subverting right-wing content, and the role of art in internet political aesthetics. Joshua Citarella is an artist, content creator, and researcher. Politigram and the Post-left is one of many projects he has released through self-publishing channels and directly to his supporters. Joshua on Instagram and Patreon 20 Interviews with meme-posters Do Not Research, and online internet culture magazine When Guys Turn 20, Joshua's video series at dis.art Do Not Research exhibition at Lower Cavity Interview with Mike Watson on The Memeing of Mark Fisher Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The New Curator: Exhibiting Architecture and Design (Routledge, 2021) examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the ‘new curator’. Instead of exhibiting finished works or artefacts, the rise of ‘performative curation’ provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of ‘custodian’ or ‘expert’ but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento. Featuring over 100 color illustrations, this highly designed, beautiful book offers an innovative contribution to the field. An essential read for students and professionals in architecture, design, art, visual culture, museum studies, curatorial studies and cultural theory. The book also features a foreword by Deyan Sudjic and an afterword by Leon van Schaik AO. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this podcast, Lisa Blackmore, Senior Lecture in the School of Philosophy, History and Interdisciplinary Studies Center at the University of Essex, and Liliana Gomez, Professor of Art and Society at the University of Kassel, introduce their edited volume Liquid Ecologies in Latin American and Caribbean art (Routledge, 2020) and the multiple ways it proposes to "think with water". Spotlighting the ways in which artists in the Americas have long been in dialogue with water, liquids and fluids as material signifiers and ontological materials, the authors in this volume examine artists and works that open up larger discussions about history, ecology, temporality, memory, activism and more. This interdisciplinary book brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts in Latin America and the Caribbean. Examining the visual arts, including multimedia installations, performance, photography and film, the chapters place diverse fluids and systems of flow in art historical, ecocritical and cultural analytical contexts. Elize Mazadiego is an art historian in Modern and Contemporary art (PhD, University of California San Diego), with a specialism in Latin American art. She is currently a Marie SkłodowskaCurie fellow at the University of Amsterdam and author of the book Dematerialization and the Social Materiality of Art: Experimental Forms in Argentina, 1955-1968 (Brill, 2021). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Virtuality has entered our lives making anything we desire possible. We are, as Gorillaz once sang, in an exciting age where 'the digital won't let [us] go…' Technology has revolutionized music, especially in the 21st century where the traditional rules and conventions of music creation, consumption, distribution, promotion, and performance have been erased and substituted with unthinkable and exciting methods in which absolutely anyone can explore, enjoy, and participate in creating and listening to music. Virtual Music: Sound, Music, and Image in the Digital Era (Bloomsbury, 2021) explores the interactive relationship of sound, music, and image, and its users (creators/musicians/performers/audience/consumers). Areas involving the historical, technological, and creative practices of virtual music are surveyed including its connection with creators, musicians, performers, audience, and consumers. Shara Rambarran looks at the fascination and innovations surrounding virtual music, and illustrates key artists (such as Grace Jones, The Weeknd), creators (such as King Tubby, Kraftwerk, MadVillain, Danger Mouse), audiovisuals in video games and performances (such as Cuphead and Gorillaz), audiences, and consumers that contribute in making this musical experience a phenomenon. Whether it is interrogating the (un)realness of performers, modified identities of artists, technological manipulation of the Internet, music industry and music production, or accessible opportunities in creativity, the book offers a fresh understanding of virtual music and appeals to readers who have an interest in this digital revolution. Shara Rambarran is Assistant Professor of Music at Bader International Study Centre, UK (Queen’s University, Canada). She co-runs the Art of Record Production conferences and is an editor on the Journal on the Art of Record Production and co-editor of The Oxford Handbook of Music and Virtuality (2016). Shara Rambarran on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In When Art Isn’t Real: The World's Most Controversial Objects under Investigation (Leuven University Press, 2022), Dr. Andrew Shortland and Dr. Patrick Degryse examine how an initially valueless object becomes worth hundreds of millions. And vice versa. The art world is a multi-billion-dollar industry which captures world headlines on a regular basis, for both good and bad reasons. This book deals with one of the most-discussed areas of controversy: high-profile objects that have experts arguing about their veracity. Some may have been looted, others may be fakes, some may be heavily restored or misattributed. Often, in these cases, analytical science is called on to settle a dispute. The authors of this book have decades of experience in this field, working on a range of objects dating from prehistory to the twentieth century. They present seven of the most famous cases from the Getty Kouros to the Turin Shroud – some of which are still contested, and examine how a few words from a connoisseur or scientist can make a virtually valueless object worth hundreds of millions. And vice versa. “We want to give readers some feel for the people involved. A feel for those period or material experts who give their opinion on an object’s validity from its looks, feel, even smell. A feel for the analysts, who employ their sicnetific equipment to the object and give their opinion from the numbers and pictures that are derived from them. A feel for the experts working with, in parallel with, and occasionally against each other.” This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

William Ghosh talks to Saronik about Realism, and how it can both be subtly conservative and effectively radical, depending on its use. He takes us through realist tactics in texts ranging from V.S. Naipaul’s A Bend in the River to Virginie Despentes’s Vernon Subutex. William Ghosh teaches Victorian and Modern literature and Literary Theory at Jesus College, University of Oxford. His first book, V.S. Naipaul, Caribbean Writing, and Caribbean Thought was published by OUP in October 2020. At present he is working on a book on the British writer Penelope Fitzgerald, and on a multimedia project about Caribbean poetry and poetics. Image: ‘Still Life with Corn’ by Charles Ethan Porter Music used in promotional material: ‘Made in the City’ by Ed Askew Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Between 1862 and 1866 Gustave Courbet embarked on a series of sensuous landscape paintings that would later inspire the likes of Monet, Pissarro, and Cézanne. This series has long been neglected in favor of Courbet’s paintings of rural French life. Courbet's Landscapes: The Origins of Modern Painting (Yale UP, 2022) explores these astonishing paintings, staking a claim for their importance to Courbet’s work and later developments in French modernism. Ranging from the grottoes of Courbet’s native Franche-Comté to the beaches of Normandy, Paul Galvez follows the artist on his travels as he uses a palette-knife to transform the Romantic landscape of voyage into a direct, visceral confrontation with the material world. In this interview, Allison Leigh talks to Dr. Galvez about why he felt we needed another book on Courbet, how he tackled the voluminous scholarship on this artist, and how to make claims about an artist’s intentions from a historical standpoint. Their conversation ranges from how to best use comparisons in art historical argumentation to the difficulties of reproducing some art works—even with high resolution digital photography. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rima Fujita was born in Tokyo and now resides in Southern California. She graduated from Parsons School of Design with her B.F.A. and has exhibited her work internationally to much acclaim. As a descendant of the Last Samurai her creative aesthetics is strongly influenced by the philosophy of Bushido and Buddhism. Known for her distinctive style with vivid colors on black surface, Rima’s works are extracted from her dreams and meditation process. They are ethereal and evoke a timeless sense of longing and peace, and yet if examined deeply her images trigger a powerful ripple of infinite emotions. She is inspired by “Nibiiro,” an expression of a very dark grey color from the Heian period in Japan (AD 794 to1185). If you mixed all colors that exist in Nirvana, the Buddhist land of Perfect Bliss, it would become “Nibiiro.” Rima’s life passion lays in her philanthropic work. In 2001 she established “Books for Children,” an organization that produces children’s books and donates them to children in needs around the world. She has created 4 children’s books and has donated more than 12,000 books to the Tibetan children in exile. All profits go to support the Tibetan children’s education. H.H. The Dalai Lama, Desmond Tutu and Betty Williams, the Nobel Peace Laureates personally gave her special recognition in 2006 at the International Peace Summit in Japan. His Holiness The Dalai Lama calls her, “An artist who creates beautiful art.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Textiles were the second-most-traded commodity in world history, preceded only by grain. In the Ottoman Empire, in particular, the sale and exchange of silks, cottons, and woolens generated an immense amount of revenue. They touched every level of society, from rural women tending silkworms to pashas flaunting layers of watered camlet to merchants travelling to Mecca and beyond. Sea Change: Ottoman Textiles Between the Mediterranean and the Indian Ocean (U California Press, 2021) offers the first comprehensive history of the Ottoman textile sector, arguing that the trade's enduring success resulted from its openness to expertise and objects from far-flung locations. Amanda Phillips skillfully marries art history with social and economic history, integrating formal analysis of various textiles into wider discussions of how trade, technology, and migration impacted the production and consumption of textiles in the Mediterranean from around 1400 to 1800. Surveying a vast network of textile topographies that stretched from India to Italy and from Egypt to Iran, Sea Change illuminates often neglected aspects of material culture, showcasing the objects' ability to tell new kinds of stories. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Christopher Gilbert, Assistant Professor of English at Assumption College, has a new book that examines the understanding of American national character and culture through the works of caricature and comic representations. Gilbert specifically focuses on this kind of work that is produced during moments of crisis, particularly during wartime. Wartime often prompts self-understanding for a nation, since there is a demand that the reason for war is made clear, and the role of the nation is seen in this context. Gilbert notes that in the early days of the republic, Benjamin Franklin turned to caricature to help define or start to clarify an American national character, particularly in distinction from British colonial power. And this concept of national character is different than either patriotism or nationalism, since it reflects how citizens, individually and as a whole, understand themselves as a nation, and as separate from other nations. Unique histories, characteristics, and “belonging” all contribute to this broader sense of self for a nation. Caricature and National Character: The United States at War (Pennsylvania State UP, 2021) examines the various symbols and images that have become part of the American national identity, noting, often, how those images shift and change with time and context. Gilbert notes that these recursive themes and images are distinct in different historical moments, providing a kind of complexity to the images and how and what they communicate. Consider the image of the bald eagle, which has been integrated into American national character for some time, but has been drawn and redrawn to represent imperialism, laziness, or cultural power at different points in U.S. history. Gilbert explains that humor itself is situational and situated, a sign or signal of the time, and that caricature and comic artists and political and editorial cartoonists are commenting on and positioning their work within a particular historical point, and in so doing, also reflecting American cultural politics. Caricature and National Character brings a variety of artists together in a way that intertwines their work without silo-ing them within chronological periods. Their work is made, in a certain way, to be in conversation, and to help to understand the United States as a warring nation, even if there is no shooting war transpiring at times. The artists and cartoonists are using their own membership within the national character to present ideas and commentary on what it means, in time of war, to protect national character and what it is that needs protecting. These images, which can be explored across history, carry significant weight because they are reflecting on the notion of national character, which is often more clearly on display during times of war. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For centuries, art censorship has been a top-down phenomenon—kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this new world order, artists, critics, philanthropists, galleries, and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people’s demands for better ethics in art. But what should we, the people, do with this newfound power? With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Farah Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race. By asking questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown: Art and Power in the Digital Age (Astra Publishing, 2022) provides the necessary tools to navigate the art world. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art historian Catherine McCormack challenges how culture teaches us to see and value women, their bodies, and their lives. Venus, maiden, wife, mother, monster—women have been bound so long by these restrictive roles, codified by patriarchal culture, that we scarcely see them. In Women in the Picture: What Culture Does with Female Bodies (Norton, 2021), Catherine McCormack illuminates the assumptions behind these stereotypes whether writ large or subtly hidden. She ranges through Western art—think Titian, Botticelli, and Millais—and the image-saturated world of fashion photographs, advertisements, and social media, and boldly counters these depictions by turning to the work of women artists like Morisot, Ringgold, Lacy, and Walker, who offer alternative images for exploring women’s identity, sexuality, race, and power in more complex ways. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson’s book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist’s Take On The Ontological Turn: ‘Ontology’ Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower’ by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Elizabeth Oyler and Katherine Saltzman-Li's book Cultural Imprints: War and Memory in the Samurai Age (Cornell UP, 2022) draws on literary works, artifacts, performing arts, and documents that were created by or about the samurai to examine individual "imprints," traces holding specifically grounded historical meanings that persist through time. The contributors to this interdisciplinary volume assess those imprints for what they can suggest about how thinkers, writers, artists, performers, and samurai themselves viewed warfare and its lingering impact at various points during the "samurai age," the long period from the establishment of the first shogunate in the twelfth century through the fall of the Tokugawa in 1868. The range of methodologies and materials discussed in Cultural Imprints challenges a uniform notion of warrior activity and sensibilities, breaking down an ahistorical, monolithic image of the samurai that developed late in the samurai age and that persists today. Highlighting the memory of warfare and its centrality in the cultural realm, Cultural Imprints demonstrates the warrior's far-reaching, enduring, and varied cultural influence across centuries of Japanese history. Contributors: Monica Bethe, William Fleming, Andrew Goble, Thomas Hare, Luke Roberts, Marimi Tateno, Alison Tokita, Elizabeth Oyler, Katherine Saltzman-Li. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Through his blog K-Punk, Mark Fisher become one of the cult figures of cultural theory after the economic crash of 2008. One of Fisher’s insights, widely taken up by the online memesphere, was that capitalism breeds depression. Mike Watson picks up Fisher’s prognosis when the locked-down pandemic world is mired in a depression that is economic and psychological, and no doubt exacerbated by the transfer of culture and life online. In the aftermath, The Memeing of Mark Fisher (Zero Books, 2021) revisits the Frankfurt School theorists who worked in the shadow of World War Two, during the rise of the culture industry. In examining their thoughts and drawing parallels with Fisher’s Capitalist Realism, Watson aims to render the Frankfurt School as an incisive theoretical toolbox for the post-Covid digital age. Taking in the phenomena of QAnon, twitch streaming, and memes, Watson argues that the dichotomy between culture and political praxis is a false one. As more people have access to the means for theoretical and critical engagement online, he urges the online left to build a real-life cultural and political movement. Mike Watson speaks to Pierre d’Alancaisez about Mark Fisher’s legacy in critical online spaces, the democracy of memes and their aesthetic warfare, the Acid Left, and how the Frankfurt School thinkers foreshadowed our current moment. Mike Watson is a theorist, critic and curator who is principally focused on the relationship between culture, new media and politics. He hosts the podcast Theorywave Nights. Can the Left Learn to Meme? Mark Fisher’s K-Punk blog archive K-Punk anthology Know Your Meme database Capitalist Realism bed meme 4chan Wojak meme Doomer meme The Acid Left podcast Mike’s book memed by Academic Fraud Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Benin Bronzes are among the British Museum’s most prized possessions. Celebrated for their great beauty, they embody the history, myth and artistry of the ancient Kingdom of Benin, once West Africa’s most powerful, and today part of Nigeria. But despite the Bronzes’ renown, little has been written about the brutal imperial violence with which they were plundered. Paddy Docherty’s searing new history tells that story: the 1897 British invasion of Benin. Armed with shocking details discovered in the archives, Paddy Docherty in his latest book Blood and Bronze: The British Empire and the Sack of Benin (Hurst, 2022) sets this assault in its late Victorian context. As British power faced new commercial and strategic pressures elsewhere, it ruthlessly expanded in West Africa. Revealing both the extent of African resistance and previously concealed British outrages, this is a definitive account of the destruction of Benin. Laying bare the Empire’s true motives and violent means, including the official coverup of grotesque sexual crimes, Docherty demolishes any moral argument for Britain retaining the Bronzes, making a passionate case for their immediate repatriation to Nigeria. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A retrospective monograph of Alastair MacLennan’s performance art practice, its influence on the Belfast art scene, and its relationships with wider art histories. Actional Poetics-Ash She He: The Performance Actuations of Alastair MacLennan, 1971-2020 (Intellect, 2022) (Intellect, 2022) is the most comprehensive and complete legacy monograph about Alastair MacLennan’s extensive performance practice. Alastair MacLennan is emeritus professor of fine art, School of Art and Design, Ulster University in Belfast. He is one of Britain’s major practitioners in live art, and travels extensively in Eastern and Western Europe, also America and Canada, presenting ‘Actuations’ (his term for performance/installations). MacLennan is a founding member of Belfast's Art and Research Exchange, of Belfast's Bbeyond performance collective and is a member of the performance art entity Black Market International. He has represented Ireland at the Venice Biennale (1997) and is an honorary associate of the National Review of Live Art, Glasgow, Scotland. There is a wide variety of approach in the essays, ranging from descriptive to interpretive. Some set the work in historical context and others provide pertinent biography. This variety is appropriate – and perhaps even necessary – in looking at the work of a living artist whose work is particularly complex. The selection of essays presents a complex body of work in an understandable way, with each writer allowed to address the art in their own terms. Placing the work in historical context is important but presenting MacLennan as an influential teacher is also important. Includes a significant contribution from Adrian Heathfield (professor of performance and visual culture at Roehampton, UK) who has written an extended essay on MacLennan’s oeuvre, focusing on its use of materials and its creation of sculptural environments. Discussing the artist’s deployment of slow-time action and contemplative space, Heathfield sees MacLennan’s work as activating sustained contact with the elemental and locates MacLennan’s work as a significant intervention in performance art history globally and discusses the politics of its engagement with local history, violence, social conflict and memory. The primary readership will be academics, researchers and scholars working in performance art and contemporary art in general. Also valuable to students in performance art, visual arts and related practices. Of relevance to academics and artists in the interrelated fields of performance art, art and philosophy, critical theory, conflict studies and Zen philosophy. Brandon Sward is an artist, writer, and doctoral candidate at the University of Chicago Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors’ methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public’s confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Romare Bearden in the Homeland of His Imagination: An Artist's Reckoning with the South (UNC Press, 2022), Glenda Gilmore meticulously documents and interprets the artistic life of Romare Bearden. Gilmore details four generations of the Bearden family and grounds the reader in places formative to Bearden like North Carolina, New York, and Pennsylvania. By centering Bearden’s art, Gilmore mines the historical record and this artist’s recollections which were at times conflicting, but nevertheless, shaped his creative imagination. This text weaves archival depth with visual art analysis, illuminating a richer understanding of this important twentieth-century artist and his work. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She tweets from @amandajoycehall. N’Kosi Oates is a Ph.D. Candidate in Africana Studies at Brown University. Find him on Twitter @NKosiOates. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world’s best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked’s Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust’ on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector’s museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d’Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Saronik talks to Tuhin Chakrabarty about the creative processes of Artificial Intelligence, what we can expect from it, and how to keep the results fair. (Saronik messes up the word GPT-3 twice!) Reading List: GPT3 Creativity When AI Falls in Love, GPT-3 Creative Fiction, Are You Ready for NaNoWriMo? Papers/Posts on Computational Creativity Generating Similes Like a Pro, Content Planning for Neural Story Generation, Reverse, Retrieve, and Rank for Sarcasm Generation , The Comedian is in the Machine Music and Art Google Magenta Creating Image from Text Dall-E, Creative Text Generation Bias in Language Models Stereoset measures Racism, Sexism, and other Forms of Bias in AI Language Models, Towards Controllable Biases in Language Generation, The Woman worked as a Babysitter, Timnit Gebru’s thread about Google firing her, RealToxicityPrompts, Measuring and Reducing Gendered Correlations in Pre-trained Models Bias in Poetry Investigating Societal Biases in a Poetry Composition System AI Poetry Google’s New AI Helps You Write Poetry like Poe, Generating Topical Poetry Academic Venues Computational Creativity, Machine Learning for Creativity and Design Image: created using Dall-E Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Kim interviews Alliya Dagman about mimesis. Alliya references Plato’s Republic and various internet memes, including a John Oliver meme about how Xi Jinping hates being compared to Winnie the Pooh. Alliya is a PhD candidate in the English Department at NYU. She writes about poetics and theory, and is a vital force behind the Organism for Poetic Research. She is a badass WordPress developer too! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Otto Dix fought in the First World War for the better part of four years before becoming one of the most important artists of the Weimar era. Marked by the experience, he made monumental, difficult and powerful works about it. Whereas Dix has often been presented as a lone voice of reason and opposition in Germany between the wars, this book locates his work squarely in the mainstream of Weimar society. Informed by recent studies of collective remembrance, of camaraderie, and of the popular, working-class socialist groups that commemorated the war, Michael Mackenzie's book Otto Dix and the First World War: Grotesque Humor, Camaraderie and Remembrance (Peter Lang, 2019) takes Dix's very public, monumental works out of the isolation of the artist's studio and returns them to a context of public memorials, mass media depictions, and the communal search for meaning in the war. The author argues that Dix sought to establish a community of veterans through depictions of the war experience that used the soldier's humorous, grotesque language of the trenches and that deliberately excluded women and other non-combatants. His depictions were preoccupied with heteronormativity in the context of intimate touch and tenderness between soldiers at the front and with sexual potency in the face of debilitating wounds suffered by others in the war. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What are the rights and wrongs of toppling statues? Sometimes everyone agrees it’s a good idea. After the second world war, for example, the defeat of fascism meant that all over Europe Hitler statues were toppled and destroyed. After the collapse of communism some statues of Stalin actually survived. Just a couple of years ago Black Lives Matter protests led to the hauling down statues of slaveholders and imperialists – for example in the UK a statue of slaver – and philanthropist, Edward Colston was hurled into a harbour. Some argued Colston should be left alone because he was just a man of his time. So, when is it right to tear down a statue and do you need a democratically elected committee to make the decision? A discussion with screenwriter and historian Alex Von Tunzelmann, author of Fallen Idols: Twelve Statues That Made History. Owen Bennett-Jones is a freelance journalist and writer. A former BBC correspondent and presenter he has been a resident foreign correspondent in Bucharest, Geneva, Islamabad, Hanoi and Beirut. He is recently wrote a history of the Bhutto dynasty which was published by Yale University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Paul Geary’s Experimental Dining: Performance, Experience and Ideology in Contemporary Creative Restaurants (Intellect, 2022) examines the work of four of the world’s leading creative restaurants: Noma, elBulli, The Fat Duck and Alinea. Using ideas from performance studies, cultural studies, philosophy and economics, Dr. Geary explores the creation of the dining experience as a form of multisensory performance. The book examines the construction of the world of the restaurants and their creative methods, the experience of dining and the broader ideological frames within which the work takes place. The book brings together ideas around food, philosophy, performance and cultural politics to offer an interdisciplinary understanding of the practice and experience of creative restaurants. The book interrogates the experience of the performances in and of these restaurants, with a particular focus on the entanglement of sensory, embodied, and reflective experience with the broader cultural and ideological discourses that both frame and produce those seemingly individual, personal and intimate encounters with the work. The author contends that the work of the experimental restaurant, while operating explicitly within an economy of experiences, is not absolutely determined by that political or economic context. Its practice has the potential to appeal to more than idle curiosity for novelty. It can be unsettling and revealing, provocative and evocative, personal and political, experimental and considered, thoughtful and sensual. Or in other words, that the food event can be art. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What can textiles tell us about histories of genocide and the lived experiences of prisoners? In this episode, Dr. Magali-An Berthon discusses the treatment of prisoners at S-21 and how clothes played a role into their imprisonment and dehumanization. She retraces the formation of the textile collection at the Tuol Sleng Genocide Museum, starting with a large pile of clothes on display in the first years of the museum, which was then moved in 1991, before being removed altogether in 2011, and which was recently recovered. The current content of the collection includes about 3,500 recovered garments, textiles and fragments, that all tell intimate stories of individuals and survival. Dr. Magali-An Berthon is a textile historian focusing on the contemporary history of Southeast Asian dress and textiles. She is a European Union Marie Curie postdoctoral fellow at the Center for Textile Research at the University of Copenhagen. Dr. Terese Gagnon is an environmental anthropologist and Postdoctoral Researcher in the Politics of Climate and Sustainability in Asia at the Nordic Institute of Asian Studies and the Department of Political Science at the University of Copenhagen. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. About NIAS: www.nias.ku.dk Transcripts of the Nordic Asia Podcasts: http://www.nias.ku.dk/nordic-asia-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being’s physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition (U Chicago Press, 2021) combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Invention of Norman Visual Culture: Art, Politics, and Dynastic Ambition (Cambridge UP, 2020), Lisa Reilly establishes a new interpretive paradigm for the eleventh and twelfth-century art and architecture of the Norman world in France, England, and Sicily. Traditionally, scholars have considered iconic works like the Cappella Palatina and the Bayeux Embroidery in a geographically piecemeal fashion that prevents us from seeing their full significance. Here, Reilly examines these works individually and within the larger context of a connected Norman world. Just as Rollo founded the Normandy "of different nationalities", the Normans created a visual culture that relied on an assemblage of forms. To the modern eye, these works are perceived as culturally diverse. As Reilly demonstrates, the multiple sources for Norman visual culture served to expand their meaning. Norman artworks represented the cultural mix of each locale, and the triumph of Norman rule, not just as a military victory but as a legitimate succession, and often as the return of true Christian rule. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh’s Ta’abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Hilton Judin's book Architecture, State Modernism and Cultural Nationalism in the Apartheid Capital (Routledge, 2021) is the first comprehensive investigation of the architecture of the apartheid state in the period of rapid economic growth and political repression from 1957 to 1966 when buildings took on an ideological role that was never remote from the increasingly dominant administrative, legislative and policing mechanisms of the regime. It considers how this process reflected the usurpation of a regional modernism and looks to contribute to wider discourses on international postwar modernism in architecture. Buildings in Pretoria that came to embody ambitions of the apartheid state for industrialization and progress serve as case studies. These were widely acclaimed projects that embodied for apartheid officials the pursuit of modernization but carried latent apprehensions of Afrikaners about their growing economic prospects and cultural estrangement in Africa. It is a less known and marginal story due to the dearth of material and documents buried in archives and untranslated documents. Many of the documents, drawings and photographs in the book are unpublished and include classified material and photographs from the National Nuclear Research Centre, negatives of 1960s from Pretoria News and documents and pamphlets from Afrikaner Broederbond archives. State architecture became the most iconic public manifestation of an evolving expression of white cultural identity as a new generation of architects in Pretoria took up the challenge of finding form to their prospects and beliefs. It was an opportunistic faith in Afrikaners who urgently needed to entrench their vulnerable and contested position on the African continent. The shift from provincial town to apartheid capital was swift and relentless. Little was left to stand in the way of the ambitions and aim of the state as people were uprooted and forcibly relocated, structures torn down and block upon block of administration towers and slabs erected across Pretoria. This book will be of great interest to students and scholars of architectural history as well as those with an interest in postcolonial studies, political science, and social anthropology. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the late-1990s, the fate of Nazi stolen art has become a cause célèbre. In Belonging and Betrayal: How Jews Made the Art World Modern (Brandeis UP, 2021), Charles Dellheim turns this story on its head by revealing how certain Jewish outsiders came to acquire so many old and modern masterpieces in the first place - and what this reveals about Jews, art, and modernity. This book tells the epic story of the fortunes and misfortunes of a small number of eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe to the United States and in the triumph of modern art. Beautifully written and compellingly told, this story takes place on both sides of the Atlantic from the late nineteenth century to the present. It is set against the backdrop of critical transformations, among them the gradual opening of European high culture, the ambiguities of Jewish acculturation, the massive sell-off of aristocratic family art collections, the emergence of different schools of modern art, the cultural impact of World War I, and the Nazi war against the Jews. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Spanning the decades from the rise of photography to the age of the selfie, The Culture of Male Beauty in Britain: From the First Photographs to David Beckham (University of Chicago Press, 2021) traces the complex visual and consumer cultures that shaped masculine beauty in Britain, examining the realms of advertising, health, pornography, psychology, sport, and celebrity culture. Paul R. Deslandes chronicles the shifting standards of male beauty in British culture—from the rising cult of the athlete to changing views on hairlessness—while connecting discussions of youth, fitness, and beauty to growing concerns about race, empire, and degeneracy. From earlier beauty show contestants and youth-obsessed artists, the book moves through the decades into considerations of disfigured soldiers, physique models, body-conscious gay men, and celebrities such as David Beckham and David Gandy who populate the worlds of television and social media. Deslandes calls on historians to take beauty and gendered aesthetics seriously while recasting how we think about the place of physical appearance in historical study, the intersection of different forms of high and popular culture, and what has been at stake for men in “looking good.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Selling Black Brazil: Race, Nation, and Visual Culture in Salvador, Bahia (University of Texas Press, 2022), Anadelia Romo argues that visual images were central to the shift from emulating Europe to valuing Brazil’s own local culture, which took place from the late 19th to the early 20th century. The book focuses on Salvador, Bahia, a city in the northeast of Brazil known for its rich Black culture, history of slavery, and tourism industry. Using print culture associated with tourism, Romo shows how representations of Afro-Brazilians engaged ideas of race and nation at the time. The book is filled with photographs and illustrations from Pierre Verger, Carybe, and other visual culture producers, which evidences how the city was rendered. These images featured Afro-Brazilians as central urban figures as well as the festive and religious culture of the city. Yet, in giving less attention to racism, these images masked deeply entrenched racial inequality. Anadelia A. Romo is an Associate Professor of History at Texas State University. She is the author of Brazil’s Living Museum: Race, Reform, and Tradition in Bahia. Reighan Gillam is an Assistant Professor in the Department of Anthropology at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

American comics from the start have reflected the white supremacist culture out of which they arose. Superheroes and comic books in general are products of whiteness, and both signal and hide its presence. Even when comics creators and publishers sought to advance an antiracist agenda, their attempts were often undermined by a lack of awareness of their own whiteness and the ideological baggage that goes along with it. Even the most celebrated figures of the industry, such as Jerry Siegel and Joe Shuster, Jack Jackson, William Gaines, Stan Lee, Robert Crumb, Will Eisner, and Frank Miller, have not been able to distance themselves from the problematic racism embedded in their narratives despite their intentions or explanations. In Bandits, Misfits, and Superheroes: Whiteness and Its Borderlands in American Comics and Graphic Novels (University of Mississippi Press, 2022), Dr. Josef Benson and Dr. Doug Singsen provide a sober assessment of these creators and their role in perpetuating racism throughout the history of comics. They identify how whiteness has been defined, transformed, and occasionally undermined over the course of eighty years in comics and in many genres, including westerns, horror, crime, funny animal, underground comix, autobiography, literary fiction, and historical fiction. This exciting and groundbreaking book assesses industry giants, highlights some of the most important episodes in American comic book history, and demonstrates how they relate to one another and form a larger pattern, in unexpected and surprising ways. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Kim talks with Pardis about Theodor Adorno’s concept of the autonomous work of art, as articulated in his Aesthetic Theory, and The Dialectic of Enlightenment (with help from Max Horkheimer). Pardis Dabashi is an assistant professor of English at the University of Nevada, Reno, where she specializes in 20th-Century literature and Film studies. Starbucks Christmas Blend is one of her many guilty pleasures. Adorno would be upset. Image source: Witches dancing in forest, in the Compedium Maleficarum of Francesco Mario Guazzo, published in 1608. Available on Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For better or worse, artists write. But why would a visual artist write a novel? How should such a novel be experienced? How does the artist’s novel compare or compete with literary fiction as we know it? David Maroto, the author of The Artist's Novel: A New Medium (Mousse Publishing, 2020) considers the proliferation of artists writing novels as a sign of the emergence of a new medium. Artists engaging in this new medium do so in order to address artistic issues by means of novelistic devices, favouring a sort of art predicated on process and subjectivity, introducing notions such as fiction, narrative, and imagination. Maroto’s work is the first to explore the subject of the artist’s novel in depth. David Maroto speaks to Pierre d’Alancaisez about the artist’s novel and the demands it makes on its readers and, as he found out through his own practice, on its curators and publishers. David reads from Benjamin Seror's Mime Radio and voices the mythical satyr Marsyas but, sadly, stops short of singing. David Maroto is a visual artist, researcher, writer, and curator based in Rotterdam. David Maroto’s first novel Illusion The Book Lovers, a project by David Maroto and Joanna Zielinska Benjamin Seror’s Mime Radio Goldin+Senneby‘s Headless Ale Cecchetti’s exhibition at Ujazdowski Castle Alex Cecchetti’s novel Tamam Shud  Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It can be easy to think of the recent history of India—especially for those who aren’t from there—as a straight line, from the Mughal Empire, through the British Empire, to independent India. That, of course, is hugely simplistic, missing the mess of competing polities, interests, and people that made up Indian history over the last few centuries. Manu Pillai’s False Allies: India’s Maharajahs in the Age of Ravi Varma (Juggernaut, 2021), looks at a few of these political actors: the Maharajas of India, who led the “princely states”. Not quite sovereign entities, not quite directly-ruled colonies. Pillai portrays the stories of a few of these princes and princesses through the life of famed Indian artist Ravi Varma as he travels around India in the latter half of the nineteenth century. In this interview, Manu and I talk about the princely states, the Maharajas, and why Manu chose Ravi Varma to tell the stories of the Indian princes. Manu S Pillai is the author of the award-winning The Ivory Throne: Chronicles of the House of Travancore (HarperCollins India: 2015), Rebel Sultans: The Deccan from Khilji to Shivaji (Juggernaut: 2018), and The Courtesan, the Mahatma & the Italian Brahmin: Tales from Indian History (Context: 2019). He can be followed on Twitter at @UnamPillai and on Instagram at @WaatCoconut. You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of False Allies. Follow on Facebook or on Twitter at @BookReviewsAsia. Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode Saronik asks Kim about the aura. The idea comes from Walter Benjamin’s 1935 essay “The Work of Art in the Age of Mechanical Reproduction.” Besides the central text, the episode references Benjamin’s 1940 essay, “On the Concept of History” in which the Angel of History appears. We also talk about Oscar Wilde’s 1891 essay “The Soul of Man Under Socialism.” And make a passing mention of the British artist Banksy. The image is a photograph that Kim took of a painting of peaches in an art museum in Amsterdam. She forgets artist and title of the painting, and would welcome reminders from listeners. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Dr. Lucy Donkin’s Standing on Holy Ground in the Middle Ages (Cornell University Press, 2022) illuminates how the floor surface shaped the ways in which people in Medieval Western Europe and beyond experienced sacred spaces. The ground beneath our feet plays a crucial, yet often overlooked, role in our relationship with the environments we inhabit and the spaces with which we interact. “The ground beneath our feet goes unnoticed for the most part. Yet it guides our steps and shapes our identity in many ways. We obey or disregard markings that indicate where to cross the road, stand back from the edge of the platform, or position ourselves on a sports pitch…Differencing convention in homes and places of worship remind us that our own treatment of the surface is culturally constructed." Dr. Donkin argues that “In the Middle Ages too, the surface of the ground conveyed information to those who stood on it, prompted physical and imaginative responses, and marked out individual and groups in accordance with the values and concerns of the time. Indeed, in some respects, it played a greater role today in articulating space and identity, especially within ecclesiastical settings…. This book focuses on Medieval interaction with holy ground, within and beyond the church interior, asking how these shaped both place and people.” By focusing on this surface as a point of encounter, Dr. Donkin positions it within a series of vertically stacked layers—the earth itself, permanent and temporary floor coverings, and the bodies of the living above ground and the dead beneath—providing new perspectives on how sacred space was defined and decorated, including the veneration of holy footprints, consecration ceremonies, and the demarcation of certain places for particular activities. Using a wide array of visual and textual sources, Standing on Holy Ground in the Middle Ages also details ways in which interaction with this surface shaped people's identities, whether as individuals, office holders, or members of religious communities. Gestures such as trampling and prostration, the repeated employment of specific locations, and burial beneath particular people or actions used the surface to express likeness and difference. From pilgrimage sites in the Holy Land to cathedrals, abbeys, and local parish churches across the Latin West, Dr. Donkin frames the ground as a shared surface, both a feature of diverse, distant places and subject to a variety of uses over time—while also offering a model for understanding spatial relationships in other periods, regions, and contexts. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

According to the definition offered by Tate on the occasion of the exhibition Surrealism Without Borders, Surrealism “aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams.” Surrealism, therefore, produces images and artefacts that are rooted outside the real and that evade rational description. For many artists, however, the practice of Surrealist art took on an explicitly political and therefore practical dimensions. In Surrealist Sabotage and the War on Work (Manchester UP, 2021), art historian Abigail Susik argues that many Surrealists tried to transform the work of art into a form of unmanageable anti-work. Abigail Susik speaks with Pierre d’Alancaisez about what the politics of work meant to the early French Surrealists, the ambiguous labour practices of artists like Simone Breton, and the imagery of typewriters and sewing machines that permeates the work of artists such as Oscar Domínguez. She brings these questions into the present by engaging with the work of the Chicago Surrealists of the 1960s and 70s. Abigail Susik is Associate Professor of Art History at Willamette University and co-editor of Surrealism and film after 1945. Man Ray, Séance de rêve éveiillé Oscar Domínguez, Machine à coudre électro-sexuelle Surrealism Without Borders at Tate Modern Abigail’s op-eds in the Washington Post and New York Times Abigail’s forthcoming book Radical Dreams Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

I spoke with Hannah Star Rogers, one of the editors of the Routledge Handbook of Art, Science, and Technology Studies (Routledge, 2021). Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics, and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge-making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This book provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this book demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices. Hannah Star Rogers is Visiting Scholar at the University of Edinburgh in Science, Technology, and Innovation Studies (STIS) and lead editor of the Routledge Handbook of Art, Science, and Technology Studies. Frances Sacks is a journalist and graduate of Wesleyan University, where she studied in the Science and Society Program. She is also a drummer who has studied Gamelan in Bali, Berber in Morocco, and most traditional Ga patterns with master drummers in Ghana. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the United States, the national debate over public monuments often frames the removal of statutes as a revision of history. But Dr. Thompson suggests that we need to interrogate both the creation and removal of monuments to understand the essential role they play in creating national narratives and determining who is seen as an American. Using a set of remarkable case studies, Dr. Thompson demonstrates the complex ways in which these statutes were suggested, contested, funded, physically created, and used symbolically by future groups. Smashing Statues: The Rise and Fall of America's Public Monuments (Norton, 2022) aims to create a toolkit to interrogate how Americans represent what they have built and what they need to rebuild in the American public landscape – and the nation as a whole. Erin L. Thompson is an associate professor of art crime at John Jay College, City University of New York. She is an expert in the deliberate destruction of art, analyzing the ways in which this destruction has sometimes harmed and sometimes benefited communities. Her first book, Possession: The Curious History of Private Collectors (Yale University Press, 2016) was named an NPR Best Book of 2016 and her impressive public facing scholarship includes the New York Times, Washington Post, Time, CNN, NPR, BBC, Freakonomics and Smithsonian Magazine. In the podcast, Dr. Thompson mentions her article, “Ghosting the Confederacy” and references the Confederate Sailors and Soldiers Monument in Birmingham, AL. Dr. Liebell highlights Howard University’s grant to digitize and archive Black newspapers required for research across disciplines. Susan Liebell is Dirk Warren '50 Professor of Political Science at Saint Joseph’s University in Philadelphia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Antarcticness: Inspirations and Imaginaries (UCL Press, 2022) edited by Ilan Kelman Antarcticness joins disciplines, communication approaches, and ideas to explore meanings and depictions of Antarctica. Personal and professional words in poetry and prose, plus images, present and represent Antarctica, as presumed and as imagined, alongside what is experienced around the continent and by those watching from afar. These understandings explain how the Antarctic is viewed and managed while identifying aspects that should be more prominent in policy and practice. The authors and artists place Antarctica, and the perceptions and knowledge through Antarcticness, within inspirations and imaginations, without losing sight of the multiple interests pushing the continent’s governance as it goes through rapid political and environmental changes. Given the diversity and disparity of the influences and changes, the book’s contributions connect to provide a more coherent and encompassing perspective of how society views Antarctica, scientifically and artistically, and what the continent provides and could provide politically, culturally, and environmentally. Offering original research, art, and interpretations of different experiences and explorations of Antarctica, explanations meld with narratives while academic analyses overlap with first-hand experiences of what Antarctica does and does not – could and could not – bring to the world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Michael Vanhartingsveldt is a contributing columnist at Buddhistdoor Global. He works full-time at the Los Angeles Country Museum of Art. He did his masters in East Asian Art Business at Sotheby’s Institute of Art, and he also works as a lecturer for the Japan Foundation. Michael collaborates on "Carving the Divine TV" with filmmaker Yujiro Seki. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

France, officially, is a secular nation. Yet Catholicism is undeniably a monumental presence, defining the temporal and spatial rhythms of Paris. At the same time, it often fades into the background as nothing more than “heritage.” In a creative inversion, Elayne Oliphant asks in The Privilege of Being Banal what, exactly, is hiding in plain sight? Could the banality of Catholicism actually be a kind of hidden power? Exploring the violent histories and alternate trajectories effaced through this banal backgrounding of a crucial aspect of French history and culture, this richly textured ethnography lays bare the profound nostalgia that undergirds Catholicism’s circulation in nonreligious sites such as museums, corporate spaces, and political debates. Oliphant’s aim is to unravel the contradictions of religion and secularism and, in the process, show how aesthetics and politics come together in contemporary France to foster the kind of banality that Hannah Arendt warned against: the incapacity to take on another person’s experience of the world. A creative meditation on the power of the taken-for-granted, The Privilege of Being Banal: Art, Secularism, and Catholicism in Paris (University of Chicago Press, 2021) is a landmark study of religion, aesthetics, and public space. Elayne Oliphant is an assistant professor of anthropology and religious studies at New York University. Armanc Yildiz is a doctoral candidate in Social Anthropology with a secondary field in Studies in Women, Gender and Sexuality at Harvard University. He can be found on Twitter @arman_c. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Mongol period (1206-1368) marked a major turning point of exchange - culturally, politically, and artistically - across Eurasia. The wide-ranging international exchange that occurred during the Mongol period is most apparent visually through the inclusion of Mongol motifs in textile, paintings, ceramics, and metalwork, among other media. In In Mongol Court Dress, Identity Formation, and Global Exchange (Routledge, 2020), Eiren Shea investigates how a group of newly-confederated tribes from the steppe conquered the most sophisticated societies in existence in less than a century, creating a courtly idiom that permanently changed the aesthetics of China and whose echoes were felt across Central Asia, the Middle East, and even Europe. Eiren Shea is Assistant Professor of Art History at Grinnell College. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic’s fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music’s complicated romance. She reveals that Yankovic’s jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic’s forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Born and raised in Japan, Yujiro Seki discovered his passion for filmmaking when he was in high school. Yujiro earned a BA Degree in Film from the University of California, Berkeley. His forthcoming documentary film, "Carving the Divine," offers a rare and intimate look into the life and artistic process of modern-day Būshi – practitioners of a 1400 year lineage of woodcarving that’s at the beating heart of Japanese, Mahayana Buddhism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The humanities, considered by many as irrelevant for modern careers and hopelessly devoid of funding, seem to be in a perpetual state of crisis, at the mercy of modernizing and technological forces that are driving universities towards academic pursuits that pull in grant money and direct students to lucrative careers. But as Paul Reitter and Chad Wellmon show in Permanent Crisis: The Humanities in a Disenchanted Age (U Chicago Press, 2021), this crisis isn’t new—in fact, it’s as old as the humanities themselves. Today’s humanities scholars experience and react to basic pressures in ways that are strikingly similar to their nineteenth-century German counterparts. The humanities came into their own as scholars framed their work as a unique resource for resolving crises of meaning and value that threatened other cultural or social goods. The self-understanding of the modern humanities didn’t merely take shape in response to a perceived crisis; it also made crisis a core part of its project. Through this critical, historical perspective, Permanent Crisis can take scholars and anyone who cares about the humanities beyond the usual scolding, exhorting, and hand-wringing into clearer, more effective thinking about the fate of the humanities. Building on ideas from Max Weber and Friedrich Nietzsche to Helen Small and Danielle Allen, Reitter and Wellmon dig into the very idea of the humanities as a way to find meaning and coherence in the world. Paul Reitter is professor of Germanic languages and literatures at the Ohio State University. He is the author and editor of many books, including The Anti-Journalist: Karl Kraus and Jewish Self-Fashioning in Fin-de-Siecle Europe. Chad Wellmon is professor of German studies and history at the University of Virginia. He is the author and editor of many books, The Rise of the Research University: A Sourcebook and Organizing Enlightenment: Information Overload and the Invention of the Modern Research University. Alexandra Ortolja-Baird is Lecturer in Digital History and Culture at the University of Portsmouth. She tweets at @timetravelallie. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In Architecture, Philosophy, and the Pedagogy of Cinema: From Benjamin to Badiou (Routledge, 2021), Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

“Not a whisper. / Never laughter. / Buster, thank you / for disaster.” So wrote graduate student Dana Stevens, who would go on to become Slate’s resident film critic and podcaster. Her love affair with Buster Keaton – strictly platonic, as their “first sustained encounter” was decades after the actor’s passing in 1966 – began at a cinematheque in Alsace. But Stevens’ book about actor-director-gag man-stunt virtuoso Buster Keaton, Camera Man: Buster Keaton, The Dawn of Cinema, and the Invention of the Twentieth Century (Simon & Schuster, 2022), is more than the story of one man. Through Keaton, Stevens tells the story of modernity, one that includes the myths and scandals of the Hollywood Dream Factory but that goes far beyond the usual contours of the celebrity biography. In this conversation, Dana Stevens discusses the origins of this, her first full-length book project, weighs in on her favorite Keaton films, and reveals the particular challenges of working as a critic of contemporary franchise filmmaking. Dana Stevens has been Slate's film critic since 2006. She is also a cohost of the magazine's long-running weekly culture podcast, the Slate Culture Gabfest, and has written for the New York Times, the Washington Post, the Atlantic, and Bookforum. Stevens lives with her family in New York. You can follow her on Twitter @thehighsign. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. You can follow her on Twitter @sayanniething. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Metrics of Modernity: Art and Development in Postwar Turkey (University of California Press, 2022) is a vivid portrait of the art world of 1950s Turkey in which Sarah-Neel Smith offers a new framework for analyzing global modernisms of the twentieth century: economic development. After World War II, a cohort of influential Turkish modernists built a new art scene in Istanbul and Ankara. The entrepreneurial female gallerist Adalet Cimcoz, the art critic (and future prime minister) Bülent Ecevit, and artists like Aliye Berger, Füreya Koral, and Bedri Rahmi Eyüboğlu were not only focused on aesthetics. On the canvas, in criticism, and in the gallery, these cultural pioneers also grappled with economic questions—attempting to transform their country from a “developing nation” into a major player in the global markets of the postwar period. Smith’s book publishes landmark works of Turkish modernism for the first time, along with an innovative array of sources—from gossip columns to economic theory—to reveal the art world as a key site for the articulation of Turkish nationhood at midcentury. Reuben Silverman is a PhD candidate at University of California, San Diego Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

I am joined for my interview with Edward Tyerman by Ed Pulford, another host on our channel. Together, we discuss Edward’s new book, Internationalist Aesthetics: China and Early Soviet Culture (Columbia University Press, 2021). Internationalist Aesthetics examines how knowledge of China is produced in the early Soviet period through the aesthetic idiom of internationalism. Tyerman shows how artist intellectuals, especially Sergei Tretyakov, the book’s protagonist, make China affectively sensible for Russian audiences. Each chapter takes on a separate medium: travelogue, stage, film, and “bio-narrative,” to think through how Soviet aesthetes negotiate old and new forms to demystify China, a nation that even in the revolutionary environment of 1920s Russia, was still understood through recourse to orientalist tropes. The book ultimately spans a very short period, a slither of the 1920s, a moment of opportunity before the Guomindang’s persecution of the communists in China in 1927 and a moment of aesthetic possibility before the purges of the 1930s in Russia. Join us in our conversation about how a certain mode of “Chinese studies” emerges in the media aesthetics of this turbulent period. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Mexican artist Frida Kahlo adored adventure. In November, 1930, she was thrilled to realize her dream of traveling to the United States to live in San Francisco, Detroit, and New York. Still, leaving her family and her country for the first time was monumental. Only twenty-three and newly married to the already world-famous forty-three-year-old Diego Rivera, she was at a crossroads in her life and this new place, one filled with magnificent beauty, horrific poverty, racial tension, anti-Semitism, ethnic diversity, bland Midwestern food, and a thriving music scene, pushed Frida in unexpected directions. Shifts in her style of painting began to appear, cracks in her marriage widened, and tragedy struck, twice while she was living in Detroit. Frida in America: The Creative Awakening of a Great Artist (St. Martin's Press, 2020) is the first in-depth biography of these formative years spent in Gringolandia, a place Frida couldn’t always understand. But it’s precisely her feelings of being a stranger in a strange land that fueled her creative passions and an even stronger sense of Mexican identity. With vivid detail, Frida in America recreates the pivotal journey that made Senora Rivera the world famous Frida Kahlo. Jonathan Najarian is Lecturer of Rhetoric in the College of General Studies at Boston University. He is the editor of Comics and Modernism: History, Form, Culture, a collection of essays exploring the connections between avant-garde art and comics. He is also at work on a biography of the visual artist Lynd Ward, titled The Many Lives of Lynd Ward. He can be reached at joncn@bu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck that may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In Killing for Show: Photography, War, and the Media in Vietnam and Iraq (Rowman and Littlefield, 2020), Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. Through accounts of events such as My Lai massacre, the violent suppression of insurgent Fallujah, or the atrocities in Abu Ghraib, Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Julian Stallabrass talks to Pierre d’Alancaisez about the inescapable complicity of photography and media in warfare, the technical and social evolution of images as lethal weapons, and their changing role as witnesses or propaganda documents. Julian Stallabrass is an art historian, photographer, curator, and professor at the Courtauld Institute of Art. Thomas Dworzak’s Taliban studio photographs Documentary on Eugenie Goldberg’s Open Shutters of Iraq Execution of Nguyễn Văn Lém, photographed by Eddie Adams Lisa Barnard James Bridle’s Dronestagram Omer Fast’s 5000 feet is the Best  Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

“The importance of a drawing is immense, because it’s the architect’s language,” said the architect Louis Kahn to his masterclass in 1967. While most studies of Kahn focus on his built works or theory and use drawings mainly to illustrate these, this publication chooses to focus on Kahn's drawings as primary sources of insight into his architectural intelligence and imagination. Lavishly illustrated with over 900 high-quality reproductions of work by Kahn and his associates, incisively presented by a group of acclaimed architectural experts, The Importance of a Drawing is a deep immersion into Kahn’s work and his design process. A testament to Kahn’s masterly craft, this volume also makes a provocative primer on architectural representation by posing timely questions on how architects use drawings to see, learn, conjecture and reveal. Destined to become a standard reference on Kahn, this book is an essential addition to the libraries of established designers as well as students of architecture. The result of years of extensive research, The Importance of a Drawing contains original contributions and historical texts from Michael Merrill, Michael Benedikt, Michael B. Cadwell, Louis I. Kahn, Nathaniel Kahn, Sue Ann Kahn, David Leatherbarrow, Michael J. Lewis, Robert McCarter, Marshall D. Meyers, Jane Murphy, Harriet Pattison, Gina Pollara, Colin Rowe, David Van Zanten, Richard Wesley and William Whitaker. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ruth Ozeki, whose most recent novel is The Book of Form and Emptiness, speaks with critic Rebecca Evans and guest host Emily Hyde. This is a conversation about talking books, the randomness and serendipity of library shelves, and what novelists can learn in the editing room of a movie like Mutant Hunt. Ozeki is an ordained Zen Buddhist priest, and her novels unfold as warm-hearted parables that have been stuffed full of the messiness of contemporary life. The Book of Form and Emptiness telescopes from global supply chains to the aisles of a Michaels craft store and from a pediatric psychiatry ward to the enchanted stacks of the public library. The exigencies of environmental storytelling arch over this conversation. Evans asks Ozeki questions of craft (how to move a story through time, how to bring it to an end) that become questions of practice (how to listen to the objects stories tell, how to declutter your sock drawer). And we learn Ozeki’s theory of closure: her novels always pull together at the end so that readers are free to continue pondering the questions they raise. Mentioned in this episode: Mutant Hunt, directed by Tim Kinkaid (1987) My Year of Meats, Ruth Ozeki (1998) All Over Creation, Ruth Ozeki (2003) The Book of Form and Emptiness, Ruth Ozeki (2021) The Life-Changing Magic of Tidying Up, Marie Kondo (2014) Aarthi Vadde is Associate Professor of English at Duke University. Email: aarthi.vadde@duke.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Imaging Culture: Photography in Mali, West Africa (Indiana University Press, 2021) is a sociohistorical study of the meaning, function, and aesthetic significance of photography in Mali, West Africa, from the 1930s to the present. Spanning the dynamic periods of colonialism, national independence, socialism, and democracy, its analysis focuses on the studio and documentary work of professional urban photographers, particularly in the capital city of Bamako and in smaller cities such as Mopti and Ségu. Featuring the work of more than twenty-five photographers, it concentrates on those who have been particularly influential for the local development and practice of the medium as well as its international popularization and active participation in the contemporary art market. Imaging Culture looks at how local aesthetic ideas are visually communicated in the photographers' art and argues that though these aesthetic arrangements have specific relevance for local consumers, they transcend geographical and cultural boundaries to have value for contemporary global audiences as well. Imaging Culture is an important and visually interesting book that will become a standard source for those who study African photography and its global impact. Candace M. Keller is Associate Professor of African Art and Visual Culture in the Department of Art, Art History, and Design at Michigan State University. She also directs the Archive of Malian Photography (amp.matrix.msu.edu) and is Associate Director of Matrix: Center for Digital Humanities and Social Sciences at Michigan State University. Sara Katz is a Postdoctoral Associate in the History Department at Duke University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Beautiful Agitation: Modern Painting and Politics in Syria (University of California Press, 2020), by Anneka Lenssen, focuses on modern art practice in Syria from 1900 to 1965 and the ways that artists sought to link their painting to life forces and agitated energies. Examining the works of artists Kahlil Gibran, Adham Ismail, and Fateh al-Moudarres, Beautiful Agitation explores how painters in Syria activated the mutability of form to rethink relationships of figure to ground, outward appearance to inner presence, and self to world. Drawing on archival materials in Syria and beyond, Lenssen reveals new trajectories of painterly practice in a twentieth century defined by shifting media technologies, moving populations, and the imposition of violently enforced nation-state borders. The result is a study of Arab modernism that foregrounds rather than occludes efforts to agitate against imposed identities and intersubjective relations. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Follies in America: A History of Garden and Park Architecture (Cornell UP, 2021) examines historicized garden buildings, known as "follies," from the nation's founding through the American centennial celebration in 1876. In a period of increasing nationalism, follies―such as temples, summerhouses, towers, and ruins―brought a range of European architectural styles to the United States. By imprinting the land with symbols of European culture, landscape gardeners brought their idea of civilization to the American wilderness. Kerry Dean Carso's interdisciplinary approach in Follies in America examines both buildings and their counterparts in literature and art, demonstrating that follies provide a window into major themes in nineteenth-century American culture, including tensions between Jeffersonian agrarianism and urban life, the ascendancy of middle-class tourism, and gentility and social class aspirations. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How do we formulate alternative approaches to the world’s unresponsive or intractable dilemmas, from climate change, to inequality, to concentrations of authoritarian power? Keller Easterling argues that the search for singular solutions is a mistake. Instead, she offers the perspective of medium design, one that considers not only separate objects, ideas and events but also the space between them. This background matrix with all its latent potentials is profoundly underexploited in a culture that is good at naming things but not so good at seeing how they connect and interact. In case studies dealing with everything from automation and migration to explosive urban growth and atmospheric changes, Medium Design: Knowing How to Work on the World (Verso, 2021) looks not to new technologies for innovation but rather to sophisticated relationships between emergent and incumbent technologies. It does not try to eliminate problems but rather put them together in productive combinations. And it offers forms of activism for modulating power and temperament in organisations of all kinds. Keller Easterling speaks to Pierre d'Alancaisez about thinking in a world where 'nothing works', the paradoxical possibilities for solving concurrent problems, and the chances of winning games rigged by the Superbug. Keller Easterling is a designer, writer, and the Enid Storm Dwyer Professor of Architecture at Yale. She is the author of Extrastatecraft: The Power of Infrastructure Space (Verso, 2014) and numerous other books and articles. Easterling was a 2019 United States Artist Fellow in Architecture and Design, and the recipient of the 2019 Blueprint Award for Critical Thinking. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Designing Motherhood: Things that Make and Break Our Births (MIT Press, 2021), Michelle Millar Fisher and Amber Winick along with more than fifty contributors consider over a hundred designs that have defined the arc of human reproduction. The designed objects that surround people during menstruation, birth control, conception, pregnancy, childbirth, and early motherhood vary as oddly, messily, and dramatically as the stereotypes suggest. This volume considers a breadth of designs that have defined the relationships between people and babies during the past century. It is organized around four sections (Reproduction, Pregnancy, Birth, and Postpartum) and includes designs such as the menstrual cup, population policy posters, home pregnancy tests, tie-waist skirts, cesarean birth curtains, birth in film, the Kuddle Up blanket, breast pumps, and car seats. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists’ and art critics’ self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book’s theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A thirtieth‑century toxic jungle, a bathhouse for tired gods, a red‑haired fish girl, and a furry woodland spirit—what do these have in common? They all spring from the mind of Hayao Miyazaki, one of the greatest living animators, known worldwide for films such as My Neighbor Totoro, Princess Mononoke, Spirited Away, Howl’s Moving Castle, and The Wind Rises. In Miyazakiworld: A Life in Art (Yale UP, 2018), Japanese culture and animation scholar Susan Napier explores the life and art of this extraordinary Japanese filmmaker to provide a definitive account of his oeuvre. Napier insightfully illuminates the multiple themes crisscrossing his work, from empowered women to environmental nightmares to utopian dreams, creating an unforgettable portrait of a man whose art challenged Hollywood dominance and ushered in a new chapter of global popular culture. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims’ experiences through materiality and space. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Building the Black Arts Movement: Hoyt Fuller and the Cultural Politics of the 1960s (U Illinois Press, 2019) explores the history of the Black Arts Movement through the experience of activist and organizer, Hoyt W. Fuller (1923-1981). In the first book to document and analyze Fuller's profound influence on the movement, Jonathan Fenderson attends to the paradox between Fuller's central role in the Movement and his marginal place in African-American historiography. Though focused on Fuller, the project is not simply a biographer; it is a series of historical vignettes covering different aspects of Fuller's cultural activism. As it chronicles Fuller's life, the book also address pivotal events and formative moments that grant insight into the ways the Black Arts Movement took shape at the local level; the ways artists shaped the Movement; how race, class, gender, sexuality, and corporate interests impacted the Movement; and, especially, how recovering Hoyt Fuller's work fundamentally alters our knowledge of the Black Arts Movement Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Destinations in Mind: Portraying Places on the Roman Empire's Souvenirs (Oxford UP, 2021), Kimberly Cassibry asks how objects depicting different sites helped Romans understand their vast empire. At a time when many cities were written about but only a few were represented in art, four distinct sets of artefacts circulated new information. Engraved silver cups list all the stops from Spanish Cádiz to Rome while resembling the milestones that helped travellers track their progress. Vivid glass cups represent famous charioteers and gladiators competing in circuses and amphitheatres and offered virtual experiences of spectacles that were new to many regions. Bronze bowls commemorate forts along Hadrian's Wall with colourful enamelling typical of Celtic craftsmanship. Glass bottles display labelled cityscapes of Baiae, a notorious resort, and Puteoli, a busy port, both in the Bay of Naples. These artefacts and their journeys reveal an empire divided not into centre and periphery, but connected by roads that did not all lead to Rome. They bear witness to a shared visual culture that was divided not into high and low art but united by extraordinary craftsmanship. New aspects of globalization are apparent in the multi-lingual placenames that the vessels bear, in the transformed places that they visualize, and in the enriched understanding of the empire's landmarks that they impart. With in-depth case studies, Cassibry argues that the best way to comprehend the Roman Empire is to look closely at objects depicting its fascinating places. More information along with images from the book can be accessed on the author's new database. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Bald: 35 Philosophical Short Cuts (Yale UP, 2021) brings together thirty-five essays, originally published in the Times, on a wide range of topics, from the dimensions of Plato’s academy and the mysteries of Eleusis to Philip K. Dick, Mormonism, money, and the joy and pain of Liverpool Football Club fans. Simon Critchley has been a strong voice in popular philosophy for more than a decade. In an engaging and jargon‑free style, Critchley writes with honesty about the state of the world as he offers philosophically-informed and insightful considerations of happiness, violence, and faith. Stripped of inaccessible academic armatures, these short pieces bring philosophy out of the ivory tower and demonstrate an exciting new way to think in public. Simon Critchley is the Hans Jonas Professor of Philosophy at the New School for Social Research and the moderator of the New York Times’ Stone column. He is a board member of the Onassis Foundation, and his most recent book is Tragedy, the Greeks, and Us. He lives in Brooklyn, NY. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Want to read a fantastic book about art, love, politics, and resistance during the Second World War? Jeffrey H. Jackson's Paper Bullets: Two Artists Who Risked Their Lives to Defy the Nazis (Algonquin Books, 2020) is a riveting account of the lives of Lucy Schwob/Claude Cahun) and Suzanne Malherbe/Marcel Moore, two French artists whose remarkable creative and romantic relationship spanned many tumultuous decades. The story of their love and work activates important themes and questions regarding the histories of art, gender, sexuality, the avant-garde, Jewishness, and more during this period of French and European history. Offering readers fresh perspective on the deep connection that Lucy/Claude and Suzanne/Marcel shared, the book is focused on the period from the late-1930s through the end of the Second World War when the pair lived together on the German-Occupied island of Jersey in the English Channel. Drawing on extensive research in archives hitherto been neglected by other scholars, Paper Bullets tells the fascinating story of the ways Lucy and Suzanne challenged German authority through a secret campaign of "paper bullets," notes and other tokens they left for German soldiers to find in unexpected places--a church collection box, the windshield of a car, a coat pocket, etc. These missives posed questions, made jokes, expressed resistance, and eventually got the two arrested, tried, and sentenced to death (the sentence was appealed just before the end of the war). Exciting and inspiring, this history will be compelling to readers across multiple fields and interests. I just couldn't put it down and was delighted to have this chance to speak to its author. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and its empire. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of the “real” world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality (Routledge, 2021) is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. Grant Tavinor speaks to Pierre d’Alancaisez about some of the fundamental features of virtual reality, the implications of working in a picturing medium, as well as the challenges that VR poses to the philosophy of the arts and ethics. Grant Tavinor is Senior Lecturer in Philosophy at Lincoln University, New Zealand. He has published widely on the aesthetics of videogames, virtual worlds, digital media ethics, and the philosophy of technology. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Midori Yamamura’s Yayoi Kusama: Inventing the Singular (MIT Press, 2015) is an in-depth examination of the famed artist’s early years in Japan and the United States. Based on extensive research in Kusama’s archives as well as interviews with Kusama herself, Inventing the Singular both tracks the evolution of Kusama’s artistic practice and maps the artistic, social, and political contexts in which Kusama developed as an artist. The result is as much an analysis of the development of a globalized art world after the end of World War II as a study of one artist, however influential. The book begins with Kusama’s childhood in Japan before following her integration into artist groups, styles, and themes with a steadily more international focus. Yamamura’s careful scholarship seizes on connections to movements as diverse as Surrealism, Pop Art, and the Dutch Nul group to show how art dealers’ nascent control of the global art market encouraged the careers of white male artists at the expense of artists such as Kusama. Yamamura’s highlighting of the context in which Kusama’s career was established brings into stark relief just how striking the artist’s many achievements are. The book further shows how a variety of artists from around the world responded to the post-World War II end of their fascist governments by experimenting in similar ways and questioning the role of art in society. Inventing the Singular is the first book-length treatment of Kusama’s oeuvre in English outside of exhibit catalogues, an opportunity that Yamamura exploits to cross continents and art movements in a virtuosic analysis of the post-WWII art world. Amanda Kennell is a scholar of modern Japanese media who works on digital and public humanities projects. I'm currently finishing up a book about Japanese adaptations of Lewis Carroll's Alice in Wonderland novels as an Assistant Teaching Professor of International Studies at North Carolina State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In less than half a century, the Socialist Federal Republic of Yugoslavia successfully defeated Fascist occupation, fended off dominating pressures from the Eastern and Western blocs, built a modern society on the ashes of war, created its own form of socialism, and led the formation of the Nonaligned Movement. This country's principles and its continued battles, fought against all odds, provided the basis for dynamic and exceptional forms of art. Drawing on archival materials, postcolonial theory, and Eastern European socialist studies, Nonaligned Modernism: Socialist Postcolonial Aesthetics in Yugoslavia, 1945-1985 (McGill-Queen's UP, 2020) chronicles the emergence of late modernist artistic practices in Yugoslavia from the end of the Second World War to the mid-1980s. Situating Yugoslav modernism within postcolonial artistic movements of the twentieth century, Bojana Videkanic explores how cultural workers collaborated with others from the Global South to create alternative artistic and cultural networks that countered Western hegemony. Videkanic focuses primarily on art exhibitions along with examples of international cultural exchange to demonstrate that nonaligned art wove together politics and aesthetics, and indigenous, Western, and global influences. An interdisciplinary book, Nonaligned Modernism highlights Yugoslavia's key role in the creation of a global modernist ethos and international postcolonial culture. Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A unique, illustrated book that aspires to bring medieval history closer to the general audience will change the way you see medieval history, The Middle Ages: A Graphic History (Icon Books, 2021) busts the myth of the ‘Dark Ages’, shedding light on the medieval period’s present-day relevance in a unique illustrated style. This history takes us through the rise and fall of empires, papacies, caliphates and kingdoms; through the violence and death of the Crusades, Viking raids, the Hundred Years War and the Plague; to the curious practices of monks, martyrs and iconoclasts. We’ll see how the foundations of the modern West were established, influencing our art, cultures, religious practices and ways of thinking. And we’ll explore the lives of those seen as ‘Other’ – women, Jews, homosexuals, lepers, sex workers and heretics. Join historian Eleanor Janega and illustrator Neil Max Emmanuel on a romp across continents and kingdoms as we discover the Middle Ages to be a time of huge change, inquiry and development – not unlike our own. Eleanor Janega is a medieval historian at the London School of Economics specializing in sexuality, propaganda, apocalypticism, and the urban experience in the medieval period generally and in late medieval Bohemia in particular. Her focus is on communicating medieval history for a general audience, and to that end she blogs at going-medieval.com and has written for The Washington Post, BBC History and History Today among others. At the same time, she can also be found hosting medieval history programs on History Hit TV. Neil Max Emmanuel is a motion graphics animator, illustrator, storyboard artist, cartoonist, visual facilitator, media trainer, and consultant. For ten years he has worked for Channel 4’s Time Team alongside the country’s leading historical experts and filmmakers. He has worked for many historical documentaries for BBC, Channel 4, National Geographic and History Channel to name a few. Evan Zarkadas is a graduate student of European history at the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Jack Robinson made his name as a much-sought-after fashion and celebrity photographer during the 1960s and early 1970s, and his work is well documented in hundreds of pages of Vogue, the New York Times, and Life, as well as other publications. However, his personal life remains virtually unknown. In this study of Robinson and his photography, Howard Philips Smith takes an in-depth look at Robinson’s early life in New Orleans, where he discovered his passion for painting, photography, and the Dixie Bohemian life of the French Quarter. A Sojourn in Paradise: Jack Robinson in 1950s New Orleans (UP of Mississippi, 2020) features more than one hundred photographs taken by the artist, accompanied by detailed commentary about Robinson’s life in New Orleans and excerpts from interviews with the people who knew him when he lived there. Robinson’s photographs of New Orleans reveal the genesis of two unique and fascinating facets of the city’s history and culture: the creation of the first gay Carnival krewes who would make their own unique contribution to the rich cultural history of the city and the formation of the Orleans Gallery, one of the earliest centers of the contemporary art movement blossoming in 1950s America. This detailed study of Jack Robinson’s early life and photography illustrates the contributions of a gifted, gay artist whose quiet spirit and constant interior struggle found refuge in New Orleans, the city where he was able to find himself, for a time, free from society’s grip and open to exploring life on his own terms. Other interviews by Isabel Machado with Howard Philips Smith: Southern Decadence in New Orleans Unveiling the Muse The Lost History of Gay Carnival in New Orleans Isabel Machado is Research Associate with the SARChI Chair in South African Art and Visual Culture hosted by the Faculty of Art, Design & Architecture at the University of Johannesburg. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Western ruins have long been understood as objects riddled with temporal contradictions, whether they appear in baroque poetry and drama, Romanticism’s nostalgic view of history, eighteenth-century paintings of classical subjects, or even recent photographic histories of the ruins of postindustrial Detroit. Decay and Afterlife: Form, Time, and the Textuality of Ruins, 1100 to 1900 (U Chicago Press, 2021) pivots away from our immediate, visual fascination with ruins, focusing instead on the textuality of ruins in works about disintegration and survival. Combining an impressive array of literary, philosophical, and historiographical works both canonical and neglected, and encompassing Latin, Italian, French, German, and English sources, Aleksandra Prica addresses ruins as textual forms, examining them in their extraordinary geographical and temporal breadth, highlighting their variability and reflexivity, and uncovering new lines of aesthetic and intellectual affinity. Through close readings, she traverses eight hundred years of intellectual and literary history, from Seneca and Petrarch to Hegel, Goethe, and Georg Simmel. She tracks European discourses on ruins as they metamorphose over time, identifying surprising resemblances and resonances, ignored contrasts and tensions, as well as the shared apprehensions and ideas that come to light in the excavation of these discourses. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Black Gathering: Art, Ecology, Ungiven Life (Duke UP, 2021), Dr. Sarah Jane Cervenak engages with Black artists and writers who create alternative spaces for Black people to gather free from interruption or regulation. Drawing together Black feminist theory, critical theories of ecology and ecoaesthetics, and Black aesthetics, Cervenak shows how novelists, poets, and visual artists such as Gayl Jones, Toni Morrison, Clementine Hunter, Samiya Bashir, and Leonardo Drew advance an ecological imagination that unsettles Western philosophical ideas of the earth as given to humans. In their aestheticization and conceptualization of gathering, these artists investigate the relationships among art, the environment, home, and forms of Black togetherness. Cervenak argues that by offering a formal and conceptual praxis of gathering, Black artists imagine liberation and alternative ways of being in the world that exist beyond those Enlightenment philosophies that presume Black people and earth as given to enclosure and ownership. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Partisan Aesthetics: Modern Art and India's Long Decolonization (Stanford UP, 2020), Sanjukta Sunderason explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, she argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Attempting to derive aesthetic systems from natural structures of human cognition, designers looked toward the “savage mind”—a way of thinking they associated with a racialized subaltern. In Savage Mind to Savage Machine: Racial Science and Twentieth-Century Design (U Minnesota Press, 2021), Ginger Nolan uncovers an enduring relationship between “the savage” and the development of technology and its wide-ranging impact on society, including in the fields of architecture and urbanism, the industrial arts, and digital design. Nolan focuses on the relationship between the applied arts and the structuralist social sciences, proposing that the late-nineteenth-century rise of Freudian psychology, ethnology, and structuralist linguistics offered innovations and new opportunities in studying human cognition. She looks at institutions ranging from the Public Industrial Arts School of Philadelphia and the Weimar Bauhaus to the MIT Media Lab and the Centre Mondial Informatique, revealing a persistent theme of twentieth-century design: to supplant language with more subliminal, aesthetic modes of communication, thereby inculcating a deep intimacy between human habit and new technologies of production, communication, and consumption. This book’s ultimate critique is of the development of the ergonomics of the spirit—the design of the human cognitive apparatus in relation to new aesthetic technologies. Nolan sees these ergonomics as a means of depoliticizing societies through aesthetic technologies intended to seamlessly integrate humans into the programs of capitalist modernity. Revising key modernist design narratives, Savage Mind to Savage Machine provides a deep historical foundation for understanding our contemporary world. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

If one were to devise a motto for the art school of today, the choice between 'you too are an artist' and 'abandon all hope you who enter here' would be difficult. Despite significant changes in mainstream art education in recent decades, many anglophone art schools have not abandoned the principal tools of the masterclass or the crit that stem from some stubborn 18th-century ideas and the belief that creativity is the preserve of the artistic genius. Considering these histories can shed light on the role of the art school in the 21st century. Research on art schools has been largely occupied with the facts of particular schools and teachers. Michael Newall's A Philosophy of the Art School (Routledge, 2021) presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The book draws on first-hand accounts of art school teaching and is deeply informed by disciplines ranging from art history and art theory to the philosophy of art, education and creativity. Michael Newall speaks to Pierre d'Alancaisez about the masterclass and the crit, the pervasive idea of the Romantic genius, creative disagreements with Kant, and the lessons for the future that a historical perspective may offer. Michael Newall is a programme leader in art and philosophy at the University of Kent. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Becoming Palestine: Toward an Archival Imagination of the Future (Duke UP, 2021), Gil Z. Hochberg examines how contemporary Palestinian artists, filmmakers, dancers, and activists use the archive in order to radically imagine Palestine's future. She shows how artists such as Jumana Manna, Kamal Aljafari, Larissa Sansour, Farah Saleh, Basel Abbas, and Ruanne Abou-Rahme reimagine the archive, approaching it not through the desire to unearth hidden knowledge, but to sever the identification of the archive with the past. In their use of archaeology, musical traditions, and archival film and cinematic footage, these artists imagine a Palestinian future unbounded from colonial space and time. By urging readers to think about archives as a break from history rather than as history's repository, Hochberg presents a fundamental reconceptualization of the archive's liberatory potential. Gil Hochberg is Ransford Professor of Hebrew and Comparative Literature, and Middle East Studies at Columbia University and Chair of MESAAS. Fulya Pinar is a PhD candidate in the department of Anthropology at Rutgers University. Her work focuses on alternative solidarities, refugee care, and displacement in Turkey and the Middle East. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of QUEER VOICES OF THE SOUTH, I talk with ANDREW J. KUNKA, who is a professor of English and division chair at the University of South Carolina Sumter. He is the author of the book Autobiographical Comics and has also published articles and book chapters on Will Eisner, Kyle Baker, Doug Moench, Jack Katz, and Dell Comics. The Life and Comics of Howard Cruse: Taking Risks in the Service of Truth (Rutgers UP, 2021) tells the remarkable story of how a self-described “preacher’s kid” from Birmingham, Alabama, became the so-called “Godfather of Gay Comics.” This study showcases a remarkable fifty-year career that included working in the 1970s underground comics scene, becoming founding editor of the groundbreaking anthology series Gay Comix, and publishing the graphic novel Stuck Rubber Baby, partially based on his own experience of coming of age in the Civil Rights era. Through his exploration of Cruse’s life and work, Andrew J. Kunka also chronicles the dramatic ways that gay culture changed over the course of Cruse’s lifetime, from Cold War-era homophobia to the gay liberation movement to the AIDS crisis to the legalization of gay marriage. Highlighting Cruse’s skills as a trenchant satirist and social commentator, Kunka explores how he cast a queer look at American politics, mainstream comics culture, and the gay community’s own norms. Lavishly illustrated with a broad selection of comics from Cruse’s career, this study serves as a perfect introduction to this pioneering cartoonist, as well as an insightful read for fans who already love how his work sketched a new vision of gay life. Morris Ardoin is the author of Stone Motel – Memoirs of a Cajun Boy (2020, University Press of Mississippi), which was optioned for TV/film development in 2021. A communications leader in health care, immigration and asylum, and higher education, his work has appeared in national and international media. He divides his time between New York City and Cornwallville, New York, where he does most of his writing. His blog, “Parenthetically Speaking,” which focuses on life as a writer, home cook, and Cajun New Yorker, can be found at www.morrisardoin.com. Twitter: @morrisardoin Instagram: morrisardoin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How can we make creative industries fair and inclusive? In Reimagining the Creative Industries: Youth Creative Work, Communities of Care (Routledge, 2021), Miranda Campbell, an associate professor in the School of Creative Industries at Ryerson University, explores this question theoretically and empirically to present a new vision for both young creative workers and creative production itself. Drawing on ideas of ordinariness and the everyday, along with the need for care and inclusivity, the book is critical of current creative industry practice at corporate level, whilst offering new models and new methods for making culture. With examples from a range of art and cultural forms, the book is essential reading for creative industries, arts and humanities, and social science scholars, as well as for creative practitioners everywhere. Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Mary Sully was many things: a Dakota woman, an artist, and an American living through a heyday of early celebrity culture in the United States. All of these facets of her life and of her context are present in her art. In Becoming Mary Sully: Toward an American Indian Abstract (University of Washington Press, 2019), Harvard University professor and OAH President (and direct Sully relative) Phil Deloria uncovers Sully's artwork, long tucked away in family attics, and explains why it matters. Deloria argues that Sully's abstract "personality prints" representing various American celebrities of the early 20th century placed her outside the mainstream of the often "primitivist" Native art world of the era. Instead, Sully planted one foot firmly in modernism, while keeping the other rooted in Native art traditions, making her impossible to classify as one thing or another. Deloria tells a remarkably personal and beautiful story of an unheralded master of visual arts gazing into a new American and American Indian future and representing what she sees in vibrant color and intricate patterns, defying easy categorization and expectation. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Architecture and the Senses in the Italian Renaissance: The Varieties of Architectural Experience (Cambridge UP, 2021) is the first study of Renaissance architecture as an immersive, multisensory experience that combines historical analysis with the evidence of first-hand accounts. Questioning the universalizing claims of contemporary architectural phenomenologists, David Karmon emphasizes the infinite variety of meanings produced through human interactions with the built environment. His book draws upon the close study of literary and visual sources to prove that early modern audiences paid sustained attention to the multisensory experience of the buildings and cities in which they lived. Through reconstructing the Renaissance understanding of the senses, we can better gauge how constant interaction with the built environment shaped daily practices and contributed to new forms of understanding. Architecture and the Senses in the Italian Renaissance offers a stimulating new approach to the study of Renaissance architecture and urbanism as a kind of 'experiential trigger' that shaped ways of both thinking and being in the world. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2021, a team of divers led by renowned maritime archaeologist Dr Michael Flecker and sponsored by the ISEAS-Yusof Ishak Institute surveyed two historic shipwrecks discovered in the Singapore Strait, working for several months to bring their submerged cargos to the surface. Chinese trade ceramics found in these cargos date their demise to the fourteenth and eighteenth centuries – pivotal moments in the history of the globe-spanning China Trade. The most intriguing aspect of this salvage operation, however, is the discovery in the remains of the older vessel of the most substantial cargo of Yuan-dynasty blue-and-white porcelain yet found in Southeast Asian waters. Joining Dr Natali Pearson on SSEAC Stories, Dr Alex Burchmore argues that these discoveries provide valuable insights into the complex interactions between China and Southeast Asia, allowing us to reposition Southeast Asia at the centre of historic trade narratives. Through the international trade of Chinese ceramics, Dr Burchmore invites us to reimagine the past, rethinking traditional narratives of Chineseness across the region, as well as Australia’s identity in the Asia-Pacific. About Alex Burchmore: Dr Alex Burchmore is an art historian specialising in the study of Chinese and Southeast Asian art, past and present, with a particular focus on ceramics, trade and exchange, and the interweaving of the personal and material. Alex received his PhD from the Australian National University in 2019 and joined the University of Sydney’s Museum and Heritage Studies department in 2021. His first book, New Export China: Translations Across Time and Place in Contemporary Chinese Porcelain Art (University of California Press, 2023), traces the extent to which artists within and beyond China have used porcelain to shape their personal, historical, and cultural identities, from the 1990s to the present. His recent publications include a study of the ‘material Chineseness’ of ink and porcelain in the Australian and New Zealand Journal of Art and a chapter dedicated to the ‘fugitive luxury’ of contemporary Chinese ceramics in The Allure of Matter: Materiality Across Chinese Art (University of Chicago Press, 2021). For more information or to browse additional resources, visit the Sydney Southeast Asia Centre’s website: www.sydney.edu.au/sseac. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System: The Art of Parasitical Resistance (Duke UP, 2020), Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism, a tactic of complicity that effect subversion from within hegemonic structures. Anna Watkins Fisher speaks to Pierre d'Alancaisez about the underhand tactics of the parasite - artists like the collective Ubermorgen, Núria Güell, the writer Chris Krauss, or Roisin Byrne - by which it appropriates the logic of their hosts - Amazon, the Spanish State, Dick, and in the case of Byrne, Watkins Fisher herself. Ubermorgen, Amazon Noir Núria Güell, Stateless by Choice, Humanitarian Aid Marina Abramović, The Artist is Present Ann Liv Young archive.org capture, Sheryl Is Present Lauren Barri Holstein Anna Watkins Fisher is a cultural and media theorist whose research spans the fields of digital studies, performance studies, visual culture, environmental humanities, and critical theory. She is an associate professor in the Department of American Culture at the University of Michigan, Ann Arbor. The Play in the System is available as an open-source download. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Shajar al-Durr--known as "Tree of Pearls"--began her remarkable career as a child slave, given as property to Sultan Salih of Egypt. She became his concubine, was manumitted, became his wife, served as governing regent, and ultimately rose to become the legitimately appointed sultan of Egypt in 1250 after her husband's death. Shajar al-Durr used her wealth and power to add a tomb to his urban madrasa; with this innovation, madrasas and many other charitably endowed architectural complexes became commemorative monuments, a practice that remains widespread today. A highly unusual case of a Muslim woman authorized to rule in her own name, her reign ended after only three months when she was forced to share her governance with an army general and for political expediency to marry him. Despite the fact that Shajar al-Durr's story ends tragically with her assassination and hasty burial, her deeds in her lifetime offer a stark alternative to the continued belief that women in the medieval period were unseen, anonymous, and inconsequential in a world that belonged to men. D. Fairchild Ruggles' Tree of Pearls: The Extraordinary Architectural Patronage of the 13th-Century Egyptian Slave-Queen Shajar Al-Durr (Oxford UP, 2020)--the first ever in English--places the rise and fall of the sultan-queen in the wider context of the cultural and architectural development of Cairo, the city that still holds one of the largest and most important collections of Islamic monuments in the world. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Founded in 1676 during a cosmopolitan early modern period, Mindröling monastery became a key site for Buddhist education and a Tibetan civilizational center. Its founders sought to systematize and institutionalize a worldview rooted in Buddhist philosophy, engaging with contemporaries from across Tibetan Buddhist schools while crystallizing what it meant to be part of their own Nyingma school. At the monastery, ritual performance, meditation, renunciation, and training in the skills of a bureaucrat or member of the literati went hand in hand. Studying at Mindröling entailed training the senses and cultivating the objects of the senses through poetry, ritual music, monastic dance, visual arts, and incense production, as well as medicine and astrology. Dominique Townsend investigates the ritual, artistic, and cultural practices inculcated at Mindröling to demonstrate how early modern Tibetans integrated Buddhist and worldly activities through training in aesthetics. Considering laypeople as well as monastics and women as well as men, A Buddhist Sensibility: Aesthetic Education at Tibet's Mindröling Monastery (Columbia UP, 2021) sheds new light on the forms of knowledge valued in early modern Tibetan societies, especially among the ruling classes. Townsend traces how tastes, values, and sensibilities were cultivated and spread, showing what it meant for a person, lay or monastic, to be deemed well educated. Combining historical and literary analysis with fieldwork in Tibetan Buddhist communities, this book reveals how monastic institutions work as centers of cultural production beyond the boundaries of what is conventionally deemed Buddhist. Jue Liang is scholar of Buddhism in general, and Tibetan Buddhism in particular. My research examines women in Tibetan Buddhist communities past and present using a combination of textual and ethnographical studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Banksy is the world's most famous living artist, yet no one knows who he is. For more than twenty years, his wryly political and darkly humorous spray paintings have appeared mysteriously on urban walls around the globe, generating headlines and controversy. Art critics disdain him, but the public (and the art market) love him. With Banksy: Completed (MIT Press, 2021), artist and critic Carol Diehl is the first author to probe the depths of the Banksy mystery. Through her exploration of his paintings, installations, writings, and Academy Award-nominated film, Exit Through the Gift Shop, Diehl proves unequivocally that there's more to Banksy than the painting on the wall. Seeing Banksy as the ultimate provocateur, Diehl investigates the dramas that unfold after his works are discovered, with all of their social, economic, and political implications. She reveals how this trickster rattles the system, whether during his month-long 2013 self-styled New York “residency” or his notorious Dismaland of 2015, a full-scale dystopian “family theme park unsuitable for children” dedicated to the failure of capitalism. Banksy's work, Diehl shows, is a synthesis of conceptual art, social commentary, and political protest, played out not in museums but where it can have the most effect—on the street, in the real world. The questions Banksy raises about the uses of public and private property, the role of the global corporatocracy, the never-ending wars, and the gap between artworks as luxury goods and as vehicles of social expression, have never been more relevant. Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Park Publishing, 2020), Anna Bokov examines the history of the Higher Art and Technical Studios (Vysshie khudozhestvenno-tekhnicheskie masterskie) in Moscow, known most commonly by its acronym Vkhutemas. Operating between 1920 and 1930, Vkhutemas was a centre for developing new pedagogical methods to support mass education in art and technology. In this richly illustrated study, Bokov traces how radical experiments in art, architecture, and design were translated into systematic body of knowledge – and how this knowledge was then applied in various projects aimed at shaping modern Soviet society. From small utensils and furniture pieces to large-scale urban designs, the Vkhutemas influence was visible everywhere, and Bokov foregrounds the school’s impact both on the formation of modernism, along with its lasting creative legacy. Anna Bokov is an architect, urban designer, and historian specialising in the history of the avant-garde movements and design pedagogy. She is a faculty member at the Cooper Union and the City College in New York and Fellow of the Centre for Advanced Studies in Architecture at ETH Zürich. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Firebird and the Fox: Russian Culture under Tsars and Bolsheviks (Cambridge UP, 2019) by Jeffrey Brooks, Professor of History at Johns Hopkins University, is a summa of his lifetime study of Russian culture. In doing so, Brooks provides a needed corrective to the prior standard work, now over 50 years old. Firebird and the Fox chronicles a century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it. Daniel Peris is Senior Vice President at Federated Hermes in Pittsburgh. He can be reached at DanielxPeris@gmail.com or via Twitter @HistoryInvestor. His History and Investing blog and Keep Calm & Carry On Investing podcast are at https://strategicdividendinves... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Part of the series CAHIM Connecting Art Histories in the Museum, Anna McSweeney's book From Granada to Berlin: The Alhambra Cupola (Kettler Verlag, 2020) is the story of an extraordinary survivor from the Alhambra palace in Granada, Spain: the Alhambra cupola, now in the Museum of Islamic Art in Berlin. The cupola, a ceiling crafted from carved and painted wood, was made to crown an exquisite mirador in one of the earliest palace buildings of the Alhambra. The book is the cupola's biography from its medieval construction to its imminent redisplay in Berlin. It traces the long history of the Alhambra through the prism of the cupola, from the Muslim craftsmen who built it, to its adaptation by the Christian conquerors after the fall of Granada in 1492, to its creation as a heritage site. The cupola was sketched by artists from across Europe before it was dismantled by a German financier and taken to Berlin in the 19th century. It witnessed the dramatic events of the 20th century in Germany and was eventually bought by the Museum in 1978. In recent decades, the new visibility of the cupola to the wider public has prompted questions about the object and its movement from Granada to Berlin. Its removal from the Alhambra and the complex reasons behind this loss is central to this biography. Setting the cupola within the wider context of Islamic heritage, it considers the role of collecting practices in the transformation of living monuments into heritage sites in the 20th century. This book presents a focused study of this unique object that cuts across academic disciplines and geographic boundaries to reveal a new perspective on the legacy of Islamic art in Europe and its continuing relevance today. Tanja Tolar is a Senior Teaching Fellow at the School of Oriental and African Studies in London. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

One of the most famous rulers in Chinese history, the Yongle emperor (r. 1402–24) gained renown for constructing Beijing’s magnificent Forbidden City, directing ambitious naval expeditions, and creating the world’s largest encyclopedia. What the Emperor Built: Architecture and Empire in the Early Ming (U Washington Press, 2020) is the first book-length study devoted to the architectural projects of a single Chinese emperor. Focusing on the imperial palaces in Beijing, a Daoist architectural complex on Mount Wudang, and a Buddhist temple on the Sino-Tibetan frontier, Aurelia Campbell demonstrates how the siting, design, and use of Yongle’s palaces and temples helped cement his authority and legitimize his usurpation of power. Campbell offers insight into Yongle’s sense of empire—from the far-flung locations in which he built, to the distant regions from which he extracted construction materials, and to the use of tens of thousands of craftsmen and other laborers. Through his constructions, Yongle connected himself to the divine, interacted with his subjects, and extended imperial influence across space and time. Spanning issues of architectural design and construction technologies, this deft analysis reveals remarkable advancements in timber-frame construction and implements an art-historical approach to examine patronage, audience, and reception, situating the buildings within their larger historical and religious contexts. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Email: ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rayna Denison’s Anime: A Critical Introduction (Bloomsbury, 2015) uses genre as a window into the evolving global phenomenon of Japanese animation. Denison’s wide-ranging analysis tackles the anime themselves – including classics such as Astro Boy, Akira, Urotsukidōji, Spirited Away, and Natsume’s Book of Friends – but also the mechanics behind anime production and distribution in Japan, the United States, and the United Kingdom. Tracking anime’s circulation through these locations over time reveals key differences in how generic terms such as horror, nichijōkei/slice-of-life, and even anime itself are understood. Examining production and distribution contexts like the industry and fan event, Tokyo International Anime Fair, further discloses how companies and fans contextualize and re-contextualize anime to encourage its popularization in new time periods and markets. Denison depicts anime as an intricate global phenomenon that is constantly metamorphosing even on the level of individual anime texts, which are at the extreme re-cut, re-scripted, and re-dubbed to fit new contexts in an eternal evolution. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently finishing up a book on Japanese adaptations of Lewis Carroll’s Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Japanese comics, commonly known as manga, are a global sensation. Critics, scholars, and everyday readers have often viewed this artform through an Orientalist framework, treating manga as the exotic antithesis to American and European comics. In reality, the history of manga is deeply intertwined with Japan’s avid importation of Western technology and popular culture in the early twentieth century. Comics and the Origins of Manga: A Revisionist History (Rutgers UP, 2021) reveals how popular U.S. comics characters like Jiggs and Maggie, the Katzenjammer Kids, Felix the Cat, and Popeye achieved immense fame in Japan during the 1920s and 1930s. Modern comics had earlier developed in the United States in response to new technologies like motion pictures and sound recording, which revolutionized visual storytelling by prompting the invention of devices like speed lines and speech balloons. As audiovisual entertainment like movies and record players spread through Japan, comics followed suit. Their immediate popularity quickly encouraged Japanese editors and cartoonists to enthusiastically embrace the foreign medium and make it their own, paving the way for manga as we know it today. By challenging the conventional wisdom that manga evolved from centuries of prior Japanese art and explaining why manga and other comics around the world share the same origin story, Comics and the Origins of Manga offers a new understanding of this increasingly influential artform. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The object as solid, having three dimensions, is not just a different formal trend, but a paradigm shift; a reconceiving of how the architectural object is produced and experienced, changing the very concept of objectivity and meaning of architecture. This book celebrates the potential of the strange object, which finds its origin in the proto-space―the moment between the becoming of the idea and the ultimate shape it takes; the state of the still obscure and ‘uninhibited’ object outside the established framework of signification. As seen through an examination of 10 projects by Archi-Tectonics, this strange object is proof of the very capacity of the object to generate new habits and meanings. For close to a century, modernism was the norm, presented to culturally aware citizens as the expression of modern life. It arrived hand in hand with medical advances, mass standardization, and a shared ideal of what the ease and speed of the modern lifestyle could offer. Only in the early years of the 21st century did our widespread allegiance begin to shift away from modernism and towards a new social realm. The digital revolution introduced online societies, niche cultures, and digital design. Digital manufacturing facilitated opportunities of surface patterning and the fabrication of one-off special building components, removing the constraints of standardization in the construction industry and celebrating the experimental. Testing designs through prototypes allows for a much more informed decision-making process. The focus is on precise, rigorous research and development, rather than representational models. Now, after nearly two decades of implementing digital tools, we have reached a new platform where digital design and robotic production are the norm, and by extension, digital craft and integral design are as the future. This has been particularly important in the rethinking of advanced digital design processes. As showcased and examined in Strange Objects, New Solids and Massive Forms (Actar, 2022), from the earliest projects and regardless of scale, Archi-Tectonics has valued performance over form, design intelligence over style. Through prototypes and mock-ups, process documentation and testimonials, the book presents 10 current and recent projects that celebrate the particular and singular over the ideal and universal. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

From 1952 to 1985, Louise Bourgeois (1911-2010) underwent extensive Freudian analysis that probed her family history, marriage, motherhood, and artistic ambition--and generated inspiration for her artwork. Examining the impact of psychoanalysis on Bourgeois's work, this volume offers insight into her creative process. Philip Larratt-Smith, Bourgeois's literary archivist, provides an overview of the artist's life and work and the ways in which the psychoanalytic process informed her artistic practice. An essay by Juliet Mitchell offers a cutting-edge feminist psychoanalyst's viewpoint on the artist's long and complex relationship with therapy. In addition, a short text written by Bourgeois (first published in 1991) addresses Freud's own relationship to art and artists. Featuring excerpts from Bourgeois's copious diaries, rarely seen notebook pages, and archival family photographs, Louise Bourgeois, Freud's Daughter (Yale UP, 2021) opens exciting new avenues for understanding an innovative, influential, and groundbreaking artist whose wide-ranging work includes not only renowned large-scale sculptures but also a plethora of paintings and prints. Isak de Vries is psychoanalyst in private practice in New York, NY. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A ground-breaking volume examining the transnational conditions of the European Enlightenment, Crafting Enlightenment: Artisanal Histories and Transnational Networks (Voltaire Foundation, 2021) argues that artisans of the long eighteenth-century on four different continents created and disseminated ideas that revolutionized how we understand modern-day craftsmanship, design, labor, and technology. Starting in Europe, this book journeys through France across the Atlantic Ocean to the Americas and then on to Asia and Oceania. Highlighting diverse identities of artisans, the authors trace how these historical actors formed networks at local and global levels to assert their own forms of expertise and experience. These artisans – some anonymous, eminent, and outside the margins – translated European Enlightenment thinking into a number of disciplines and trades including architecture, botany, ceramics, construction, furniture, gardening, horology, interior design, manuscript illustration, and mining. In each thematic section of this illustrated volume, two leading scholars present contrasting case studies of artisans in different geographic contexts. These paired chapters are also followed by shorter commentary that reflects on pertinent themes from both chapters. Emphasizing how and why artisanal histories around the world impacted civic and private life, commerce, cultural engagement, and sense of place, this book introduces new richness and depth to the conversations around the ambivalent and fragmented nature of the Enlightenment. Lauren R. Cannady, assistant clinical professor in University Honors at the University of Maryland, is a historian of early modern art and architecture with an interest in intellectual and cultural history. Jennifer Ferng is Senior Lecturer in Architecture and Postgraduate Director at the University of Sydney. She received her PhD from MIT. Alexandra Ortolja-Baird is Lecturer in Digital History and Culture at the University of Portsmouth. She tweets at @timetravelallie. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art’s development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Anne F. Harris. Anne wears two hats: she's a medieval art historian and president of Grinnell College. We talked about her new book Medieval Art 250-1450: Matter, Making, and Meaning (Oxford University Press, 2021), which she co-authored with Nancy M. Thompson. We also discussed the significance and relevance of Medieval art today, the transition from teaching to administration, what it's like to head a premiere liberal arts college in the age of Covid (and all else), and her vision for Grinnell. Marshall Poe is the founder and editor of the New Books Network. He's also a graduate of Grinnell College. He can be reached at marshallpoe@newbooksnetwork.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The volume, Performing Environmentalisms: Expressive Culture and Ecological Change, edited by John Holmes McDowell, Katherine Borland, Rebecca Dirksen, and Sue Tuohy (University of Illinois Press, 2021), illustrates the power of performing diverse environmentalisms to highlight alternative ways of human beingness to improve the prospects for maintaining life on the planet under threat. In the interview, I spoke with editors John McDowell and Rebecca Dirksen, who detail how poetics and performance represent strategies in managing human and nonhuman entanglements with contemporary, wicked problems (e.g., threats to bicultural diversity and rampant environmental degradation, unresolved colonial histories, and capitalist pressures). Understanding diverse environmentalisms as embodiments of knowing demonstrates “the power of performances and expressive culture to move people to action: resisting, negotiating, and finding solutions to environmental problems. These are not only performances of diverse environmentalisms, but sources of inspiration and strength for us all” (261). Performing Environmentalisms is an edited volume of ten essays broken up into three parts: Perspectives on Diverse Environmentalisms, Performing the Sacred, and Environmental Attachments. The compilation demonstrates how environmentalisms as artistic expression serve to curate tradition and create space for cultural sustainability. The array of case studies generates new strategies that incorporate a diverse set of peoples—injecting their knowledge, experiences, and practices into global conversations. Performing Environmentalisms: Expressive Culture and Ecological Change is a must read for anyone interested in investigating how creative, alternative sets of environmentalisms interpreted though traditional knowledges are integral to navigating local and global climate and ecological issues. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Arab graphic design emerged in the early twentieth century out of a need to influence, and give expression to, the far-reaching economic, social, and political changes that were taking place in the Arab world at the time. But graphic design as a formally recognized genre of visual art only came into its own in the region in the twenty-first century and, to date, there has been no published study on the subject to speak of. A History of Arab Graphic Design (AU of Cairo Press, 2020) traces the people and events that were integral to the shaping of a field of graphic design in the Arab world. Examining the work of over eighty key designers from Morocco to Iraq, and covering the period from pre-1900 to the end of the twentieth century, Bahia Shehab and Haytham Nawar chart the development of design in the region, beginning with Islamic art and Arabic calligraphy, and their impact on Arab visual culture, through to the digital revolution and the arrival of the Internet. Highlighting the work of key designers and stunningly illustrated with over 600 color images, they look at how cinema, economic prosperity, and political and cultural events gave birth to and shaped the founders of Arab graphic design. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Snapshots of the Soul: Photo-Poetic Encounters in Modern Russian Culture (Cornell UP, 2021) considers how photography has shaped Russian poetry from the early twentieth century to the present day. Drawing on theories of the lyric and the elegy, the social history of technology, and little-known archival materials, Molly Thomasy Blasing offers close readings of poems by Boris Pasternak, Marina Tsvetaeva, Joseph Brodsky, and Bella Akhmadulina, as well as by the late and post-Soviet poets Andrei Sen-Sen'kov, Arkadii Dragomoshchenko, and Kirill Medvedev, to understand their fascination with the visual language, representational power, and metaphorical possibilities offered by the camera and the photographic image. Within the context of long-standing anxieties about the threat that visual media pose to literary culture, Blasing finds that these poets were attracted to the affinities and tensions that exist between the lyric or elegy and the snapshot. Snapshots of the Soul reveals that at the core of each poet's approach to writing the photograph is the urge to demonstrate the superior ability of poetic language to capture and convey human experience. Molly T. Blasing holds degrees in Slavic Languages and Literatures from Harvard University (AB, 2002) and the University of Wisconsin-Madison (MA, 2006; PHD, 2014). After teaching at Florida State University, Wellesley College, and Oberlin College, she joined the faculty of the University of Kentucky as Assistant Professor of Russian Studies in 2014 and was promoted to Associate Professor in July 2021. Steven Seegel is Professor of Slavic and Eurasian Studies at The University of Texas at Austin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Karla Huebner’s Magnetic Woman: Toyen and the Surrealist Erotic (University of Pittsburgh Press, 2020) follows the life and career Czech artist Toyen (Marie Čermínová, 1902-1980). Toyen’s career spans the twentieth century, from the cultural flux of interwar Prague to postwar France. Huebner traces the growth, divergence, and fluidity of Czech as well as international avant-gardes. Eroticism, Huebner argues, centered Toyen’s life, settings, and art. Toyen’s ambiguous gender equally found its own place in the predominantly male Czech Devětsil group, lesbian milieus of interwar Paris, and André Breton’s postwar Surrealist network. So too did Toyen’s work in erotic drawings, book commissions, collage, and oil paintings, all generously represented in this monograph. Magnetic Woman hence unites art history with cultural and intellectual history. Huebner analyzes Toyen’s artistic collaborations and friendships with figures as diverse as Jindřich Štyrský, Karel Teige, and Philippe Soupault. She traces Toyen’s wide reading of European classics, contemporary writing, and psychological and sexual literature of the day. Huebner anchors Toyen’s artwork in these contexts throughout the monograph while showcasing its inherent originality and formal innovations. Magnetic Woman: Toyen and the Surrealist Erotic furnishes readers with both a fascinating biography of the artist and a map of the entangled histories of the Czech and French avant-gardes. Huebner’s work will interest scholars of interwar European history, of European sexuality and gender, art history, and international history alike, and the heavily illustrated monograph will intrigue scholars, general readers, and artists in equal measure. John Raimo is a PhD. Candidate in History at NYU finishing up my dissertation (on postwar publishing houses) this summer in European history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Contemporary Ukrainian and Baltic Art (Ibidem Press, 2021) focuses on political and social expressions in contemporary art of Ukraine, Estonia, Lithuania, and Latvia. It explores the transformations that art in Ukraine and the Baltic states has undergone since their independence in 1991, discussing how the conflicts and challenges of the last three decades have impacted the reconsideration of identity and fostered resistance of culture against economic and political crises. It analyzes connections between the past and the present as seen by the artists in these countries and looks at their visions of the future. Contemporary Ukrainian art portrays various perspectives, addressing issues from controversial historical topics to the present military conflict in the East of the country. Baltic art speaks out against the erasure of past historical traumas and analyzes the pertinence of its cultural scene to the European community. The contributions in this collection open a discussion of whether there is a single paradigm that describes the contemporary processes of art production in Ukraine and the Baltic countries. With contributions by Ieva Astahovska, Svitlana Biedarieva, Kateryna Botanova, Olena Martynyuk, Vytautas Michelkevičius, Lina Michelkeviče, Margaret Tali, and Jessica Zychowicz. Nataliya Shpylova-Saeed is a PhD candidate in the Department of Slavic and East European Languages and Cultures, Indiana University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

[This episode contains explicit content.] Artists from Kurt Cobain to Amy Winehouse command fascination not only for their work but also for their drug addictions and the manner of their death. Communions is an attempt to understand the role that opiates play in the artistic lives of those who are gripped by addiction. Channeling hallucinated versions of dead artists and junkies, these fragments access the uncanny allure of shared experience. Elements of speculative fiction, criticism and encrypted auto-biography merge to form a disconcerting portrait of the artist as addict. Neither denunciation nor valorization, Communions probes the haunting singularity of opiate addiction and its ineradicable influence on art and culture. Adam Lehrer speaks to Pierre d'Alancaisez about addiction and class, our fetish for the artist flirting with death, communing with his heroes, his experience of the opioid crisis, and the role for art criticism in unraveling these issues. Lehrer reads a chapter on Darby Crash from Communions. Adam Lehrer is a writer and art critic, but he’s also a former heroin addict himself. He blogs at Safety Propaganda. A Statement On My Severed Relationship With The Quietus Art's Moral Fetish Darby Crash Frisk, film based on a novel by Dennis Cooper Dash Snow Beautiful Boy, film based on memoirs by David and Nic Sheff Zoë Tamerlis Lund Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Art Work: Invisible Labour and the Legacy of Yugoslav Socialism (U Toronto Press, 2021), Katja Praznik counters the Western understanding of art – as a passion for self-expression and an activity done out of love – and instead builds a case for understanding art as a form of invisible labour. Focusing on the experiences of art workers and the history of labour regulation in the arts in socialist Yugoslavia, Praznik unpacks the contradiction at the heart of artistic production, and shines a light on how the economic reality of creative work has often been obscured by the mystification of artistic endeavour. Drawing on Marxist-feminist analysis, the book demonstrates the value of recognising that artistic labour is ultimately a category of work. In this way, Praznik offers a strategic framework for enhancing our understanding of the struggle for equity in the world of institutionalised art production. Katja Praznik is Associate Professor within the Arts Management Program at the University at Buffalo. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The female form has been a fraught site of filmic meaning – of desire and violence, of sex and death – from the very beginnings of cinema. But how deep do these meanings travel? How are our understandings of gender and sexuality not the stuff of screen representation but shaped by film technology and culture as well? Published in November 2020 by Fordham University Press, Genevieve Yue’s Girl Head: Feminism and Film Materiality, “in rich archival and technical detail… examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art.” In this discussion, Dr. Yue articulates her relationship to interdisciplinary research, traces her personal journey from dissertation to book, and argues for the centrality of material culture in feminist film studies. Genevieve Yue is an assistant professor in the Department of Culture and Media and director of the Screen Studies program at Eugene Lang College, the New School. Her essays and criticism have been published in October, Grey Room, The Times Literary Supplement, Reverse Shot, Artforum.com, Film Comment, and Film Quarterly. She is also an independent film programmer and serves on the Board of Trustees for the Flaherty Film Seminar. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, Ms., and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Our sense of smell is a uniquely visceral—and personal—form of experience. As Hsuan L. Hsu points out, smell has long been spurned by Western aesthetics as a lesser sense for its qualities of subjectivity, volatility, and materiality. But it is these very qualities that make olfaction a vital tool for sensing and staging environmental risk and inequality. Unlike the other senses, smell extends across space and reaches into our bodies. Hsu traces how writers, artists, and activists have deployed these embodied, biochemical qualities of smell in their efforts to critique and reshape modernity’s olfactory disparities. Hsuan L. Hsu's The Smell of Risk: Environmental Disparities and Olfactory Aesthetics (NYU Press, 2020) outlines the many ways that our differentiated atmospheres unevenly distribute environmental risk. Reading everything from nineteenth-century detective fiction and naturalist novels to contemporary performance art and memoir, Hsu takes up modernity’s differentiated atmospheres as a subject worth sniffing out. From the industrial revolution to current-day environmental crises, Hsu uses ecocriticism, geography, and critical race studies to, for example, explore Latinx communities exposed to freeway exhaust and pesticides, Asian diasporic artists’ response to racialized discourse about Asiatic odors, and the devastation settler colonialism has reaped on Indigenous smellscapes. In each instance, Hsu demonstrates the violence that air maintenance, control, and conditioning enacts on the poor and the marginalized. From nineteenth-century miasma theory theory to the synthetic chemicals that pervade twenty-first century air, Hsu takes smell at face value to offer an evocative retelling of urbanization, public health, and environmental violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How is emptiness made and what historical purpose does it serve? What cultural, material and natural work goes into maintaining 'nothingness'? Why have a variety of historical actors, from colonial powers to artists and urban dwellers, sought to construct, control and maintain (physically and discursively) empty space, and by which processes is emptiness discovered, visualised and reimagined? Courtney J. Campbell and Allegra Giovine's Empty Spaces: Perspectives on Emptiness in Modern History (U London Press, 2019) draws together contributions from authors working on landscapes and rurality, along with national and imperial narratives, from Brazil to Russia and Ireland. It considers the visual, including the art of Edward Hopper and the work of the British Empire Marketing Board, while concluding with a section that examines constructions of emptiness in relation to capitalism, development and the (re)appropriation of urban space. In doing so, it foregrounds the importance of emptiness as a productive prism through which to interrogate a variety of imperial, national, cultural and urban history. Sergio Lopez-Pineiro (Harvard Graduate School of Design) interviews authors on how the portrayal of emptiness and allied concepts (such as voids, nothingness, or limbo) in philosophical, political, religious, and social studies is influenced by the imagination and construction of physical space. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

European Decadence, a controversial artistic movement that flourished mainly in late-nineteenth-century France and Britain, has inspired several generations of Chinese writers and literary scholars since it was introduced to China in the early 1920s. Translated into Chinese as tuifei, which has strong hedonistic and pessimistic connotations, the concept of Decadence has proven instrumental in multiple waves of cultural rebellion, but has also become susceptible to moralistic criticism. Many contemporary scholars have sought to rehabilitate Chinese Decadence but have found it difficult to dissociate it from the negative connotations of tuifei. More importantly, few have reconnected Decadence with its steadfast pursuit of intellectual pleasure and unique paradoxes or explored the specific socio-historical conditions and cultural dynamics that gave rise to Decadence. Decadence in Modern Chinese Literature and Culture: A Comparative and Literary-Historical Reevaluation (Cambria Press, 2020) is the first comprehensive study of Decadence in Chinese literature since the early twentieth century. Standing at the intersection of comparative literature and cultural history, it transcends the framework of tuifei by locating European Decadence in its sociocultural context and uses it as a critical lens to examine Chinese Decadent literature and Chinese society. Its in-depth analysis reveals that some Chinese writers and literary scholars creatively appropriated the concept of Decadence for enlightenment purposes or to bid farewell to revolution. Meanwhile, the socialist system, by first fostering strong senses of elitism among certain privileged groups and then rescinding its ideological endorsement and material support, played a crucial role in the emergence of Chinese Decadent literature in the European sense. Decadence in Modern Chinese Literature and Culture is an important book for scholars and students interested in Decadence, modern Chinese literature and cultural history, Asian studies, and comparative literature. This book is in the Cambria Sinophone World Series headed by Victor H. Mair (University of Pennsylvania). Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Sandfuture (MIT Press, 2021) is a book about the life of the architect Minoru Yamasaki (1912–1986), who remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects—the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York—were both destroyed on national television, thirty years apart, makes his relative obscurity all the more remarkable. Sandfuture is also a book about an artist interrogating art and architecture’s role in culture as New York changes drastically after a decade bracketed by terrorism and natural disaster. From the central thread of Yamasaki’s life, Sandfuture spirals outward to include reflections on a wide range of subjects, from the figure of the architect in literature and film and transformations in the contemporary art market to the perils of sick buildings and the broader social and political implications of how, and for whom, cities are built. The result is at once sophisticated in its understanding of material culture and novelistic in its telling of a good story. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What do you do when you're not asleep and when you're not eating? You're most likely waiting--to finish work, to get home, or maybe even to be seen by your doctor. Hold On is less about how to manage all that staying where one is until a particular time or event (OED) than it is about describing how we experience waiting. Waiting can embrace things like hesitation and curiosity, dithering and procrastination, hunting and being hunted, fearing and being feared, dread and illness, courting and parenting, anticipation and excitement, curiosity, listening to and even performing music, being religious, being happy or unhappy, being bored and being boring. They're all explored here. Waiting is also characterized by brain chemicals such as serotonin and dopamine. They can radically alter the way we register the passing of time. Waiting is also the experience that may characterize most interpersonal relations--mismanage it at your own risk. Hold On: The Life, Science, and Art of Waiting (Oxford UP, 2020) contains advice on how to cope with waiting-how to live better-but its main aim is to show how important the experience of waiting is, in popular and highbrow culture, and, sometimes, in history. Detouring into psychology, neurology, ethology, philosophy, film, literature, and especially art, Peter Toohey's illuminates in unexpected ways one of the most common of human experiences. After reading his book, you'll never wait the same way again. Reyes Bertolin is a professor of Classics at the University of Calgary. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today, journalists, legal professionals, activists, and artists challenge the state's monopoly on investigation and the production of narratives of truth. They probe corruption, human rights violations, environmental crimes, and technological domination. Organisations such as WikiLeaks, Bellingcat, or Forensic Architecture pore over open-source videos and satellite imagery to undertake visual investigations. This combination of diverse fields is what Fuller and Weizman call 'investigative aesthetics': the mobilisation of sensibilities associated with art, architecture, and other such practices in order to challenge power. Investigative Aesthetics draws on theories of knowledge, ecology and technology; evaluates the methods of citizen counter-forensics, micro-history and art. These new practices take place in the studio and the laboratory, the courtroom and the gallery, online and in the streets, as they strive towards the construction of a new common sense. Matthew Fuller and Eyal Weizman speak to Pierre d'Alancaisez about the logics behind Forensic Architecture and the evidentiary turn: the aesthetics of distributed sensing, the investigative commons, and the condition of hyperaesthesia. Matthew Fuller is a Professor of Cultural Studies at Goldsmiths, University of London. He is the author of Media Ecologies, and with Andrew Goffey, Evil Media. Eyal Weizman is the founder and director of Forensic Architecture and Professor of Spatial and Visual Cultures at Goldsmiths, University of London. He is the author of Hollow Land, The Least of All Possible Evils, and Forensic Architecture: Violence at the Threshold of Detectability. Forensic Architecture investigation archive. Investigation: The Bombing of Rafah, 2015 Investigation: The Killing of Mark Duggan, 2020 ICA London exhibiiton. Investigation: Triple-Chaser, 2019 Protests surrounding the Whitney Museum's trustee Warren Kanders' involvement with Safariland. Kanders divests from his arms production holdings. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870 (UP of Mississippi, 2021) enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a "rebirth" because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780-c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Töpffer comic strip sparks to life in Britain, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War in 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much-neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Some fields have an easier time describing themselves than others. "History is the study of past events." "Biology is the study of living organisms." But art? Is art a discipline? Is it a practice? Who gets to answer this most fundamental of questions, and why do we prefer not to try? Between Discipline and a Hard Place, written from the perspective of a practising artist, proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Between Discipline and a Hard Place is a passionate treatise arguing for a new way of understanding art that forefronts the role of the artist and the importance of inclusion within both the concept of art and the art world. Alana Jelinek speaks to Pierre d'Alancaisez about a disciplined and disciplinary approach to thinking about art and its value outside the current preoccupation with economic considerations and the great potential of interdisciplinary working. Alana Jelinek is an artist and a researcher at the University of Hertfordshire. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Stephanie Khattak speaks with Carole Ann King, who, along with Mary Elizabeth “Sunshine” Johnson Huff, wrote Alabama Quilts: Wilderness Through World War II, 1682-1950 (UP of Mississippi, 2020). Alabama Quilts is a look at quilts of the state from before Alabama was part of the Mississippi Territory through the Second World War—a period of 268 years. The quilts are examined for their cultural context. This lens includes the community and time, the lives of the makers and role of women, and the events for which the quilts were made. Stephanie Khattak is a writer, artist, historian and folklore enthusiast. Visit stephaniekhattak.com to learn more, and connect on Twitter: @steph_khattak, Facebook: @khattakstudios or Instagram: @pinecurtainproject. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Boredom is a ubiquitous feature of modern life. Endured by everyone, it is both cause and effect of modernity, and of situations, spaces and surroundings. As such, this book argues, boredom shares an intimate relationship with architecture-one that has been seldom explored in architectural history and theory. Boredom, Architecture, and Spatial Experience (Bloomsbury, 2021) investigates that relationship, showing how an understanding of boredom affords us a new way of looking at and understanding the modern experience. It reconstructs a series of episodes in architectural history, from the 19th century to the present, to survey how boredom became a normalized component of the everyday, how it infiltrated into the production and reception of architecture, and how it serves to diagnose moments of crisis in the continuous transformations of the built environment. Erudite and innovative, the work moves deftly from architectural theory and philosophy to literature and psychology to make its case. Combining archival material, scholarly sources, and illuminating excerpts from conversations with practitioners and thinkers-including Charles Jencks, Rem Koolhaas, Sylvia Lavin, and Jorge Silvetti-it reveals the complexity and importance of boredom in architecture. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Anne Bogart's The Art of Resonance (Methuen Drama, 2021) locates the essence of theatre in the experience of resonant vibration among performers and between performers and audience members. The point of art, Bogart argues, is not to express oneself, but rather to create the conditions for "re-sounding," a process that requires both fully engaged performers and a fully engaged audience. Bogart draws on examples from music to physics to neuroscience in a book of essays that is animated by the same restless curiosity that characterizes her ground-breaking directing. This is a book for anyone interested in the profound question of why we are drawn to the theatre both as artists and as audiences. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How does colonialism still shape museums today? In Cataloguing Culture: Legacies of Colonialism in Museum Documentation (UBC Press, 2020), Hannah Turner, an assistant professor in the School of Information at the University of British Columbia, reveals the complex history of cataloguing museum collections. Using a case study of The Smithsonian, the book details the material practices that underpin the contested collections of the National Museum of Natural History. Turner’s research charts the early uses of ledgers and record books, through the use of drawings, card catalogues, and typed records, to computerisation of the collections’ records. The analysis has important implications for contemporary debates over repatriation of collections, and the book is powerful illustration of the importance of understanding the long shadow of colonial practices and knowledges on the contemporary institution. Cataloguing Culture is essential reading for practitioners and academics, as well as for anyone interested in the past, and the future, of museums. Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Digital tools have launched architecture into a dizzying new era, one in which wood, stone, metal, glass, and other traditional materials are augmented by pixels and code. In The Materiality of Architecture (U Minnesota Press, 2021), an eminent thinker examines what, exactly, the building blocks of architecture have meant over the centuries and how technology may—or may not—be changing how we think about them. Antoine Picon argues that materiality is not only about matter and that the silence and inscrutability—the otherness—of raw materials work against humanity’s need to live in a meaningful world. He describes how people define who they are, in part, through their specific physical experience of architectural materials and spaces. Indeed, Picon asserts, the entire paradox of the architectural discipline consists in its desire to render matter expressive to human beings. Through a retrospective review of canonical moments in Western European architecture, Picon offers an original perspective on the ways materiality has varied throughout centuries, demonstrating how experiences of the physical world have changed in relation to the evolution of human subjectivity. Ultimately, Picon concludes that computer-based design methods are not an abrupt departure from previous architectural traditions but rather a new way for architects to control material resources. The result reinforces the fundamentally humanistic nature of architectural endeavor with an increasing sense of design freedom and a release from material constraint in the digital era. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, Howard talks with Matthias Wivel, the Aud Jepsen Curator of Sixteenth-Century Italian Paintings at The National Gallery, about what it’s like to look after one of the world’s most celebrated collections, the challenges of mounting international exhibitions and the power of art. Howard Burton is the founder of Ideas Roadshow and host of the Ideas Roadshow Podcast. He can be reached at howard@ideasroadshow.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In a world that demands faith in progress and growth, Limbo (Fitzcarraldo, 2019) is a companion for the stuck, the isolated, delayed, stranded and those in the dark. Fusing memoir with a meditation on creative block and a cultural history of limbo, Dan Fox considers the role that fallow periods and states of inbetween play in art and life. Limbo is an essay about getting by when you can't get along, employing a cast of artists, ghosts and sailors - including the author's older brother who, in 1985, left England for good to sail the world - to reflect on the creative, emotional and political consequences of being stuck, and its opposites. From the Headington Shark to radical behavioural experiments, from life aboard a container ship to Sun Ra's cosmology, Limbo argues that there can be no growth without stagnancy, no movement without inactivity, and no progress without refusal. Sergio Lopez-Pineiro (Harvard Graduate School of Design) interviews authors on how the portrayal and use of emptiness and allied concepts (such as voids, nothingness, or limbo) in philosophical, political, religious, and social studies are influenced by the imagination and construction of physical space. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Howard chats with Dang Qun, one of the three founding partners of Beijing-based MAD architects, about aesthetics, history, cultural distinctiveness and architecture's unique balance of the concrete and ethereal. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The scientists affiliated with the early Royal Society of London have long been regarded as forerunners of modern empiricism, rejecting the symbolic and moral goals of Renaissance natural history in favor of plainly representing the world as it really was. In Aesthetic Science, Alexander Wragge-Morley challenges this interpretation by arguing that key figures such as John Ray, Robert Boyle, Nehemiah Grew, Robert Hooke, and Thomas Willis saw the study of nature as an aesthetic project. To show how early modern naturalists conceived of the interplay between sensory experience and the production of knowledge, Aesthetic Science: Representing Nature in the Royal Society of London, 1650-1720 (U Chicago Press, 2020) explores natural-historical and anatomical works of the Royal Society through the lens of the aesthetic. By underscoring the importance of subjective experience to the communication of knowledge about nature, Wragge-Morley offers a groundbreaking reconsideration of scientific representation in the early modern period and brings to light the hitherto overlooked role of aesthetic experience in the history of the empirical sciences. Alexander Wragge-Morley is a lecturer in the history of science and medicine at the University of Lancaster. His research seeks to understand how people in the past obtained knowledge through sensory experience. In doing so, he brings together histories of science, medicine, the body, the neurosciences, art, literature, and religion. Alexandra Ortolja-Baird is Lecturer in Digital History and Culture at the University of Portsmouth. She tweets at @timetravelallie. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Underlying every great city is a rich and vibrant culture that shapes the texture of life within. In The Speculative City: Art, Real Estate, and the Making of Global Los Angeles (U Minnesota Press, 2021), Susanna Phillips Newbury teases out how art and Los Angeles shaped one another’s evolution. She compellingly articulates how together they transformed the Southland, establishing the foundation for its contemporary art infrastructure, and explains how artists came to influence Los Angeles’s burgeoning definition as the global city of the twenty-first century. Pairing particular works of art with specific innovations in real estate development, The Speculative City reveals the connections between real estate and contemporary art as they constructed Los Angeles’s present-day cityscape. From banal parking lots to Frank Gehry’s designs for artists’ studios and museums, Newbury examines pivotal interventions by artists and architects, city officials and cultural philanthropists, concluding with an examination of how, in the wake of the 2008 global credit crisis, contemporary art emerged as a financial asset to fuel private wealth and urban gentrification. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Between Subjects: A Critical Genealogy of Queer Performance (Routledge, 2021) is a study of the connected ideas of "queer" and "gender performance" or "performativity" over the past several decades, providing an ambitious history and crucial examination of these concepts while questioning their very bases. The book traces how and why "queer" and "performativity" seem to belong together in so many discussions around identity, popular modes of gender display, and performance art. Drawing on art history and performance studies but also on feminist, queer, and sexuality studies, and postcolonial, indigenous, and critical race theoretical frameworks, it seeks to denaturalize these assumptions by questioning the US-centrism and white-dominance of discourses around queer performance or performativity. Dr. Amelia Jones is Robert A. Day Professor and Vice Dean of Academics and Research at the Roski School of Art & Design at the University of Southern California. Her recent publications include Seeing Differently: A History and Theory of Identification and Visual Arts and Otherwise: Imagining Queer Feminist Art Histories, co-edited with Erin Silver. The catalogue Queer Communion: Ron Athey, which she co-edited with Andy Campbell, and which accompanies a retrospective of Athey’s work at Participant Inc. (New York) and ICA (Los Angeles), was listed among “Best Art Books 2020” in the New York Times. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Thomas O. Haakenson's book Grotesque Visions: The Science of Berlin Dada (Bloomsbury, 2021) focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity. Lea Greenberg is a scholar of German studies with a particular focus on German Jewish and Yiddish literature and culture; critical gender studies; multilingualism; and literature of the post-Yugoslav diaspora. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Architecture Beyond Experience (Applied Research & Design, 2020) is a work in the service of one goal: the bringing about of a more relational, “posthuman” and yet humanist strain in architecture. It argues against the values that currently guide much architectural production (and the larger economy’s too), which is the making, marketing, and staging of ever more arresting experiences. The result, in architecture, is experientialism: the belief that what gives a building value, aside from fulfilling its shelter functions, is how its views and spaces make us personally feel as we move around it. The book argues that it’s time to find a deeper basis for making and judging architecture, a basis which is not personal-experience-multiplied, but which is dialogical and relational from the start. It uses the word relational to describe an architecture that guides people in search of encounter with (or avoidance of) each other and that manifests and demonstrates those same desires in its own forms, components, and materials. Buildings are beings. When architecture, they teach as well as protect; they tell us who we were and who we want to be; they exemplify, they deserve respect, invite investment, and reward affection. These are social-relational values, values that both underlie and go beyond experiential ones (sometimes called “phenomenological”). Such relational values have been suppressed, in part because architects have joined the Experience Economy, hardly noticing they have done so. Architecture Beyond Experience provides the argument and the concepts to ultimately re-center a profession. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is creativity? While our traditional view of creative work might lead us to think of artists as solitary visionaries, the creative process is profoundly influenced by social interactions even when artists work alone. Hannah Wohl speaks with Pierre d’Alancaisez about Bound by Creativity: How Contemporary Art Is Created and Judged (U Chicago Press, 2021), her ethnographic study of the New York contemporary art scene that reveals how artists develop conceptions of their distinctive creative visions through experimentation and social interactions and how aesthetic judgment evolves between artist studios, galleries, art fairs, and collectors’ houses. We mention Paula Cooper Gallery and the work of artists Lucky DeBellevue and Gina Beavers. The Armory Show takes place in NY in early September 2021. Hannah Wohl is an assistant professor in sociology at University of California, Santa Barbara. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Dr. Emilia Bachrach about In the Service of Krishna: Illustrating the Lives of Eighty-Four Vaishnavas from a 1702 Manuscript in the Amit Ambalal Collection (Mapin, 2020). The Pushtimarg, or the Path of Grace, is a Hindu tradition whose ritual worship of the deity Krishna has developed in close relationship to a distinct genre of early-modern Hindi prose hagiography. This bookintroduces readers to the most popular hagiographic text of the Pushtimarg which tells the sacred life stories of the community's first preceptor Vallabhacharya (1497-1531) and his most beloved disciples. This book focuses on the only extant Chaurasi Vaishnavan ki Varta manuscript dated to the beginning of the 18th century, now in artist Amit Ambalal's collection. The volume will appeal to scholars and students of Indian art and literature, to those who have grown up in the Pushtimarg tradition, and more broadly to those with an appreciation for the distinct ways in which pictures can tell stories that unite the everyday with intimate experiences of the Divine. Raj Balkaran is a scholar, educator, consultant, and life coach. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Julia Jarcho's Writing and the Modern Stage: Theater beyond Drama (Cambridge UP, 2017) is a fascinating argument for the centrality of writing in experimental theater from Gertrude Stein to Suzan-Lori Parks. Countering arguments that locate the theatrical avant-garde solely in the live event, Jarcho focuses on playwrights and theatre makers whose theater insists on and even revels in language. This book will be of interest to fans of experimental theatre, or to playwrights and theatre makers interested in reconceptualizing the work that writing does on stage. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Crisis? What Crisis? At a time where there are repeated claims of the impending demise of art criticism, The Ends of Art Criticism (Lund Humphries Publishers, 2021) dispel these myths by arguing that the lack of a single dominant voice in criticism is not, as some believe, a weakness, but a strength, allowing previously marginalised voices and new global and political perspectives to come to the fore. Patricia Bickers speaks with Pierre d’Alancaisez about her time as the editor of Art Monthly, the changing role of art criticism, the politics of speaking and writing about art, the art school, the relationship between artists and critics, the academicisation of critical discourse, the relationship between art history and criticism, and.. the art of the interview. Some of the works mentioned in the conversation: The Freeze exhibitions That Jerry Saltz tweet Richard Serra, Weight and Measure Danielle Brathwaite-Shirley, Black Trans Archive Pilvi Takala, The Trainee Cameron Rowland, 3 & 4 Will. IV c. 73 The Art Monthly Talking Art anthology of artist interviews: Volume 1, Volume 2 A bonus episode with an extra 20 minutes from the conversation is available on Pierre’s website. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art as an Interface of Law and Justice: Affirmation, Disturbance, Disruption (Hart Publishing, 2021) looks at the way in which the 'call for justice' is portrayed through art and presents a wide range of texts from film to theatre to essays and novels to interrogate the law. Such calls may have their positive connotations, but throughout history most have caused annoyance. Art is very well suited to deal with such annoyance, or to provoke it. Frans-Willem Korsten speaks with Pierre d'Alancaisez about art that attempts to support - or disturb - law in pursuit of justice. He discusses Milo Rau's The Congo Tribunal, Valeria Luiselli's novel Lost Children Archive, the practice of Forensic Architecture, and Nicolas Winding Refn's film Only God Forgives. Through art's interface, impasses are addressed, new laws are made imaginable, the span of systems of laws is explored, and the differences in what people consider to be just are brought to light. Frans-Willem Korsten holds the chair in “Literature and Society” at the Erasmus School of Philosophy and works at the Leiden University Centre for the Arts in Society in the Netherlands. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Imagination is a fundamental trait of the human species. Given how our most commonplace experiences get filtered differently through the lens of our imaginations, it deeply influences everything we think about and do. For better or worse, imagination is “the resin that binds human civilization together.” In this new episode, Keith Moser, Professor of French and Francophone Studies at Mississippi State University, leads a thought-provoking discussion on “Imagination and Art: Explorations in Contemporary Theory”, which is one of the most compelling transdisciplinary examinations of imagination to date. The book collates a colorful collection of radical and fresh perspectives about imagination, ranging from reflections on gendered imagination to the oft-overlooked worldview of ecocentrism. This collection is also one of the first academic publications to provide a much-needed platform to contemporary artists in its final section, “Artists Reflect on Imagination: An Imaginative Epilogue.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Mapping Beyond Measure: Art, Cartography, and the Space of Global Modernity (U Nebraska Press, 2019), Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing, made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Lisa Heschong's book Visual Delight in Architecture: Visual Delight in Architecture (Routledge, 2021) examines the many ways that our lives are enriched by the presence of natural daylight and window views within our buildings. It makes a compelling case that daily exposure to the rhythms of daylight is essential to our health and well-being, tied to the very genetic foundations of our physiology and cognitive function. It describes all the subtlety, beauty, and pleasures of well-daylit spaces and attractive window views, and explains how these are woven into the fabric of both our everyday sensory experience and enduring cultural perspectives. All types of environmental designers, along with anyone interested in human health and well- being, will fi nd new insights offered by Visual Delight in Architecture. The book is both accessible and provocative, full of personal stories and persuasive research, helping designers to gain a deeper understanding of the scientific basis of their designs, scientists to better grasp the real-world implications of their work, and everyone to more fully appreciate the role of windows in their lives. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Photography emerged in the 1840s in the United States, and it became a visual medium that documents the harsh realities of enslavement. Similarly, the photography culture grew during the Civil War, and it became an important material that archived this unprecedented war. Deborah Willis's The Black Civil War Soldier: A Visual History of Conflict and Citizenship (New York University Press, 2021) contains rarely seen letters and diary notes from Black men and women and photographs of Black soldiers who fought and died in this war. These ninety-nine images reshape African American narratives. The Black Civil War Soldier offers an opportunity to experience the war through their perspectives. N'Kosi Oates is a Ph.D. candidate in Africana Studies at Brown University. Find him on Twitter at NKosiOates. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The legendary Magnum photo agency has long been associated with heroic lone wolf male photographers such as Robert Capa and Henri Cartier-Bresson, roaming the world in search of the “decisive moment” – the perfect shot that captured the essence of a major news story. Nadya Bair’s highly original book The Decisive Network: Magnum Photos and the Postwar Image Market (University of California Press 2020) argues that this idealized portrayal of Magnum occludes the larger networks within which these photographers operated, including the crucial roles performed by often female office staff, by picture editors and corporate clients. She sets out to show that right from the outset, Magnum was also a business operation, one that pioneered modern ideas of branding borrowed from advertising agencies and commercial partners. Drawing on extensive archival work and including numerous images of photo page spreads, The Decisive Network presents Magnum in a novel and distinctive light, as the framer of new global imaginaries that reflected the evolution of post-war capitalism. Nadya Bair is an assistant professor of art history at Hamilton College For digital explorations of the Magnum network, see Nadya’s fascinating website. Duncan McCargo is an eclectic, internationalist political scientist and literature buff: his day job is directing the Nordic Institute of Asian Studies at the University of Copenhagen. Learn more here, here, here, and here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For more than thirteen centuries, caravans transported millions of enslaved people from Africa south of the Sahara into what is now the Kingdom of Morocco. Today there are no museums, plaques, or monuments that recognize this history of enslavement, but enslaved people and their descendants created the Gnawa identity that preserves this largely suppressed heritage. This pioneering book describes how Gnawa emerged as a practice associated with Blackness and enslavement by reviewing visual representation and musical traditions from the late nineteenth century to the present. Cynthia J. Becker addresses the historical consciousness of subaltern groups and how they give Blackness material form through modes of dress, visual art, religious ceremonies, and musical instruments in performance. She examines what it means to self-identify as Black in Morocco (a country typically associated with the Middle East and the Arab world), especially during this time of increased contemporary African migration, which has made Blackness even more visible. Her case studies draw on archival material and on her extended research in the city of Essaouira, site of the wildly popular Gnawa World Music Festival. Becker shows that Gnawa spirit possession ceremonies express the marginalization associated with enslavement and allow these unique communities to move toward healing, even as the mass-marketing of Gnawa music has resulted in some Gnawa practitioners engaging Blackness to claim legitimacy and spiritual power. This book challenges the framing of Africa’s cultural history into “sub-Saharan” versus “North African” or Islamic versus non-Islamic categories. Blackness in Morocco: Gnawa Identity Through Music and Visual Culture (U Minnesota Press, 2020) complicates how we think about the institution of slavery and its impact on North African religious and social institutions, and readers will better understand and appreciate the role of Africans in shaping global forces, including religious institutions such as Islam. This interview is part of an NBN special series on “Mobilities and Methods.” Cynthia J. Becker is associate professor in the Department of History of Art and Architecture at Boston University. She is the author of Amazigh Arts in Morocco: Women Shaping Berber Identity. Her writing has been published in many journals and edited volumes, including Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa. Alize Arıcan is an incoming Postdoctoral Fellow at Rutgers University's Center for Cultural Analysis. She is an anthropologist whose research focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Her work has been featured in Current Anthropology, City & Society, Radical Housing Journal, and entanglements: experiments in multimodal ethnography. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, Steven Fine, Churgin Professor of Jewish History at Yeshiva University, Israel, discusses his new book Arch of Titus: From Jerusalem to Rome—and Back, published in Brill’s Religious Studies, Theology and Philosophy E-Books Online collection. He explores how the Arch has been a symbol of subjugation as well as empowerment for both Jewish and Christian cultures as they evolved across centuries; how it is a door to the story of the Jewish community’s resilience; how it has inspired other monuments of power over globally; the layers of meaning it contains; and the reverberation, and thus enhancement, of its meaning in the digital age. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

We live in a networked world. Online social networking platforms and the World Wide Web have changed how society thinks about connectivity. Because of the technological nature of such networks, their study has predominantly taken place within the domains of computer science and related scientific fields. But arts and humanities scholars are increasingly using the same kinds of visual and quantitative analysis to shed light on aspects of culture and society hitherto concealed. Written by Ruth Ahnert, Sebastian Ahnert, Nicole Coleman, and Scott Weingart, The Network Turn: Changing Perspectives in the Humanities (Cambridge UP, 2021) contends that networks are a category of study that cuts across traditional academic barriers, uniting diverse disciplines through a shared understanding of complexity in our world. Moreover, we are at a moment in time when it is crucial that arts and humanities scholars join the critique of how large-scale network data and advanced network analysis are being harnessed for the purposes of power, surveillance, and commercial gain. Ruth Ahnert is Professor of Literary History and Digital Humanities, Queen Mary University of London. Sebastian Ahnert is University Lecturer, Department of Chemical Engineering and Biotechnology, University of Cambridge. Nicole Coleman is Digital Research Architect, Stanford University Libraries. Scott Weingart is Director of the Navari Family Center for Digital Scholarship at the University of Notre Dame. Katie McDonough is Senior Research Associate, The Alan Turing Institute. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London’s Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Between the Stock Market Crash and the Vietnam War, American corporations were responsible for the construction of thousands of headquarters across the United States. Over this time, the design of corporate headquarters evolved from Beaux-Arts facades to bold modernist expressions. \ Grace Ong Yan's book Building Brands: The Architecture of Corporate Modernism (Lund Humphries, 2021) examines how clients and architects together crafted buildings to reflect their company’s brand, carefully considering consumers’ perception and their emotions towards the architecture and the messages they communicated. By focusing on four American corporate headquarters: the PSFS Building by George Howe and William Lescaze, the Johnson Wax Administration Building by Frank Lloyd Wright, Lever House by Skidmore, Owings & Merrill, and The Röhm & Haas Building by Pietro Belluschi, Building Brands shows how corporate modernism evolved. In the 1930s, architecture and branding were separate and distinct. By the 1960s, they were completely integrated. Drawing on interviews and original material from corporations' archives, it examines how company leaders, together with their architects, conceived of their corporate headquarters not only as the consolidation of employee workplaces, but as architectural mediums to communicate their corporate identities and brands. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Imaging and Mapping Eastern Europe: Sarmatia Europea to Post-Communist Bloc (Routledge, 2021) puts images centre stage and argues for the agency of the visual in the construction of Europe's east as a socio-political and cultural entity. This book probes into the discontinuous processes of mapping the eastern European space and imaging the eastern European body. Beginning from the Renaissance maps of Sarmatia Europea, it moves onto the images of women in ethnic dress on the pages of travellers' reports from the Balkans, to cartoons of children bullied by dictators in the satirical press, to Cold War cartography, and it ends with photos of protesting crowds on contemporary dust jackets. Studying the eastern European 'iconosphere' leads to the engagement with issues central for image studies and visual culture: word and image relationship, overlaps between the codes of othering and self-fashioning, as well as interaction between the diverse modes of production specific to cartography, travel illustrations, caricature, and book cover design. This book will be of interest to scholars in art history, visual culture, and central Asian, Russian and Eastern European studies. Dr Katarzyna Murawska-Muthesius teaches art history at Birkbeck College, University of London. She was Curator and Deputy Director of The National Museum in Warsaw, as well as Guest Professor at the Humboldt University Berlin. Her publications include Borders in Art: Revisiting Kunstgeographie (Polish Academy, 2000), National Museum in Warsaw Guide: Galleries and Study Collections (National Museum in Warsaw, 2001); Kantor was Here: Tadeusz Kantor in Great Britain (Black Dog 2011, with Natalia Zarzecka), and From Museum Critique to the Critical Museum (Ashgate 2015, with Piotr Piotrowski). She is working on a new project on the history of caricature as a medium. Steven Seegel is Professor of Slavic and Eurasian Studies at The University of Texas at Austin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Hello, this is Eric LeMay, a host on the New Books Network. Today I interview Sergio Lopez-Pineiro about his new book, A Glossary of Urban Voids (2020). It's one of the more fascinating books I've encountered in some time. And I say "encountered" because it's not only a book, in the traditional sense of something you read, but also a keen intellectual and aesthetic experience: the very design of the book and its use of the glossary as a form open up exciting ways of thinking and seeing. And this is very much to the point for Lopez-Pineiro, because the urban void about which he writes is a phenomenon that resists definition. It is, in his words, "unspecified and underspecified." And that's exactly what makes it so intriguing. Join me in hearing Lopez-Pineiro show us how some of the most seemingly overlooked and neglected areas of our urban environments may end up being the most crucial for our freedoms and our possibilities. Eric LeMay is on the creative writing faculty at Ohio University. He is the author of five books, most recently Remember Me. He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Federico Fellini’s distinct style delighted generations of film viewers and inspired filmmakers and artists around the world. In Fellini’s Films and Commercials: From Postwar to Postmodern, renowned Fellini scholar Frank Burke presents a film-by-film analysis of the famed director’s cinematic output from a theoretical perspective. The book explores Fellini’s movement from relatively classic filmmaking to modernist reflexivity and then to ‘postmodern reproduction’. Burke moves from analysis of stories told from a relatively ‘objective’ standpoint, to increased concentration on Fellini-as-author and on the cinematic apparatus, to Fellini’s dismantling of authorship and cinematic apparatus, to his postmodern signifying strategies. Grounded in poststructuralist approaches to texts and signification, Burke shows that Fellini is profoundly readable, if extremely complex. Revisiting Burke’s 1996 Fellini’s Films: From Postwar to Postmodern, this new edition includes revised material from the original, plus a new preface and new chapter on the filmmaker’s work on commercials. Elegantly written and thoroughly researched, this book is essential reading for Fellini fans and scholars. The Wiley Blackwell Companion to Federico Fellini presents new methodologies and fresh insights for encountering, appreciating, and contextualizing the director’s films in the 21st century. A milestone in Fellini scholarship, this volume provides contributions by leading scholars, intellectuals, and filmmakers, as well as insights from collaborators and associates of the Italian director. Scholarly yet readable essays explore the fundamental aspects of Fellini’s works while addressing their contemporary relevance in contexts ranging from politics and the environment to gender, race, and sexual orientation. Giancarlo Lombardi is Professor of Italian and Comparative Literature at the College of Staten Island and at the Graduate Center of the City University of New York. He has published widely on European and North American serial drama, on Italian Film and Cultural Studies, and on cultural representations of Italian terrorism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Theological Stains: Art Music and the Zionist Project (Oxford UP, 2020) offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.' Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network’s Van Leer Jerusalem Series on Ideas. Write her at r.garfinkel@yahoo.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today on the podcast, Ruth Mazo Karras, the Lecky Professor of History at Trinity College Dublin talks about her new book, Thou Art the Man: The Masculinity of David in the Christian and Jewish Middle Ages, out this year, 2021 with University of Pennsylvania Press. "How do we approach the study of masculinity in the past?" Ruth Mazo Karras asks. Medieval documents that have come down to us tell a great deal about the things that men did, but not enough about what they did specifically as men, or what these practices meant to them in terms of masculinity. Yet no less than in our own time, masculinity was a complicated construct in the Middle Ages. In Thou Art the Man, Karras focuses on one figure, King David, who was important in both Christian and Jewish medieval cultures, to show how he epitomized many and sometimes contradictory aspects of masculine identity. For late medieval Christians, he was one of the Nine Worthies, held up as a model of valor and virtue; for medieval Jews, he was the paradigmatic king, not just a remnant of the past, but part of a living heritage. In both traditions he was warrior, lover, and friend, founder of a dynasty and a sacred poet. But how could an exemplar of virtue also be a murderer and adulterer? How could a physical weakling be a great warrior? How could someone whose claim to the throne was not dynastic be a key symbol of the importance of dynasty? And how could someone who dances with slaves be noble? Exploring the different configurations of David in biblical and Talmudic commentaries, in Latin, Hebrew, and vernacular literatures across Europe, in liturgy, and in the visual arts, Thou Art the Man offers a rich case study of how ideas and ideals of masculinity could bend to support a variety of purposes within and across medieval cultures. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Design and Spirituality: A Philosophy of Material Cultures (Routledge, 2021) examines the philosophical context of our current situation and its implications for design. It explores how modernity and our constricted notions of progress have contributed to today’s crisis of values, and argues for a re-establishment and re-affirmation of self-transcending priorities, together with an ethos of moderation and sufficiency. A wide range of topics are covered, including material culture and spiritual teachings; sustainability and the spiritual perspective; traditional and indigenous knowledge; technology and spirituality; notions of meaningful design; and how particular material things can have deeper, symbolic significance. There are also reflections on areas such as the language of design; busyness and its relationship to wisdom; design and social disparity; and traditional sacred practices. While not avoiding issues that are controversial, and sometimes hard-hitting, Design and Spirituality gets to the heart of the key issues affecting us today and presents them in a highly readable and accessible format. The author is a leading thinker in the field and he presents his arguments in a manner that invites the reader to reflect and think about where we are going, why we are going there and what really matters. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It is now just over a decade since protests in Cairo's Tahrir Square started Egypt's chapter in the events of the Arab Spring. Much has been made in western criticism of art and culture's role in the revolution, but the everyday cultural production of studio artists, graffiti artists, musicians, and writers since has attracted less attention. How have artists responded personally and artistically to the political transformation ? What has social role of art been in these periods of transition and uncertainty? What are the aesthetic shifts and stylistic transformations present in the contemporary Egyptian art world? Caroline Seymour-Jorn speaks with Pierre d'Alancaisez about her many years of research in Cairo that goes beyond the current understandings of creative work solely as a form of resistance or political commentary, providing a more nuanced analysis of creative production in the Arab world. Caroline suggests that young artists like Hany Rashed or The Choir Project have turned their creative focus increasingly inward, to examine issues having to do with personal relationships, belonging and inclusion, and maintaining hope in harsh social, political and economic circumstances. Caroline Seymour-Jorn is professor of comparative literature and Arabic translation at the University of Wisconsin-Milwaukee and the author of Cultural Criticism in Egyptian Women's Writing, 2011. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is the future for the museum? In The Museum as a Space of Social Care (Routledge, 2020), Nuala Morse, a Lecturer in Museum Studies at the University of Leicester, rethinks the museum by foregrounding the importance of care, and though the framework of care thinking. Using a detailed ethnographic case study, the book explores participatory practice and community engagement, thinking through the rise of key professions within the museum, along with the auditing and management regimes shaping care by and in the museum. As cultural organisations re-emerge following the impact of the global pandemic, the book provides a starting point to reassess and reimagine the museum, and will be essential reading across arts, humanities, social sciences, and for cultural sector professionals. Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The paintings and drawings Joseph Mallord William Turner (1775–1851) produced from 1835 to his death are seen by many as his most audacious and compelling work, a highly personal final vision that ranks with the late styles of the greatest artists. In this study, Sam Smiles shows how a richer account of Turner’s achievement can be presented once his historical circumstances are given proper attention. He discusses the style and subject matter of Turner’s later oil paintings and watercolours, his commercial dealings and his relations with patrons; he examines the artist’s critical reception and scrutinises accounts of his physical and mental health to see what can be reliably said about this last phase of creative endeavour. Emerging from this study is an artist who used his final years to consolidate the principles that had motivated him throughout his career. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Jessica Helfand about her new book Face: A Visual Odyssey (MIT Press, 2019) Helfand is a designer, artist, and author. She’s taught at Yale University for more than 20 years, cofounded Design Observer, and has had additional roles at a variety of institutions ranging from the American Academy in Rome to the California Institute of Technology. We’ve always visited churches and museums to gaze at faces. So what’s now changed? Today, about two billion images get uploaded daily to social media – of which nearly 100 million are estimated to be selfies. As Daniel Boorstin presaged in his seminal 1962 book The Image: A Guide to Pseudo-Events in America, we’ve become consumed as a culture by our own self-reflections. In this episode, Helfand guides listeners through everything from caricatures (i.e., loaded portraits), to Facebook and selfie-sticks hitting the mainstream in 2006, to how now every third photograph taken by people from 18 to 24 years of age is of themselves. From the question of who’s behind the camera to othering as part of biased behavior, this episode has it all as, indeed, do faces as an enduring centerpiece to how we judge ourselves and others. Dan Hill, PhD, is the author of eight books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). To check out his related “Dan Hill’s EQ Spotlight” blog, visit https://emotionswizard.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Erin Duncan O’Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery’s recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period. She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women’s contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O’Neill discuss two women at the heart of her story: an avid collector, Clémence d’Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It is almost twenty years since contemporary art took a ‘participation turn’. Now, just about every museum or theatre company has a participation or engagement department. It is nothing short of orthodoxy that one of art’s core roles is to reach out to audiences beyond art institutions - and paradoxically it is often art institutions that mandate this function. How can we reconcile the somewhat forgotten history - and ongoing practice - of the community arts with the recent rise of participatory art, social practice, or outreach and engagement? François Matarasso speaks to Pierre d'Alancaisez about his long-term engagement in community art practice, the meanings of participation and cultural democracy, and his proposals for thinking about cultural and artistic participation as a fundamental human right. We talk about the history of the community arts movement in the UK, his influential 1997 paper Use or Ornament, ways of supporting cultural democracy through projects like Fun Palaces, and reaching peak culture. François Matarasso is a community artist, writer, and researcher, and one of the co-creators of the 2020 Rome Charter. A Restless Art is available as an open-access download here and in print here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the 1970s, American curator Donna Stein served as an art advisor to Empress Farah Diba Pahlavi, the Shahbanu of Iran. Together, Stein and Pahlavi generated an art market in Iran, as Stein encouraged Pahlavi’s patronage of the Tehran Museum of Contemporary Art. Today, the contemporary section of the Iranian National Collection―most of which continues to languish in storage―is considered one of the most significant collections of modern art outside of Europe and the United States. The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (Skira, 2020) is a vivid account of Stein’s experience working on this storied intercultural initiative. In crafting her highly readable narrative, Stein cites a number of previously confidential documents, including private correspondence with artists and dealers. This text explores the relationship between two women united by their shared passion for the arts and the continued legacy of their partnership in today’s art world. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Another Aesthetics Is Possible: Arts of Rebellion in the Fourth World War (Duke UP, 2021), Jennifer Ponce de León examines the roles that art can play in the collective labour of creating and defending another social reality. Focusing on artists and art collectives in Argentina, Mexico, and the United States, Ponce de León shows how experimental practices in the visual, literary, and performing arts have been influenced by and articulated with leftist movements and popular uprisings that have repudiated neoliberal capitalism and its violence. Whether enacting solidarity with Zapatista communities through an alternate reality game or using surrealist street theatre to amplify the more radical strands of Argentina's human rights movement, these artists fuse their praxis with forms of political mobilization from direct-action tactics to economic resistance. Advancing an innovative transnational and transdisciplinary framework of analysis, Ponce de León proposes a materialist understanding of art and politics that brings to the fore the power of aesthetics to both compose and make visible a world beyond capitalism. Jennifer Ponce de León speaks with Pierre d'Alancaisez about the counter colonial practice of the artist Fran Ilich, the activist performances of Grupo de Arte Callejero, Etcétera, and International Errorista rooted in the political histories of Latin America as a site of resistance in which the boundaries between art and politics blur. Jennifer Ponce de León is an assistant professor of English at the University of Pennsylvania and an interdisciplinary scholar whose research focuses on cultural production and antisystemic movements in the Americas since the 1960s. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today we are joined by Martha Moffitt Peacock, Professor of Art History at Brigham Young University about her new book, Heroines, Harpies, and Housewives: Imaging Women of Consequence in the Dutch Golden Age, out in 2020 with Brill. In Heroines, Harpies, and Housewives, Peacock provides a novel interpretive approach to the artistic practice of imaging women of consequence in the Dutch Golden Age. From the beginnings of the new Republic, visual celebrations of famous heroines who crossed gender boundaries by fighting in the Revolt against Spain or by distinguishing themselves in arts and letters became an essential and significant cultural tradition that reverberated throughout the long seventeenth century. This collective memory of consequential heroines who equaled, or outshone, men is frequently reflected in empowering representations of other female archetypes: authoritative harpies and noble housewives. Such enabling imagery helped in the structuring of gender norms that positively advanced a powerful female identity in Dutch society. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women’s problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women’s political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his pioneering study, Men in Metal: A Topography of Public Bronze Statuary in Modern Japan (Brill, 2020), Sven Saaler examines Japanese public statuary as a central site of historical memory from its beginnings in the Meiji period through the twenty-first century. Saaler shows how the elites of the modern Japanese nation-state went about constructing an iconography of national heroes to serve their agenda of instilling national (and nationalist) thinking into the masses. Based on a wide range of hitherto untapped primary sources, Saaler combines data-driven quantitative analysis and in-depth case studies to identify the categories and historical figures that dominated public space. Men in Metal also explores the agents behind this visualized form of the politics of memory and introduces historiographical controversies surrounding statue-building in modern Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt’s Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage’s residencies at North Carolina’s Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg’s friendship with Lionel Trilling, James Baldwin’s transformation into a Civil Right spokesman, Susan Sontag’s challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America’s once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Suzanne L. Marchand's new book Porcelain: A History from the Heart of Europe (Princeton University Press, 2020) balances several histories at once through the story of a single commodity. Rather than a history of art or aesthetics per se—though it certainly touches style and artists— Porcelain is at once a business history of mercantile productions, a history of chemistry at the dawn of modern industry, and a history of aristocratic consumption of porcelain as these stories open into an economic history of globalized markets, as well as a social history of sorts of Central Europe’s fledgling bourgeois and lower-class consumer public. Marchand traces these interlocking stories across three centuries, from the first European firing of porcelain in 1708 under the supervision of Johann Friedrich Böttger to the present day, where contemporary tastes threaten to consign the white tableware of Europe’s past to the flea markets of today. Porcelain in Marchand’s hands acts as something like an objet de memoire, to think of Pierre Nora and other scholars’ work on national histories. One of the book’s many virtues is the sense of Professor Marchand reassembling a continental pattern out of several shards. Porcelain, as Professor Marchand writes, “is a rich and complicated adventure, in which we not only visit lavishly decorated palaces but also linger in blisteringly hot craft workshops and spartan working-class homes. Though actual porcelain objects in all their splendor and strangeness play a central role, the focus is really on the people who made, marketed, and purchased them, whether they were princes, or peddlers, or middle-class housewives.” It is also an attempt to write Central European history in a new way, one that the author hopes will be taken up by other scholars of history and material culture. John Raimo is a PhD. Candidate in History at NYU finishing up my dissertation (on postwar publishing houses) this summer in European history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Carla Diana about her new book My Robot Gets Me: How Social Design Can Make New Products More Human (Harvard Business Review Press, 2021). Carla Diana is a robot designer responsible for the creative aspects of Diligent Robotics’ new hospital service robot named Moxi. She created and leads the 4D Design masters program at the Cranbrook Academy of Art, wrote the world’s first children’s book on 3D printing, LEO the Maker Prince, and she cohosts the Robopsych Podcast. The author is intrigued by where technology is headed—the “electronic guts” of high-tech offerings--at the same time that she never loses focus on what kind of gut reaction a user will have in interacting with a product. This episode therefore ranges from discussing modalities central to Diana’s work (sound, movement, and lighting) to addressing how important it is for designers and engineers alike to engage in “bodystorming” exercises that align everyone around what the user’s experience will be like. Delight and ease of use are both key criteria in achieving success. If there’s a Frankenstein aspect to helping bring robots “alive,” fortunately Diana is somebody concerned with all the ethical challenges that arise. Dan Hill, PhD, is the author of eight books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). To check out his related “Dan Hill’s EQ Spotlight” blog, visit https://emotionswizard.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Power of Artistic Thinking: Think Like an Artist and Innovate (Common Ground, 2019; 2021 paperback), Marisol D’Andrea, PhD explores the potential of artistic thinking and shares practical guidance to help us all harness the power of artistic thinking. Through in-depth interviews and conversations with artists, scholars, and thought leaders, she has arrived at core commonalities in artistic thinking: passion and obsession; imagination and belief; observation and connection; visualization and pondering; learning and exploration; and practice and repetition. In this book, she examines these elements and translates them into practical exercises. D’Andrea writes, “Through the arts, I learned—and I hope you will learn, too—how to prioritize your thinking (i.e., follow your passions), how to think (e.g., imagine), when to think (e.g., explore), and to discover who you are (e.g., self-transform) … It was artistic thinking that empowered me and spurred me on to write this book.” Marisol D'Andrea, PhD is a visual artist, illustrator, author, and multidisciplinary researcher. She holds a doctoral degree in Leadership, Higher and Adult Education from the University of Toronto and currently resides in Canada. Susan Grelock Yusem, PhD, is independent researcher trained in depth psychology, with an emphasis on community, liberation, and eco-psychologies. Her work centers around interconnection and encompasses regenerative food systems, the arts and conservation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Nicole Tersigni about her book Men to Avoid in Art and Life" (Chronicle Books, 2020). Nicole Tersigni is a comedic writer experienced in improve comedy and women’s advocacy. She lives in metro Detroit with her husband, daughter, and two dogs. This episode takes a romp through five types of men to avoid like the plague: the mansplainer, the concern troll, the comedian, the sexpert, and the patronize. Tersigni talks through what each type means and an example from her book pairing an older painting (often from either the Metropolitan Museum of Art or the Rijksmuseum) with her own contemporary caption. In turn, host Dan Hill adds in what type of emotional response stood out among the women depicted per type of men, e.g. anger in response to mansplainers, contempt for concern trolls, fear in response to sexperts, and the slightest of smiles in dealing with a patronizer. Dan Hill, PhD, is the author of eight books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). To check out his related “Dan Hill’s EQ Spotlight” blog, visit https://emotionswizard.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

From kelly green to millennial pink, our world is graced with a richness of colors. But our human-made colors haven’t always matched nature’s kaleidoscopic array. To reach those brightest heights required millennia of remarkable innovation and a fascinating exchange of ideas between science and craft that’s allowed for the most luminous manifestations of our built and adorned world. In Full Spectrum: How the Science of Color Made Us Modern (Houghton Mifflin, 2021), Rogers takes us on that globe-trotting journey, tracing an arc from the earliest humans to our digitized, synthesized present and future. We meet our ancestors mashing charcoal in caves, Silk Road merchants competing for the best ceramics, and textile artists cracking the centuries-old mystery of how colors mix, before shooting to the modern era for high-stakes corporate espionage and the digital revolution that’s rewriting the rules of color forever. Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Now in its fifth edition, Analyzing Architecture has become internationally established as the best introduction to architecture. Aimed primarily at those wishing to become professional architects, it also offers those in disciplines related to architecture (from archaeology to stage design, garden design to installation art), a clear and accessible insight into the workings of this rich and fascinating subject. With copious illustrations from his own notebooks, the author dissects examples from around the world and all periods of history to explain underlying strategies in architectural design and show how drawing may be used as a medium for analysis. This new edition of Analyzing Architecture is revised and expanded. Notably, the chapter on ‘Basic Elements of Architecture’ has been enlarged to discuss the ‘powers’ various architectural elements offer the architect. Three new chapters have been added to the section on ‘Themes in Spatial Organization’, covering ‘Occupying the In-between’, ‘Inhabited Wall’ and ‘Refuge and Prospect’. Two new examples – a Mud House from Kerala, India and the Mongyo-tei (a tea house) from Kyoto, Japan – have been added to the ‘Case Studies’ at the end of the book. The ‘Select Bibliography’ has been expanded and the ‘Index’ revised. Works of architecture are instruments for managing, orchestrating, modifying our relationship with the world around us. They frame just about everything we do. Architecture is complex, subtle, frustrating… but ultimately extremely rewarding. It can be a difficult discipline to get to grips with; nothing in school quite prepares anyone for the particular demands of an architecture course. But this book will help. Analyzing Architecture is the foundation volume of a series of books by Simon Unwin exploring the workings of architecture. Other books in the series include Twenty Buildings Every Architect Should Understand and Exercises in Architecture. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Korean War is now America's seminal war. It was the first war conducted with the new United Nations, the first war fought against the Chinese Communists, and the first modern war the US didn't win. Louis Nelson designed the mural wall at the Korean Veterans Memorial on the Mall in Washington DC. His just published memoir, Mosaic: War Monument Mystery, An Historical Memoir (239 Productions, 2021), is his story about the Korean War today and its Memorial. It is a story of death, rescue and growth. MOSAIC examines how this war affected him and its veterans--then and now--leading to the design of the memorial. It situates the memorial in its context featuring the Washington Monument, and the Lincoln and Vietnam Memorials. It is also the story of one of the late 20th century's great designers. Daniel Peris is Senior Vice President at Federated Hermes in Pittsburgh. He can be reached at DanielxPeris@gmail.com or via Twitter @HistoryInvestor. His History and Investing blog and Keep Calm & Carry On Investing podcast are at https://strategicdividendinves... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Jean-Michel Basquiat Reader (University of California Press, 2021), Jordana Moore Saggese provides the first comprehensive sourcebook on the artist, closing gaps that have until now limited the sustained study and definitive archiving of his work and its impact. Jean-Michel Basquiat (1960–1988) burst onto the art scene in the summer of 1980 as one of approximately one hundred artists exhibiting at the 1980 Times Square Show in New York City. By 1982, at the age of twenty-one, Basquiat had solo exhibitions in galleries in Italy, New York, and Los Angeles. Basquiat's artistic career followed the rapid trajectory of Wall Street, which boomed from 1983 to 1987. In the span of just a few years, this Black boy from Brooklyn had become one of the most famous American artists of the 1980s. Eight years after his first exhibition, Basquiat was dead, but his popularity has only grown. Through a combination of interviews with the artist, criticism from the artist's lifetime and immediately after, previously unpublished research by the author, and a selection of the most important critical essays on the artist's work, this collection provides a full picture of the artist's views on art and culture, his working process, and the critical significance of his work both then and now. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Everything you use, from your home to your smartphone, from highways to supermarkets, was designed by someone. What did they get right? Where did they go wrong? And what can we learn from how these experts think that can help us improve our own lives? In How Design Makes The World, bestselling author and designer Scott Berkun reveals how designers, from software engineers to city planners, have succeeded and failed us. From the airplane armrest to the Facebook “like” button, and everything in between, Berkun shows how design helps or hinders everyone, and offers a new way to think about the world around you. Whether you spend time in a studio or a boardroom, an office or the outdoors, How Design Makes the World empowers you to ask better questions—and to understand the designs in everything that matters. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network’s Van Leer Jerusalem Series on Ideas. Write her at r.garfinkel@yahoo.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Like the transdiscipline of cybernetics, the philosophical movement known as Existentialism rose to prominence in the decade following World War II, was communicated to the general public by a handful of charismatic evangelizers who, for a time, became bona fide celebrities in popular culture, generated much excitement and innovation on university campuses across Europe, the Americas and beyond, and, in subsequent decades, seemed to fade to the periphery of intellectual discourse with some declaring both movements dead and others keeping the faith in small circles of committed artists, scholars, and practitioners. Along the way, both movements have found some of their strongest expressions through works of art; from the plays and novels of some of existentialisms key players, to the 1968 Cybernetic Serendipity exhibition that toured America after its original incarnation at the Institute for Contemporary Arts in London. In the early decades of the 21st century, well into the so-called Information and at a historical moment fraught with new and amplified ethical challenges, both fields seem, to many, to be poised for a comeback. One such observer is Steve Dixon, whose monograph, Cybernetic-Existentialism: Freedom, Systems, and Being-for-Others in Contemporary Arts and Performance (Routledge, 2020), not only explores the often surprising conceptual overlaps between the two fields but manages to offer nothing less than an original aesthetic theory fusing perspectives from the philosophy of Existentialism with insights from the ‘universal science’ of cybernetics to provide a new analytical lens and deconstructive methodology to critique art. In this study, Steve Dixon examines how a range of cutting edge contemporary artists’ works embody core ideas from such Existentialist philosophers as Søren Kierkegaard, Albert Camus, Simone de Beauvoir, and Jean-Paul Sartre on freedom, being and nothingness, eternal recurrence, the absurd, and being-for-others while, simultaneously, engaging in complex explorations of concepts proposed by such cyberneticians as Norbert Wiener, Claude Shannon, and Gregory Bateson on information theory and ‘noise’, feedback loops, circularity, adaptive ecosystems, autopoiesis, and emergence. Dixon’s ground-breaking book demonstrates how fusing insights and knowledge from these two fields can throw new light on pressing issues within contemporary arts and culture, including authenticity, angst and alienation, homeostasis, radical politics, and the human as system. Join me now as Dixon, in his own words, “talks for England” in an energetic romp across these complex, overlapping intellectual and aesthetic landscapes. Tom Scholte is a Professor of Directing and Acting in the Department of Theatre and Film at the University of British Columbia located on the unceded, ancestral, and traditional territory of the Musqueam people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Chemistry is not just about microscopic atoms doing inscrutable things; it is the process that makes flowers and galaxies. We rely on it for bread-baking, vegetable-growing, and producing the materials of daily life. In stunning images and illuminating text, this book captures chemistry as it unfolds. Using such techniques as microphotography, time-lapse photography, and infrared thermal imaging, The Beauty of Chemistry: Art, Wonder, and Science (MIT Press, 2021) shows us how chemistry underpins the formation of snowflakes, the science of champagne, the colors of flowers, and other wonders of nature and technology. We see the marvelous configurations of chemical gardens; the amazing transformations of evaporation, distillation, and precipitation; heat made visible; and more. Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How should we understand creative work? In Creative Control: The Ambivalence of Work in the Culture Industries (Columbia UP, 2021), Michael Siciliano, an assistant professor of sociology at Queen's University, Canada, explores this question through a comparison of a recording studio and a digital content creation company. The book considers the meaning and practice of ‘creative’ labour, considering its ambivalences, the passions and commitments, as well as the compromises and alienations associated with this area of economy and society. It represents a crucial intervention to the literature on cultural production, as well as offering an important understanding of the impact of digital modes of distribution and production on creative industries. A rich and fascinating comparative ethnography, the book is essential reading across humanities and social sciences, as well as for anyone interested in understanding contemporary culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Often referred to as “the Russian Leonardo”, religious philosopher and Orthodox parish priest Pavel Florensky was a pivotal figure in the Russian religious renaissance at the turn of the 20th century. In Visual Thought in Russian Religious Philosophy: Pavel Florensky's Theory of the Icon (Routledge 2019), art historian Clemena Antonova (Research Director at Eurasia in Global Dialogue, Institute for Human Sciences in Vienna) challenges prevailing readings of Florensky’s oeuvre, presents an analysis of the thinker’s theory of pictorial space in the icon, and argues for the relevance of his thought to contemporary debates on religion and secularism. In this interview we discuss the religious and pictorial turn in contemporary modernity, the clash between Russian Orthodox clergy and theologians and religious philosophers in the early 20th century, the influence of St. Gregory Palamas on Florensky and his contemporaries, the Slavophile roots and fin-de-siecle manifestations of the theory of full unity, the limits of Florensky’s work in art history, and the challenges that contemporary scholars of Russian religious thought encounter when confronting its problematic aspects. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What does it mean to tie your cloth to that of another person, as in the Ghanaian tradition, or to be in full dress? How is fashion photography in a colonial and decolonial context more than just a "look" but in fact a looking and a looking at? Join author Catherine McKinley (she/her) and host Lee M. Pierce (they) for a discussion of these provocative questions in the context of fashion photography by and about pan-African women from the 1870s to the 1970s. Most of us grew up with images of African women that were purely anthropological—bright displays of exotica where the deeper personhood seemed tucked away. Or they were chronicles of war and poverty—“poverty porn.” But now, curator Catherine E. McKinley draws on her extensive collection of historical and contemporary photos, spanning the 150-year arc of photography on the continent, to tell a different story of African women: how deeply cosmopolitan and modern they are in their style; how they were able to reclaim the tools of the colonial oppression that threatened their selfhood and livelihoods. Featuring works by celebrated African masters, African studios of local legend, and anonymous artists, The African Lookbook: A Visual History of 100 Years of African Womanhood (Bloomsbury, 2021) captures the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across centuries. McKinley also features photos by Europeans—most starkly, striking nudes—revealing the relationships between white men and the black female sitters where, at best, a grave power imbalance lies. It’s a bittersweet truth that when there is exploitation there can also be profound resistance expressed in unexpected ways—even if it’s only in gazing back. These photos tell the story of how the sewing machine and the camera became powerful tools for women’s self-expression, revealing a truly glorious display of everyday beauty. Discussion welcome! Connect with author Catherine McKinley on Instagram @the_african_lookbook and the_mckinley_collection and host Lee M. Pierce on Gmail, Instagram and Twitter @rhetoriclee. Special thanks to Oslo-based Norwegian-Nigerian artist Frida Orupado (nemieppeba) for contributing a series of collages to the work to deepen the way in which we engage the original photos and their histories. If you enjoyed this interview you may also enjoy New Books Network interviews with Anne Cheng about Second Skin: Josephine Baker and the Modern Surface and Zakiyyah Iman Jackson about Becoming Human: Matter and Meaning in an Antiblack World. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to Unsettling Native Art Histories on the Northwest Coast (University of Washington Press, 2020), edited by Kathryn Bunn-Marcuse and Aldona Jonaitis, foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history. By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. The cockroaches’ journey into space also inspired a short story It by Rolf Hughes, which was published by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Churches have long sought the arts as a vehicle to communicate divine transcendence and to form worshipers. In Glimpses of the New Creation: Worship and the Formative Power of the Arts (Eerdmans, 2019), W. David O. Taylor brings much needed clarity into conversations around the role of arts in Christian liturgy. After framing the way our theological positions and ecclesiastical traditions carry with them a set of presuppositions and implications about the arts and worship, Taylor then devotes a chapter each to the "singular powers" of various artistic disciplines: musical arts, visual arts, poetic arts, kinetic arts, and more. Throughout, readers gain much needed precision and nuance that can guide them through a wide array of conversations about the arts across the Christian tradition. David Taylor is Associate Professor of Theology and Culture at Fuller Theological Seminary, and you can follow him on Twitter (@wdavidotaylor), Instagram (@davidtaylor_theologian), or visit his website. Ryan David Shelton (@ryoldfashioned) is a social historian of British and American Protestantism and a PhD researcher at Queen’s University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Key to the revolutionary ideas of 19th century Italian modernist sculptor Medardo Rosso are his materials and technique. But for a long time, scholars and experts on his work took little time to truly explore these. In this episode, Dr. Sharon Hecker, art historian and curator, and author of a recent Brill publication on Medardo Rosso titled Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, talks about how this sculptor took an age-old lost wax technique and remodeled it in radical ways and how his work and life are a reflection of art and artists in 19th century Italy and Paris. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Family stories are the texture of the human fabric. From every land, from every time, they bring the past to life for young ears. In the beginning of the twentieth century, when there were no borders in the Middle East (it was then called la grande Syrie), Elia Zughaib grew up first in Damascus, then in the mountains of Lebanon. In a rural culture, animals and humans work in tandem. Children play in the surrounding fields and streams. Traditional celebrations mark the seasons of the year. When history intervened and Lebanon became a battleground between England and France, his family left their home and applied for asylum in America. The migration began. The achievement of Helen Zughaib is to bring these memories to life through art. The book’s 25 paintings appear facing Elia’s stories. He serves as the hakawati, the traditional storyteller. The stories in Stories My Father Told Me: Memories of a Childhood in Syria and Lebanon (Cune Press, 2020) are simply told, but they are not simple. Their power is enormous. Helen’s voice is as powerful as his: geometrical shapes, stunning patterns, fierce colors, and people, people, people, young and old. They are delivering milk, planting olive trees, building bonfires for Eid Al Salib, going to a wedding, drying figs, watching the show box, and learning lessons: about charity and compassion and about blind charity. The good, the glad, the sad, and the wise all inhabit these pages. Helen Zughaib’s gouaches are in public and private collections: the White House, the Library of Congress, World Bank, American Embassy in Baghad. She has been a cultural envoy for the U.S. State Department, conducting art workshops in Saudi Arabia and Palestine. Her work has been exhibited internationally and has been presented to heads of state by President Obama and the former Secretary of State Hillary Cinton. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours. Shannan Clark. author of The Making of the American Creative Class: New York's Culture Workers and 20th-Century Consumer Capitalism (Oxford UP, 2020), speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Warhol's Mother's Pantry: Art America and the Mom in Pop (Mad Creek Press, 2020), M.I. Devine introduces readers to a collection of 21st-century multi-genre essays inspired by Andy Warhol's mother, Julia, that provide a literary and cultural history of new pop humanism. "Here are Leonard Cohen’s last songs and Molly Bloom’s last words; Vampire Weekend’s Rostam and Philip Larkin too; Stevie Smith, John Donne, and Kendrick Lamar; sonnets and selfies; early cinema and post–9/11 film, pop hooks, and pop art." Devine's series of essays examines his histories and relationships with pop culture and art. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Visual Worlds: Looking, Images, Visual Disciplines (Oxford University Press, 2020), James Elkins and Erna Fiorentini provide a full introduction to the visual world across all the fields that theorize it. In contrast with typical visual culture texts, their book looks beyond the arts, taking a comparative approach that considers a number of fields, including art history and theory but also epistemology, ontology, vision science, neurology, cognitive psychology, law, advertising, medicine, warfare, and more. Intended for first-year university students from diverse backgrounds, Visual Worlds presents a broad array of examples and covers a wide range of topics in short, thematic chapters which offer instructors great flexibility. By focusing on different modes of looking, the book shows students how seeing can change depending on the object that is seen and on its interpretation by an individual. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2015, the Islamic State released a video of men smashing sculptures in Iraq’s Mosul Museum as part of a mission to cleanse the world of idolatry. The Idols of ISIS: From Assyria to the Internet (University of Chicago Press, 2020) unpacks three key facets of that event: the status and power of images, the political importance of museums, and the efficacy of videos in furthering an ideological agenda through the internet. Beginning with the Islamic State’s claim that the smashed objects were idols of the “age of ignorance,” Aaron Tugendhaft questions whether there can be any political life without idolatry. He then explores the various roles Mesopotamian sculpture has played in European imperial competition, the development of artistic modernism, and the formation of Iraqi national identity, showing how this history reverberates in the choice of the Mosul Museum as performance stage. Finally, he compares the Islamic State’s production of images to the ways in which images circulated in ancient Assyria and asks how digitization has transformed politics in the age of social media. An elegant and accessibly written introduction to the complexities of such events, The Idols of ISIS is ideal for students and readers seeking a richer cultural perspective than the media usually provides. Marci Mazzarotto is an Assistant Professor and Program Coordinator of Digital Communication at Georgian Court University in New Jersey. Her research interests center on the interdisciplinary intersection of academic theory and artistic practice often with a focus on film and television studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Scientists have scientific reason and use the scientific method. Humanists have... Emotion? Close reading? Not so, argues Eric Hayot in Humanist Reason: A History. An Argument. A Plan (Columbia UP, 2021). Contrary to popular belief, the humanities involve both reasoning and methods. Humanist reason, Hayot shows, is philosophically and historically grounded and applicable to almost every discipline. Part history of philosophy, part methods handbook, and part manifesto, Humanist Reason will change the way we advocate for the humanities in the twenty-first century. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky’s College of Medicine. She teaches and writes about health behavior in historical context. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Material Transfers: Metaphor, Craft, and Place in Contemporary Architecture (Monacelli Press, 2020), architect, architectural historian, and preservationist Françoise Bollack presents eighteen projects that use traditional materials to build contemporary forms or use modern materials to build traditional forms, blurring the boundary between tradition and modernity in architecture. Bollack rejects the modernist taboo against imitation and precedent, tracing the history of adaptive and imitative design from the Renaissance to the Greek and Gothic revivals and to the nineteenth-century modular cast-iron facades that Philip Johnson considered "the basis for modern design." The book examines projects in the US, Europe, and Japan, encompassing a broad range of building types: residential, hospitality, commercial and retail, and cultural spaces. All share an intriguing, even radical, approach to reinterpreting traditional forms and materials. Humble thatch moves beyond the farmhouse roof to clad the walls of a Danish environmental center; a photographic image of a Parisian facade becomes a scrim on the facade of a new building; the ghost of an ancient Italian basilica is outlined in wire mesh. Among the featured architects are Kengo Kuma, architect of the Tokyo 2021 Olympic stadium; MVRDV, a highly regarded Dutch firm; Lacaton & Vassal and Chartier/Corbasson in France; Skene Catling de la Peña in the UK; Morris Adjmi in the USA; Max Dudler in Germany; Dortre Mandrup in Denmark; and Herzog & de Meuron in Switzerland. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Adjunct Professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

John Heilbron, professor of history and vice-chancellor emeritus of the University of California, Berkeley, is one of our most distinguished - and prolific - historians of science. His latest book, The Ghost of Galileo In a Forgotten Painting from the English Civil War (Oxford University Press, 2021), records how, during a tour of an English country house, he stumbled across what might be the earliest visual reference to Galileo outside portraiture. Heilbron's quest to understand this reference has resulted in a long and extraordinary account of debates in early modern science, religion, and medicine. Heilbron explains that there are reasons why a jobbing artist, working in the royalist base of Oxford during the first English civil war, might include in a double portrait of a tutor and his melancholy pupil this reference to recent trends in cosmology. In this lavishly illustrated and copiously argued book, Heilbron sets new agendas for our understanding of the politics of royalism, the material contexts of portraiture, and the religious significance of science. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This ambitious work explores the literary and cultural production about Russian peasants and African Americans in the post-emancipation period. Brickell Bellows draws on visual images from advertisements to oil paintings as well as novellas, novels, pamphlets, and reports in English and Russian. The abolition of Russian serfdom in 1861 and American slavery in 1865 transformed both nations as Russian peasants and African Americans gained new rights as subjects and citizens. During the second half of the long nineteenth century, Americans and Russians responded to these societal transformations through a fascinating array of new cultural productions. Analyzing portrayals of African Americans and Russian serfs in oil paintings, advertisements, fiction, poetry, and ephemera housed in American and Russian archives, Amanda Brickell Bellows argues that these widely circulated depictions shaped collective memory of slavery and serfdom, affected the development of national consciousness, and influenced public opinion as peasants and freedpeople strove to exercise their newfound rights. While acknowledging the core differences between chattel slavery and serfdom, as well as the distinctions between each nation's post-emancipation era, Bellows highlights striking similarities between representations of slaves and serfs that were produced by elites in both nations as they sought to uphold a patriarchal vision of society. Russian peasants and African American freedpeople countered simplistic, paternalistic, and racist depictions by producing dignified self-representations of their traditions, communities, and accomplishments. American Slavery and Russian Serfdom in the Post-Emancipation Imagination (UNC Press, 2020) provides an important reconsideration of post-emancipation assimilation, race, class, and political power. Sharika Crawford is an associate professor of history at the United States Naval Academy in Annapolis and the author of The Last Turtlemen of the Caribbean: Waterscapes of Labor, Conservation, and Boundary Making (University of North Carolina Press, 2020). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How do we think about situations and things do not exist but might, engage in pretense and fiction, and create new works of art? These are central cases in which we’re using our imaginations, but what is imagination, and how should it be explained? In Explaining Imagination (Oxford University Press, 2020), Peter Langland-Hassan distinguishes using mental imagery to think about things and thinking about imaginary things, and proceeds to give a reductive account of both. On his view, imagining isn’t a sui generis mental state, as the received view holds. Instead, it can be reduced to more basic states, in particular belief, desire, and intention. Langland-Hassan, who is associate professor of philosophy at the University of Cincinnati, uses his account to explain the central cases of imagination, defends his view against objections, and considers how recent advances in Deep Learning might help explain the creative process. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno. The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Everyone will lose someone they love at some point in their life; a spouse, a parent, or a child. Having to deal with the clothes or personal effects that remain can be a heartbreaking experience. It is a challenge: what is one to do with all the small and large items that made up the material life of the one who’s gone - store them in the attic? Discard them? Donate them to charity or call the junkman? In his recently released book, Heirlooms: Memory and Cherished Objects, artist and writer Jay Garfinkel found another way. His unique book contains photographs of the personal effects of victims of terror attacks in Israel. He gave the families a way to preserve a piece of their legacy through a fine art photograph of their cherished object. The subtitle of the book, Memory and Cherished Objects, was selected, says Garfinkel, because "the person we have lost will not make any new memories, so we need to create a space for them in our life. Heirlooms create a space where memory happens.” The American-Israeli artist Jay Garfinkel tragically lost his son in middle age. His response was to create a dozen fine art photographs of his son's most treasured possessions that stirred memories. His exhibit-sized prints freed him to throw away everything else. It gave him some comfort. But real comfort came after he agreed to work with OneFamily, an Israeli NGO that assists families affected by terror and war. Over a period of 14 months, he met with 33 Israel families whose loved ones were murdered in terror attacks—and with their cooperation, he selected an object of the deceased, which he then documented as a still life photograph. Heirlooms: Memory and Cherished Objects describes his journey meeting families of diverse religious and ethnic backgrounds in different parts of the country. Garfinkel recorded intimate conversations about love, loss, and finding one's equilibrium by helping others find their way. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network’s Van Leer Jerusalem Series on Ideas. Write her at r.garfinkel@yahoo.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today we are joined by Fiona Greenland, Assistant Professor of Sociology at the University of Virginia, to talk about her new book, Ruling Culture: Art Police, Tomb Raiders, and the Rise of Cultural Power in Italy (University of Chicago Press, 2021). Through much of its history, Italy was Europe’s heart of the arts, an artistic playground for foreign elites and powers who bought, sold, and sometimes plundered countless artworks and antiquities. This loss of artifacts looted by other nations once put Italy at an economic and political disadvantage compared with northern European states. Now, more than any other country, Italy asserts control over its cultural heritage through a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In its efforts to bring their cultural artifacts home, Italy has entered into legal battles against some of the world’s major museums, including the Getty, New York’s Metropolitan Museum, and the Louvre. It has turned heritage into patrimony capital—a powerful and controversial convergence of art, money, and politics. In 2006, the then-president of Italy declared his country to be “the world’s greatest cultural power.” With Ruling Culture, Fiona Greenland traces how Italy came to wield such extensive legal authority, global power, and cultural influence—from the nineteenth century unification of Italy and the passage of novel heritage laws, to current battles with the international art market. Today, Italy’s belief in its cultural superiority is evident through interactions between citizens, material culture, and the state—crystallized in the Art Squad, the highly visible military-police art protection unit. Greenland reveals the contemporary actors in this tale, taking a close look at the Art Squad and state archaeologists on one side and unauthorized excavators, thieves, and smugglers on the other. Drawing on years in Italy interviewing key figures and following leads, Greenland presents a multifaceted story of art crime, cultural diplomacy, and struggles between international powers. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Maybe the People Would Be the Times (Verse Chorus Press, 2020) could be described as a memoir in essay form. Collecting pieces from the past two decades, this book covers Luc Sante's childhood as an immigrant from Belgium, his engagement with the downtown arts scene that gave rise to punk, and the eventual downfall of a version of New York that may have been dangerous but certainly allowed space for creative experimentation, even failure. It also includes essays covering sideshow photography, detective fiction, and experimental film, and profiles of figures including Barbara Epstein, H.P. Lovecraft, and Vivian Maier. As Sante says in this interview, in the war between poetry and prose he is a non-combatant: these essays often read as prose poems in the deep lyricism and experimentation with form. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

As a Thai-Australian woman artist, Phaptawan Suwannakudt has long battled prejudice and discrimination relating to her gender. This disappointment with society’s dictates features at the heart of Phaptawan’s artistic practice. Spanning more than four decades, Phaptawan’s rich body of work includes paintings, sculptures and installations, informed by Buddhism, women’s issues and cross-cultural dialogue. Now her talents are on display on the global stage once again, in ‘The National 2021: New Australian Art’ from 26 March to 5 September 2021. In this episode of SSEAC Stories, Phaptawan Suwannakudt chats to Dr Natali Pearson about identity, power, and placemaking in the space in-between, recounting how she overcame hurdles to her artistic education and practice in what was once a male-dominated art scene, to become one of Australia’s and Thailand’s most prominent female artists. Phaptawan Suwannakudt (born in Thailand, 1959), is an internationally acclaimed Thai contemporary artist. She trained as a mural painter with her father, the late master Paiboon Suwannakudt, and subsequently led a team of painters that worked extensively in Buddhist temples throughout Thailand in the 1980s-90s. She was also involved in the women artists group ‘Tradisexion’ in 1995, and later in ‘Womanifesto’. Phaptawan relocated to Australia in 1996 where she completed a Master of Visual Arts at the Sydney College of the Arts. She has exhibited extensively in Australia, Thailand and internationally. Most recently, her work was featured in 'Beyond Bliss', the Inaugural Bangkok Art Biennale in 2018-2019, as well as in the 2020 Asia-Pacific Triennial of Performing Arts in Melbourne, Australia. Many of her works are held in public and private collections locally and overseas, including the Art Gallery of New South Wales, the National Gallery of Thailand, the National Gallery Singapore, and the Thai Embassy in Paris, among others. You can find more information about Phaptawan Suwannakudt on her website: phaptawansuwannakudt.com/. For more information or to browse additional resources, visit the Sydney Southeast Asia Centre’s website: sydney.edu.au/sseac. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

There has recently been a sharp increase in cases where corporations have been sued by street and graffiti artists because their artworks had been used and exploited without the artists’ authorization, for example in advertising campaigns, as backdrops in promotional videos, or as decorating elements of products. This trend shows and confirms that these forms of art are vulnerable. They are actually more exposed to unauthorized exploitation (and destruction as well) than works of fine art, because they are placed in the public eye. Protecting Art in the Street: A Guide to Copyright in Street Art and Graffiti (Dokument Forlag, 2020) explains, with words and images, how copyright laws apply to street art and graffiti, and how they can be of help to creators within these artistic communities. Knowledge about these issues does matter. There has recently been a spike in legal actions or complaints against corporations and individuals that have tried to exploit commercially street artworks without the artists’ consent; and more importantly without sharing with them any profit. Also, legal actions have been brought by street artists to fight the destruction of their pieces. By adopting a simple language, Protecting Art in the Street constitutes an easy-to-understand guide aimed at navigating street artists and graffiti writers through otherwise difficult and intricate legal issues concerning the protection of their artistic outputs. Nick Pozek is Assistant Director at the Parker School of Foreign & Comparative Law at Columbia University Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his latest authoritative book, Journeys Through the Russian Empire: The Photographic Legacy of Sergei Prokudin-Gorsky (Duke University Press, 2020) Russian scholar, photographer, and chronicler of Russian architecture William Craft Brumfield frames the life and work of pioneering color photographer Sergey Prokudin-Gorsky (1863-1944), while also putting his own magisterial career into sharp perspective. Brumfield updates and interprets several of Prokudin-Gorsky’s iconic images with his own late twentieth and early twenty-first century versions, and the result is an extraordinary study of two photographers and two Russias. Prokudin-Gorsky was a polymath, inventor, explorer, entrepreneur, and eminently talented photographer, who pursued an over-arching goal of bringing color to the emerging technology of photography. Prokudin-Gorsky combined a strong grounding in both the science and the arts, which gave him easy mastery over the technology. But he was also a gifted entrepreneur, able to see the vast mainstream potential of photography, and throughout his career, he championed the rights of photographers and led the industry in its professional development. From the beginning of his professional life, he pursued his goal to produce color photography, but throughout his career, he was a vocal champion for his colleagues, assuming the editorship of Russia’s “Amateur Photography,” and campaigning successfully for photographers to assert ownership of their work. Prokudin-Gorsky’s groundbreaking use of glass slides to produce color soon came to the attention of the Imperial Family — passionate shutterbugs themselves — and Prokudin-Gorsky secured an invitation to present his slides to Nicholas II. The tsar became a staunch supporter of Prokudin-Gorsky, ordering the Minister of Ways and Communications to furnish Prokudin-Gorsky with a specially designed railway car for his laboratory, and access to river transport. The tsar also gave Prokudin-Gorsky an enviable laissez-passer for the entire empire, and an order that enabled the photographer to solicit aid from all government officials. For the next six years, Prokudin-Gorsky traveled throughout Imperial Russia on several regional expeditions, sponsored by the Ministry of Ways and Communications, capturing the emerging industrial might of the empire. But along the way, he also captured the natural beauty of Russia’s wilder corners: the majestic Caucasus, the arid desert of Central Asia, and the dense forests of the Urals. Did Prokudin-Gorsky understand that he was documenting a world that would soon disappear? For disappear it soon did, and Prokudin-Gorsky fled Russia in 1918, bringing with him thousands of color slides. Fast forward half a century, and enter William Craft Brumfield, who began documenting Russia’s architecture in the 1970s. He was a natural choice to curate a public exhibition of Prokudin-Gorsky’s collection for the Library of Congress in 1986, and his association with the Library and the collection has continued to this day. “Journeys Through the Russian Empire” is the magnificent culmination of this decades-long collaboration. William Craft Brumfield is the foremost Western expert on Russian architecture, and taught at some world’s most renowned centers of Slavic studies, including Harvard, Tulane, and the Pushkin Institute. In 2019, in recognition of Brumfield’s contribution to Russian culture, President Putin awarded him with Russia’s highest honor for a foreigner: The Order of Friendship. Jennifer Eremeeva is an American expatriate writer who writes about travel, culture, cuisine and culinary history, Russian history, and Royal History, with bylines in Reuters, Fodor's, USTOA, LitHub, The Moscow Times, and Russian Life. She is the award-winning author of Lenin Lives Next Door: Marriage, Martinis, and Mayhem in Moscow and Have Personality Disorder, Will Rule Russia: A Pocket Guide to Russian History. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art. Propaganda art — whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon — delivers a message. In Propaganda Art in the 21st Century (MIT Press, 2019), Jonas Staal argues that propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propaganda. Jonas Staal speaks to Pierre d'Alancaisez about his proposal for a new model of emancipatory propaganda art — one that acknowledges the relationship between art and power and takes both an aesthetic and a political position in the practice of world-making. Jonas Staal is a scholar of propaganda and a self-described propaganda artist. He is the founder of the artistic and political organization New World Summit (2012–ongoing) and the campaign New Unions (2016–ongoing). With BAK, basis voor actuele kunst, Utrecht, he co-founded the New World Academy (2013–16). His most recent project Collectivize Facebook exploring legal ways to return the ownership of data in its many forms to the collective ownership of the users of software platforms. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The last twenty years have seen a rise in the production, circulation, and criticism of new forms of socially engaged art aimed at achieving social justice and economic equality. Leigh Claire La Berge, author of Leigh Claire La Berge, Wages Against Artwork: Decommodified Labor and the Claims of Socially Engaged Art (Duke UP, 2019), speaks with Pierre d'Alancaisez about what she calls decommodified labor — the slow diminishment of wages alongside an increase in the demands of work. Outlining the ways in which artists relate to work, La Berge examines how artists and organizers create institutions to address their own precarity and why the increasing presence of animals and children in contemporary art points to the turn away from paid labor. Leigh Claire La Berge is Assistant Professor of English at Borough of Manhattan Community College, City University of New York. She's the author of Scandals and Abstraction (about which she spoke on an earlier episode), and co-editor of Reading Capitalist Realism. She's currently working on expanding her project Marx for Cats, initiated with Caroline Woolard and Or Zubalsky. La Berge's discusses the proliferation of animals in contemporary art starting 45 minutes in the episode. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Whether engaged in same-sex desire or gender nonconformity, black queer individuals live with being perceived as a threat while simultaneously being subjected to the threat of physical, psychological, and socioeconomic injury. Attending to and challenging threats has become a defining element in queer black artists’ work throughout the black diaspora. In Black Queer Freedom: Spaces of Injury and Paths of Desire (U Illinois Press, 2020), GerShun Avilez analyzes the work of diasporic artists who, denied government protections, have used art to create spaces for justice. He first focuses on how the state seeks to inhibit the movement of black queer bodies through public spaces, whether on the street or across borders. From there, he pivots to institutional spaces--specifically prisons and hospitals--and the ways such places seek to expose queer bodies in order to control them. Throughout, he reveals how desire and art open routes to black queer freedom when policy, the law, racism, and homophobia threaten physical safety, civil rights, and social mobility. Order this book through University of Illinois Press and use this code to get a discount: F20UIP GerShun Avilez is an associate professor of English at the University of Maryland. He is the author of Radical Aesthetics and Modern Black Nationalism. John Marszalek III is author of Coming Out of the Magnolia Closet: Same-Sex Couples in Mississippi (2020, University Press of Mississippi). He is clinical faculty of the Clinical Mental Health Counseling Program at Southern New Hampshire University. John is on Twitter at @marsjf3. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Other End of the Needle (Rutgers University Press, 2020), David C. Lane, Ph.D. investigates the intricacies of the tattoo industry. Particularly, Lane found that tattooing is more complex than simply the tattoos that people wear. Using qualitative data and an accessible writing style, Lane explains the complexity of tattoo work as a type of social activity. His central argument is that tattooing is a social world, where people must be socialized, manage a system of stratification, create spaces conducive for labor, develop sets of beliefs and values, struggle to retain control over their tools, and contend with changes that in turn affect their labor. Earlier research has examined tattoos and their meanings. Yet, Lane notes, prior research has focused almost exclusively on the tattoos—the outcome of an intricate social process—and have ignored the significance of tattoo workers themselves. "Tattooists," as Lane dubs them, make decisions, but they work within a social world that constrains and shapes the outcome of their labor—the tattoo. The goal of this book is to help readers understand the world of tattoo work as an intricate and nuanced form of work. Lane ultimately asks new questions about the social processes occurring prior to the tattoo’s existence. David C. Lane is currently recruiting participants for his next study on identity management and past trauma experienced by people who have tattoos. The goal of this study is to understand how tattoos are used by people to develop their own identity. If you are interested in participating please go to http://tattoostudyisu.com. Michael O. Johnston, Ph.D. is an Assistant Professor of Sociology at William Penn University. His most recent study, “The Queen and Her Royal Court: A Content Analysis of Doing Gender at a Tulip Queen Pageant”, was published in Gender Issues Journal. His interests include the sociology of art and culture, sociology of death and dying, and sociology of sex and gender. He is currently working on a research project about obituary writing as an art world. More can be found about Michael O. Johnston, Ph.D. by going to his website, Google Scholar, following him on Twitter @ProfessorJohnst, or emailing him at johnstonmo at wmpenn dot edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The life of Francisco Goya (1746–1828) coincided with an age of transformation in Spanish history that brought upheavals in the country’s politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents—including letters, court papers, and a sketchbook used by Goya in the early years of his career—to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era. Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya’s likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery—from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist’s personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya’s late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the “black” paintings. A monumental achievement, Goya: A Portrait of the Artist (Princeton UP, 2020) is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later. Marshall Poe is the editor of the New Books Network. He can be reached at marshallpoe@newbooksnetwork.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Rachel Berenson Perry about her book The Life and Art of Felrath Hines: From Dark to Light (Indiana University Press, 2019). Felrath Hines (1913–1993), the first African American man to become a professional conservator for the Smithsonian National Portrait Gallery, was born and raised in the segregated Midwest. Leaving their home in the South, Hines's parents migrated to Indianapolis with hopes for a better life. While growing up, Hines was encouraged by his seamstress mother to pursue his early passion for art by taking Saturday classes at Herron Art Institute in Indianapolis. He moved to Chicago in 1937, where he attended the Art Institute of Chicago in pursuit of his dreams. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Is color a phenomenon of science or a thing of art? Over the years, color has dazzled, enhanced, and clarified the world we see, embraced through the experimental palettes of painting, the advent of the color photograph, Technicolor pictures, color printing, on and on, a vivid and vibrant celebrated continuum. These turns to represent reality in “living color” echo our evolutionary reliance on and indeed privileging of color as a complex and vital form of consumption, classification, and creation. It’s everywhere we look, yet do we really know much of anything about it? Finding color in stars and light, examining the system of classification that determines survival through natural selection, studying the arrival of color in our universe and as a fulcrum for philosophy, DeSalle’s brilliant A Natural History of Color: The Science Behind What We See and How We See it (Pegasus Books, 2020)establishes that an understanding of color on many different levels is at the heart of learning about nature, neurobiology, individualism, even a philosophy of existence. Color and a fine tuned understanding of it is vital to understanding ourselves and our consciousness. Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Knowledge Beside Itself: Contemporary Art's Epistemic Politics (Sternberg Press, 2020) delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.” Tom Holert, author of Knowledge Beside Itself, speaks to Pierre d'Alancaisez about the history of art's fraught relationship with knowledge and its opposition to scientific notions of epistemology, as well as about art's complicity in the "epistemic mammoth" of the knowledge economy. Holert discusses the work of Natascha Sadr Haghighian and 'The Trainee' by Pilvi Takala which is available to view on Vimeo. Tom Holert is a writer and curator. In 2015 he cofounded the Harun Farocki Institut in Berlin, a platform for research and production departing from the example set by Farocki. With Anselm Franke he curated the 2018 exhibition “Neolithic Childhood: Art in a False Present, c. 1930” at Haus der Kulturen der Welt, Berlin. “Education Shock,” a research and exhibition project at Haus der Kulturen der Welt on the spatial politics of education in the global 1960s and 1970s will take place in 2021. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Myroslav Shkandrij’s Avant-Garde Art in Ukraine, 1910-1930: Contested Memory (Academic Studies Press, 2019) offers an insight into the development of the Ukrainian avant-garde, a topic which still remains unjustifiably understudied. The book is an important contribution to the reevaluation of the artistic legacies of the world-renowned artists: Kazimir Malevich, David Burliuk, Mykhailo Boichuk, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov. As the title of the book prompts, the focus is made on the Ukrainian heritage and background that the above-mentioned artists manifested in and through their works. Here Shkandrij initiates an intervention into the scholarship that for many years dismissed the Ukrainian contribution when discussing the avant-garde development. Drawing attention to national and ethnic choices that the artists used to make, but which happened to be silenced or ignored in the subsequent critical reviews and investigations, the book, however, does not suggest to embrace a one-sided approach. Shkandrij balances the local and international contexts when outlining the Ukrainian color of the avant-garde artists that became recognized world-wide. Avant-Garde Art in Ukraine provides complex and multilayered milieus that help better understand how the Ukrainian pattern became to be dismissed or devalued in the conversations about the international avant-garde. The book welcomes a multifaceted approach to the discussion of how the artists developed their techniques, which seem to have responded to a multinational and multiethnic environment which appeared authentic for Ukraine at the beginning of the twentieth century. The subtitle of the book—contested memory—is a welcoming gesture towards further investigations of the Ukrainian avant-garde, which appears to be inherently grounded in a diversity of influences and overlaps that establish deep cultural bonds with the international movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The preface to Robin Mitchell's new book, Vénus Noire: Black Women and Colonial Fantasies in Nineteenth-Century France (University of Georgia Press, 2020) moves me. In it, the author tells the story of her first research trip to Paris and the profound moment of her encounter with a plaster cast of Sarah Baartmann's body at the Musée de l'Homme. It is riveting, personal, and honest, the perfect entry into a book that is all of these things. Exploring the cultural production of French representations of three extraordinary Black women (Baartmann, Ourika, and Jeanne Duval), the book interrogates the visual and literary imaginaries that white French men and women developed in relationship to these women's lives and bodies. Subjected to a perverse "scientific" fascination, Baartmann's body became "famous" throughout and beyond France as white gazes and fantasies sexualized and pathologized her for years until she died. Brought to France from Senegal by the Maréchal Prince de Beauvau, Ourika became the subject of what Mitchell characterizes as a cultural consumptive "mania" that both emulated and rejected her story and the possibilities of her "Frenchness". The lover and common law wife of poet Charles Baudelaire, Jeanne Duval lived an entire life in France, but could never be "French enough." Marked and minoritized by their racial difference, all three women became sites of fixation and memory for a white population seeking/needing constant shoring up of their gendered and racialized identities, and a society haunted by loss and defeat in the wake of the Haitian Revolution. The book is so beautiful, so clearly written, so overflowing with injustice, meaning, and feeling. And Mitchell's voice is there throughout, finding and honouring the voices and lives of these women. It is a book for everyone. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, ‘“No Hiroshima in Africa”: The Algerian War and the Question of French Nuclear Tests in the Sahara’ appeared in the Spring 2019 issue of History of the Present. She lives and reads on the unceded traditional territories of the Sḵwx̱wú7mesh (Squamish), Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh), and xʷməθkʷəy̓əm (Musqueam) peoples known as Vancouver, Canada and hopes all listeners are keeping healthy and safe at this difficult time in our world. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages (Princeton University Press, 2020), Roland Betancourt reveals the fascinating, little-examined conversations in medieval thought and visual culture around matters of sexual and reproductive consent, bullying and slut-shaming, homosocial and homoerotic relationships, trans and nonbinary gender identities, and the depiction of racialized minorities. Betancourt explores these issues in the context of the Byzantine Empire, using sources from late antiquity and early Christianity up to the early modern period. Highlighting nuanced and strikingly modern approaches by medieval writers, philosophers, theologians, and doctors, the book offers a new history of gender, sexuality, and race. Weaving together art, literature, and an impressive array of texts, Betancourt investigates depictions of sexual consent in images of the Virgin Mary, tactics of sexual shaming in the story of Empress Theodora, narratives of transgender monks, portrayals of same-gender desire in images of the Doubting Thomas, and stereotypes of gender and ethnicity in representations of the Ethiopian Eunuch. He also gathers evidence from medical manuals detailing everything from surgical practices for late terminations of pregnancy to a host of procedures used to affirm a person’s gender. Showing how understandings of gender, sexuality, and race have long been enmeshed, Byzantine Intersectionality offers a groundbreaking look at the culture of the medieval world. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Peter Gordon and Juan José Morales about their book Painter and Patron: The Maritime Silk Road in the Códice Casanatense (Abbreviated Press, 2020). The Códice Casanatense, or Codex Casanatense 1889 as it is formally known, is a 16th-century Indo-Portuguese collection of some 76 captioned watercolours now held in the Biblioteca Casanatense in Rome. Deposited there at the beginning of the 18th century, it resided in almost complete obscurity for two and half centuries and was not brought to scholarly attention until the 1950s. It has never been discussed in detail for the general reader. Painted by an Indian artist, and annotated in Portuguese, the Codex is a remarkable work of collaboration that portrays the peoples, costumes and customs of a region extending from Africa to China. This region, crossed by Portuguese explorers and traders, maps on what is now commonly called the Maritime Silk Road. Lively and evocative, the Códice Casanatense is a unique historical record that provides a human window into an Asia that Europeans were only just entering and a first testimony of an encounter that would transform the world. Although the painter has deep connections with Indian artistic traditions, he also drew upon the illustrations in Balthasar Sprenger's iconic 1509 Die Merfart, while the Codex itself was a source for the illustrations in Jan Huygen van Linschoten's classic end-of-the-century Itinerario. Both influenced and influencing, the Codex is unveiled as an archetypal example of East-West cultural and intellectual fusion. Peter Gordon is editor of the Asian Review of Books and publisher of Chameleon Press. He was also a founder of the Man Asian Hong Kong International Literary Festival. Juan José Morales is an entrepreneur and historian who has published a variety of works ranging from poetry anthologies to works on arts and culture. Jenny Peruski is a Ph.D. candidate at Harvard University, Department of History of Art and Architecture. Her research focuses on ornamentation and bodily adornment in coastal eastern Africa. She can be reached by email at jperuski@g.harvard.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Architecture can seem complicated, mysterious or even ill-defined, especially to a student being introduced to architectural ideas for the first time. One way to approach architecture is simply as the design of human environments. When we consider architecture in this way, there is a good place to start – ourselves. Our engagement in our environment has shaped the way we think which we, in turn, use to then shape that environment. It is from this foundation that we produce meaning, make sense of our surroundings, structure relationships and even frame more complex and abstract ideas. This is the start of architectural design. Philip D. Plowright's book Making Architecture Through Being Human: A Handbook of Design Ideas (Routledge, 2019) is a reference book that presents 51 concepts, notions, ideas and actions that are fundamental to human thinking and how we interpret the environment around us. The book focuses on the application of these ideas by architectural designers to produce meaningful spaces that make sense to people. Each idea is isolated for clarity in the manner of a dictionary with short and concise definitions, examples and illustrations. They are organized in five sections of increasing complexity or changing focus. While many of the entries might be familiar to the reader, they are presented here as instances of a larger system of human thinking rather than simply graphic or formal principles. The cognitive approach to these design ideas allows a designer to understand the greater context and application when aligned with their own purpose or intentions. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is a professor at Alfred State College and the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On this episode of New Books in History, Jana Byars talks with Ara Marjian, Professor of Italian and affiliate of the Institute of Fine Arts and the Department of Art History at New York University about his newest book Against the Avant-Garde: Pier Paolo Pasolini, Contemporary Art, and Neocapitalism (University of Chicago Press, 2020). Paosolini, a filmmaker who created art in a variety of media, has something approaching a cult following. Merjian explores, “Pasolini’s fraught relationship to the aesthetic experiments of his own age… [and] demonstrates how Pasolini's campaign against neocapitalist culture fueled his hostility to the avant-garde. An atheist indebted to Catholic ritual; a revolutionary communist inimical to the creed of 1968; a homosexual hostile to the project of gay liberation: Pasolini refused the politics of identity in favor of a scandalously paradoxical practice, one vital to any understanding of his legacy. Against the Avant-Garde examines these paradoxes through case studies from the 1960s and 1970s, concluding with a reflection on Pasolini's far-reaching influence on post-1970s art. Merjian not only reconsiders the multifaceted work of Italy's most prominent postwar intellectual, but also the fraught politics of a European neo-avant-garde grappling with a new capitalist hegemony.” Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Latinx Art: Artists, Markets, and Politics (Duke UP, 2020), Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of migration, urbanization, and social movements in the U.S., and specializes in Latina/o/x politics and social movements. Follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market. In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 1702, the second emperor of the Qing dynasty ordered construction of a new summer palace in Rehe (now Chengde, Hebei) to support his annual tours north among the court’s Inner Mongolian allies. The Mountain Estate to Escape the Heat (Bishu Shanzhuang) was strategically located at the node of mountain “veins” through which the Qing empire’s geomantic energy was said to flow. At this site, from late spring through early autumn, the Kangxi emperor presided over rituals of intimacy and exchange that celebrated his rule: garden tours, banquets, entertainments, and gift giving. Stephen Whiteman's book, Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe (University of Washington Press in 2020) draws on resources and methods from art and architectural history, garden and landscape history, early modern global history, and historical geography to reconstruct the Mountain Estate as it evolved under Kangxi, illustrating the importance of landscape as a medium for ideological expression during the early Qing and in the early modern world more broadly. Examination of paintings, prints, historical maps, newly created maps informed by GIS-based research, and personal accounts reveals the significance of geographic space and its representation in the negotiation of Qing imperial ideology. The first monograph in any language to focus solely on the art and architecture of the Kangxi court, Where Dragon Veins Meet illuminates the court’s production and deployment of landscape as a reflection of contemporary concerns and offers new insight into the sources and forms of Qing power through material expressions. Suvi Rautio is a Postdoctoral Researcher at the University of Helsinki. As an anthropologist, her interests delve into themes, such as Chinese state-society relations, space and memory, to deconstruct the social orderings of marginalized populations living in China and reveal the layers of social difference that characterize the nation today. suvi.rautio@helsinki.fi Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Monopoly, Solitaire, football and Minecraft are all games, but for C. Thi Nyugen they are also an art form – specifically, the art form of agency, our capacity to set goals and pursue them. In Games: Agency as Art (Oxford UP, 2020), Nguyen argues that a game designer sculpts agency by specifying the goals and abilities of the potential player – what the player should care about and what their abilities are in the game environment. The resulting disposable ends and interesting struggles yields valuable aesthetic experiences that enhance our capacities for autonomous agency. Yet Nyugen, an associate professor of philosophy at the University of Utah, also warns of the harmful effects of the gamification of real life, when the simple goals and motivations in games leak into our real- world agency and can lead to social and moral disaster. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is an art school? In Art Schools and Place: Geographies of Emerging Artists and Art Scenes (Rowman and Littlefield, 2020), Dr Silvie Jacobi, a researcher and head of education at London School of Mosaic, thinks through the status of art schools and arts education in the contemporary world. The book draws on ethnographic research in Manchester and Leipzig, comparting and contrasting two nations, two educational systems, and two cities, to show the different approaches to training and supporting contemporary culture. The book also compares artforms, considering both traditional practices, alongside the emergence of digital and media arts. Bridging geography, sociology, and the history of art, the book is essential reading for scholars of cultural and creative industries, as well as anyone interested in the continuing value and importance of the arts in education. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Theory of the Gimmick: Aesthetic Judgment and Capitalist Form (Harvard University Press, 2020), Sianne Ngai continues her theoretical work of demystifying the vernacular aesthetic categories encountered in late capitalist daily life. In this witty and penetrating book-length treatment of the affective experience of the “gimmick,” Ngai draws upon formalist literary criticism, post-Kantian aesthetic philosophy, and Marxist political economy in order to illuminate the historical production of this attractive yet unsettling cultural form. From The Magic Mountain to It Follows, smiley faces to subprime mortgages, Ngai’s image of the surprisingly ubiquitous gimmick emerges from a careful evaluation of the capitalist subject’s fundamental discomfort surrounding the coupling of value to labor-time. Michael Eby is a writer and researcher on contemporary art and digital culture. He lives in New York and tweets @michaeleby2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Superfluous Women: Art, Feminism, and Revolution in Twenty-First Century Ukraine (University of Toronto Press, 2020) tells the unique story of a generation of artists, feminists, and queer activists who emerged in Ukraine after the collapse of the Soviet Union. With a focus on new media, Zychowicz demonstrates how contemporary artist collectives in Ukraine have contested Soviet and Western connotations of feminism to draw attention to a range of human rights issues with global impact. In the book, Zychowicz summarizes and engages with more recent critical scholarship on the role of digital media and virtual environments in concepts of the public sphere. Mapping out several key changes in newly independent Ukraine, she traces the discursive links between distinct eras, marked by mass gatherings on Kyiv's main square, in order to investigate the deeper shifts driving feminist protest and politics today. Dr. Jessica Zychowicz was recently a U.S. Fulbright Scholar to Kyiv-Mohyla Academy in Ukraine (2017-18) and is currently based at the University of Alberta. She was also a Postdoctoral Fellow at the University of Toronto's Munk School of Global Affairs and Public Policy and been hosted in residencies and invited talks at Uppsala University Institute for Russian and East European Studies in Sweden; the University of St. Andrews in Edinburgh; NYU Center for European and Mediterranean Studies, among others. She earned her doctorate at the University of Michigan and holds a degree from UC Berkeley. Steven Seegel is Professor of History at University of Northern Colorado. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How do we distinguish art from non-art artifacts, and what does cognitive science have to do with it? In Attentional Engines: A Perceptual Theory of the Arts (Oxford University Press, 2020), William Seeley offers a cognitive science-based account of how we engage with art, what it is that artworks do, and what artists do to make sure they do it. In his diagnostic recognition framework for locating art, artworks are communicative devices in which artists embed perceptual cues that enable the perceiver to categorize the work as intended and thereby unlock its meanings. Seeley, an associate professor at the University of Southern Maine, also considers how his framework might handle conceptual art, what goes wrong when a novice about art perceives an artwork, and the relation between the neuroscience of art and neuroaesthetics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It would be hard to overstate the importance of culture. It teaches us, heals us, rips us apart and puts us back together in new and surprising ways. Given its fundamental importance to the human experience, it would make sense that looking at the sort of people who produce it for us, thinking about who they are, what their experiences are, and what that may say about the cultural products they then make. There is no product without a producer, and cultural products are no different, so understanding cultural products means thinking more critically about who produces them. This is the goal of the recently published ​Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020). Written by Orian Brook, Mark Taylor and, my guest today, Dave O’Brien, the book combines quantitative data analysis with personal interviews to weave together the complicated picture of who the people behind some of our most cherished experiences are. Dave O’Brien is Chancellor’s Fellow in Cultural and Creative Industries, based in the School of History of Art at Edinburgh University. He is also the author of ​Cultural Policy: Management, Value and Modernity in the Creative Industries​ (Routledge). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On the Swahili coast of East Africa, monumental stone houses, tombs, and mosques mark the border zone between the interior of the African continent and the Indian Ocean. In Swahili Port Cities: The Architecture of Elsewhere (Indiana University Press), Prita Meier explores this coastal environment and shows how an African mercantile society created a place of cosmopolitan longing. Meier understands architecture as more than a way to remake local space. Rather, the architecture of this liminal zone was an expression of the desire of coastal inhabitants to belong to places beyond their homeports. Here architecture embodies modern ideas and social identities engendered by the encounter of Africans with others in the Indian Ocean world. Prita Meier is Associate Professor of Art History, Department of Art History, and the Institute of Fine Arts, NYU. She co-edited with Allyson Purpura World on the Horizon: Swahili Arts across the Indian Ocean (Krannert Art Museum, 2017). Co-hosted with Jenny Peruski a Ph.D. student at Harvard University, Department of History of Art and Architecture. Her research focuses on ornamentation and bodily adornment in coastal Eastern Africa. She can be reached by email at jperuski@g.harvard.edu. Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners’ feedback, questions, and book suggestions are most welcome Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On this episode of New Books in History, Jana Byars talks with Tamar Herzig, Professor of History at Tel Aviv University, the Director of Tel Aviv University’s Morris E Curiel Institute for European Studies, and as the Vice Chairperson of the Historical Society of Israel about her new book, A Convert’s Tale: Art, Crime, and Jewish Apostasy in Renaissance Italy (Harvard University Press). Dr. Herzig took time out from her extraordinarily busy schedule to discuss her exciting new read, detailing the life of a very interesting, possibly tragic, definitely frustrating Italian Jew turned Christian goldsmith who was, on one hand, connected to the wealthiest and most powerful of families in Northern Italy, and, on the other, an inveterate gambler and general lout. Salomone da Sesso, was so good at his job that he was a verifiable celebrity. He had a very complex relationship with, and occasionally ran afoul of, his fellow Jews, so much so that he is charged with sodomy (amongst other things) and coverts to Christianity. As Ercole de Fidelis (Ercole the Faithful) he enjoyed the favor of the likes of Isabella d’Este and Lucrezia Borgia. When he lost their support, however, he fell into poverty. He was forced into exile and died unnoticed. We discuss microhistory, Jewish apostasy, sodomy, and the archival tradition. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war. Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States. Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

As a teenager visiting the Andy Warhol Museum, Beth Pickens realized the importance of making art. As an adult, she has dedicated her life to empowering working artists. Intimate yet practical, Your Art Will Save Your Life (The Feminist Press at CUNY) helps artists build a sustainable practice while navigating the world of MFAs, residencies, and institutional funding. Beth Pickens is a Los Angeles-based consultant for artists and arts organizations. She provides career consultation, grant writing, fundraising, and financial, project, and strategic planning services for clients across the US. Before relocating to Los Angeles in 2014, Pickens was based in San Francisco and served as Senior Program Manager at Yerba Buena Center for the Arts and Managing Director of both RADAR Productions and the Queer Cultural Center. Dr. Christina Gessler’s background is in women’s history, literature, and anthropology. She works as a historian, poet, and photographer. In seeking the extraordinary in the ordinary, Gessler writes the histories of largely unknown women, poems about small relatable moments, and takes many, many photos in nature. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Those who have followed this podcast in the past, and those who follow developments in cybernetics in the present, will be no strangers to the name Ranulph Glanville. This brilliant, multiple-PhD holding polymath who co-mingled cybernetics with ethics, pedagogy, and, above all, design, has, through his voluminous body of ground-breaking papers, had a greater influence upon the field than, arguably, any scholar since Heinz von Foerster. At the 2015 Conference of the International Society for the Systems Sciences in Berlin, a group of self-proclaimed “Glanvillians” made up largely of former students and collaborators of Glanville, and a few interlopers like myself, met over a breakfast table at the Scandic Hotel, Potzdammer Platz, Berlin and, at the prompting of Thomas Fischer and Candy Herr, committed themselves to consolidating Glanville’s legacy and pointing the way to future extensions and investigations of his central claim that design is the practice of cybernetics and cybernetics is theory for design. The result is Design Cybernetics: Navigating the New (Springer) edited by Fischer and Herr. Featuring an eclectic blend of mid-career and senior scholars, the assembled chapters probe the vital relationship between conversation and design, the commitments of a radical constructivist epistemology, the virtues of being “out of control”, the embracing of error, and the seemingly paradoxical notion of getting “lost with rigour” across a wide array of artistic and scientific domains. As both the interviewer and a contributor to the book, I have, in the sprit of “walking our talk”, eschewed the erasure of error by editing and left, in full view, the meandering trail of a wandering and, at times, stumbling conversational journey featuring prolonged gaps in thinking, confusion between different articles by the same author, technical miscues, and even a pitched battle between my two cats, in order to model our commitment to process over perfection and personify Glanville’s favourite Samuel Beckett quote: “Try again, fail again, fail better.” I hope you find the stops along the way of this meandering journey as stimulating as I did. Thomas Fischer is a design researcher, epistemologist and cybernetician. He is a Professor and Director of Research at the Department of Architecture at XJTLU in Suzhou, China. Thomas is also a Visiting Associate Professor at the School of Design at The Hong Kong Polytechnic University. Christiane M. Herr is an architectural researcher and educator focusing on the areas of structural design, digitally supported design, radical constructivism, design pedagogy and traditional Chinese approaches to creative thinking. Christiane is a Senior Associate Professor at Xi’an Jiaotong-Liverpool University in China, where she directs the Master of Architectural Design as well as the Bachelor of Architectural Engineering programmes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In What Does it Mean to be Post-Soviet? Decolonial Art from the Ruins of the Soviet Empire (Duke University Press, 2018), Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future. Madina Tlostanova is professor of postcolonial feminisms at Linköping University (Sweden). Steven Seegel is professor of history at University of Northern Colorado. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The prolific artistic production of Vesna Kittelson always maintains autobiographical connections: her installations of deconstructed books and her luminous drawings of fountains recall her childhood in Split, Croatia; her early color field paintings represent people and places she remembers; her war paintings portray the tragedy and emotion experienced in Bosnia and Herzegovina, as well as her reactions to the 9/11 attack in the United States; the brilliant botanical watercolors in her artist’s books result from her research on Charles and Emma Darwin; and her dynamic cutout portraits of her students reveal bonds with fellow artists and immigrants of a later generation. A vital participant in the Minneapolis arts community for decades, Kittelson demonstrates her strong passion for creativity through her ever-evolving practice and extensive international career. Today I talked to Vesna about Synthesis: Lost and Found in America: The Art of Vesna Kittelson (Afton Historical Society Press-University of Minnesota Press, 2020) Contributors to the book include: Heather Carroll, Minnesota History Museum; Wendy Fernstrum; Joanna Inglot, Macalester College; Lyndel King, Weisman Art Museum; Camille LeFevre; John Lyon, Walker Art Center; Kerry A. Morgan, Minnesota College of Art and Design; Marcia Reed, Getty Research Institute; Susannah Schouweiler, Weisman Art Museum. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How has social media changed inequality in the cultural industries? In The Politics of Expertise in Cultural Labour: Arts, Work and Inequalities (Rowman and Littlefield, 2020), Karen Patel, AHRC Leadership Fellow based at Birmingham Centre for Media and Cultural Research, Birmingham City University, considers the idea of expertise in cultural labour, examining how it is understood and displayed by cultural workers. The book draws on an extensive and deep engagement with key theories of work, expertise, and culture, as well as offering detailed empirical case studies of the everyday working lives of creative practitioners. Moreover, by analyzing the impact and importance of social media, the book offers an important insight into how inequality functions even where technology seems to offer an end to cultural hierarchy. The book is essential reading across the humanities and social sciences, as well as for anyone interested in contemporary culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 1912, at age 24, Georgia O’Keeffe boarded a train in Virginia and headed west, to the prairies of the Texas Panhandle, to take a position as art teacher for the newly organized Amarillo Public Schools. Subsequently she would join the faculty at what was then West Texas State Normal College (now West Texas A&M University). Already a thoroughly independent-minded woman, she maintained an active correspondence with her future husband, photographer Alfred Stieglitz, and other friends back east during the years she lived in Texas. In Georgia O'Keeffe's Wartime Texas Letters (Texas A&M UP, 2020), Amy Von Lintel brings to readers the collected O’Keeffe correspondence and added commentary and analysis, shining fresh light on a period of the artist’s life she characterizes as “some of the least appreciated in the vast O’Keeffe scholarship,” but also as “a time when she discovered her own voice as a young, successful, and independent woman . . . a dedicated faculty member at a brand-new college . . . a vibrant social butterfly . . . a progressive woman who spoke her mind and fought for her beliefs to be heard.” Although selected paintings by O’Keeffe that support the narrative are featured, this work focuses on O’Keeffe’s words. By doing so, Von Lintel aims to allow the artist’s voice to “emerge as a powerful witness of her own life, but also of western America in a pivotal moment of its development.” The result is an important new examination of one of our most beloved artists during a time when she was in the process of discovering her future identity. Amy Von Lintel is the Doris Alexander Endowed Professor of Fine Arts at West Texas A&M University. She is the author of Georgia O’Keeffe: Watercolors and coauthor of Robert Smithson in Texas. She resides in Amarillo, Texas. Kirstin L. Ellsworth is an Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Nozomi Naoi’s Yumeji Modern: Designing the Everyday in Twentieth-Century Japan (University of Washington Press, 2020) is the first book-length English-language study of one of Japan’s iconic twentieth-century artists, Takehisa Yumeji (1884–1934). While he is most famous for portraits of beautiful women and stylish graphic design―which remain enormously popular and ubiquitous in today’s Japan―Yumeji’s output was not only prolific but also diverse. He began as an illustrator for socialist magazines, was a key figure in the revival and reinvention of the woodblock print as a modern medium, and produced astute and evocative portrayals of the 1923 Great Kanto Earthquake that devastated the Tokyo area. He was also a mentor to young artists and writers, and as Naoi shows, Yumeji created not just a recognizable style and brand, but also an alternative space of artistic production in the early twentieth century. Naoi situates Yumeji’s career within the evolving social, artistic, and technological contexts of his time, drawing our attention to his involvement with new reprographic technologies and commercial design. Additionally, by the inclusion of a substantial body of primary sources―including his 21-part earthquake reportage―in both the original and English translation, Naoi’s book is both an outstanding and accessible art history book, but a resource for future research. And because podcasts are not the ideal visual medium, check out the links below to see some of Yumeji’s artwork and learn more. Nozomi Naoi on “Yumeji Modern” and finding the “moon-viewing” moment Envisioning East Asian Art History, Highlights of Yumeji Modern (2 videos) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Savage Tales: The Writings of Paul Gauguin (Yale University Press, 2019), Linda Goddard investigates the role that Paul Gauguin’s writings played in his artistic practice and in his negotiation of his colonial identity. As a French artist who lived in Polynesia, Gauguin occupies a crucial position in histories of European primitivism, but this is the first book to be devoted to his wide-ranging literary output, including his journalism, travel writing, art criticism, and essays on aesthetics, religion, and politics. In the book, Dr. Goddard analyzes what are often richly illustrated manuscripts and she counters the tendency to interpret these writings merely as a source of information about his life. Instead, she reveals how the seemingly haphazard structure of Gauguin’s manuscripts were an important part of an artistic practice that ranged across media, one that enabled him to evoke the “primitive” culture that he so celebrated. This critical analysis of his writings significantly enriches our understanding of the complexities of artistic encounters in the French colonial context. Linda Goddard is senior lecturer in art history at the University of St. Andrews. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In American Daredevil: Comics, Communism, and The Battles of Lev Gleason (Chapterhouse Publishing, 2020), Brett Dakin, Gleason’s great-nephew delves into the life of his famous relative. Gleason rose to the top of the comic publishing world during its Golden Age, publishing Daredevil and Crime Does Not Pay among other titles. Dakin explores the family archives and FBI files to give readers a comprehensive look into the life of Gleason and his Progressive activism. Gleason’s experiences with the House Un-American Activities Committee and Dr. Frederic Wertham and other Anti-Comic activists give a glimpse into important political and social activism of the 1940s and 50s in American history. Dakin not only presents the story of Great-Uncle Lev, but he also gives readers insight into his research into Gleason’s life, career, and disappearance from public. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. She is the author of Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018). You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Junior Tomlin: Flyer & Cover Art (Velocity Press, 2020) showcases the artwork of Junior Tomlin. Featuring flyers and record covers Tomlin has created for the rave scene starting in the late 1980s, this is the first book which comprehensively and cohesively documents his work in this important UK subculture. Raised in Ladbroke Grove, west London, Tomlin’s Afrofuturism work is influenced by surrealism, science fiction, futurism, and comics. Tomlin has been dubbed “The Salvador Dali of Rave” and this magnificent collection of his work speaks to why. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this this interview, Carrie Tippen talks with Emily Wallace, author and illustrator of the new book Road Sides: An Illustrated Companion to Dining and Driving in the American South (University of Texas Press, 2019). Road Sides pays homage to popular travel guides with its short chapters, one for each letter of the alphabet containing a brief contextualizing essay followed by a feature of a specific location, business, or product. “A” is for Architecture, a tribute to buildings in the shape of foods one might find on the highway; “B” is for Billboards, their ubiquity and creativity and sometimes, as in the case of the “South of the Border” billboards, racial insensitivity. Road Sides is clearly aimed at a general audience of readers with its journalistic style of participant observation and whimsical illustrations, but Wallace makes use of her folklore training and scholarly connections in both the historical contextualizing of automobile culture and the critical lens with which she points out the good, the bad, and the ugly of Southern history and practice. While Road Sides is certainly a celebration of Southern foodways, it is not without criticism. A thread runs throughout the book that there is not a single story of Southern road travel. Wallace is careful to remind readers that before the civil rights era, there are two very distinct experiences for black and white Southerners, and after the ostensible end of racial segregation in public spaces, a third story emerges that changes the experience for all travelers. Wallace addresses these disparate narratives most directly in “D” for Directions, focusing on the Negro Motorist Green-Book that ran counter to the Official Automobile Blue Book for white travelers, and in V for Vacancy, about the black-owned hotels that catered to black travelers. Similarly, in a chapter about the crossroads general store, Wallace reminds readers that Emmett Till was murdered after an encounter with white people in such a store. What emerges from this wide-ranging investigation is an story of innovation, both technological and entrepreneurial, about the creative minds who came up with a new product or process or marketing strategy to adapt to a world that is changed irrevocably by car travel. Emily Wallace is a writer and illustrator with a masters in folklore who serves as art director & deputy editor of Southern Cultures Quarterly at UNC-Chapel Hill, and has written and illustrated work for other publications including The Washington Post, Southern Living, The Oxford American, and GOOD. In 2015, Wallace was nominated for a James Beard Award in humor writing. Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Gastronomica, Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I talked to Laurie Olin about his book Be Seated (ORO Editions, 2017). Olin’s interest in public outdoor seating in parks and civic spaces revolves around two poles: the first is a concern for aspects of the ordinary in our settings and actions, the apparatus and effects of the quotidian in our individual lives and experience; the other is the utility of public seating in the conduct and potential of our role as citizens and the establishment of place and community. A not inconsiderable aspect of both is the engendering of pleasure. In a democracy we are expected to fulfill two potentials – those of private citizen and contributing member of a community. When sitting on a bench or chair in a park or plaza we inevitably participate in the life of a particular space, city, and society while simultaneously pursuing our own life with its demands and aspirations. Chairs and benches in their many varieties and situations are the setting (pun intended) for profoundly simple, albeit important, and largely unnoticed aspects of our lives. Laurie Olin is a distinguished teacher, author, and one of the most renowned landscape architects practicing today. From vision to realization, he has guided many of OLIN’s signature projects, which span the history of the studio from the Washington Monument Grounds in Washington, DC to Bryant Park in New York City. His recent projects include the AIA award-winning Barnes Foundation in Philadelphia, Pennsylvania Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For centuries, wherever Thai Buddhists have made their homes, statues of the Buddha have provided striking testament to the role of Buddhism in the lives of the people. The Buddha in Lanna: Art, Lineage, Power, and Place in Northern Thailand (University of Hawaii Press, 2017) offers the first in-depth historical study of the Thai tradition of donation of Buddha statues. Drawing on palm-leaf manuscripts and inscriptions, many never previously translated into English, the book reveals the key roles that Thai Buddha images have played in the social and economic worlds of their makers and devotees from the fifteenth to twentieth centuries. Author Angela S. Chiu introduces stories from chronicles, histories, and legends written by monks in Lanna, a region centered in today’s northern Thailand. By examining the stories’ themes, structures, and motifs, she illuminates the complex conceptual and material aspects of Buddha images that influenced their functions in Lanna society. Buddha images were depicted as social agents and mediators, the focal points of pan-regional political-religious lineages and rivalries, indeed, as the very generators of history itself. In the chronicles, Buddha images also unified the Buddha with the northern Thai landscape, thereby integrating Buddhist and local conceptions of place. By comparing Thai Buddha statues with other representations of the Buddha, the author underscores the contribution of the Thai evidence to a broader understanding of how different types of Buddha representations were understood to mediate the “presence” of the Buddha. The Buddha in Lanna focuses on the Thai Buddha image as a part of the wider society and history of its creators and worshippers beyond monastery walls, shedding much needed light on the Buddha image in history. With its impressive range of primary sources, this book will appeal to students and scholars of Buddhism and Buddhist art history, Thai studies, and Southeast Asian religious studies. Olivia Porter is a PhD candidate at Kings College London. Her research focuses on Tai Theravada Buddhism in Myanmar and its borders. She can be contacted at: olivia.c.porter@kcl.ac.uk Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For centuries artists and designers have recorded places, people, and life in travel sketchbooks. Over a period of fifty years, Laurie Olin, one of America’s most distinguished landscape architects, has recorded aspects of France: its cities and countryside, streets and cafes, ancient ruins, vineyards, and parks—from humble to grand, things that interested his designer’s eye—taking the time to see things carefully. Paris in its seasons, agriculture in Provence and Bordeaux, trees, dogs, and fountains, all are noted over the years in watercolor or pen and ink. Originally intended for the pleasure of merely being there as well as self-education, Olin's France Sketchbook (ORO Editions, 2020) offers a selection from his many sketchbooks is accompanied by transcriptions of notes and observations, along with introductory remarks for the different regions included: Paris, Haute Loire, Provence, Haute Provence, Normandy, Aquitaine, and Entre des Meures. Laurie Olin is a distinguished teacher, author, and one of the most renowned landscape architects practicing today. From vision to realization, he has guided many of OLIN’s signature projects, which span the history of the studio from the Washington Monument Grounds in Washington, DC to Bryant Park in New York City. His recent projects include the AIA award-winning Barnes Foundation in Philadelphia, Pennsylvania. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How did Buddhist women access religious experience and transcendence in a Confucian patriarchal system in imperial China? How were Buddhist practices carried out in the intimate settings of a boudoir? In Dr. Yuhang Li’s recent monograph, Becoming Guanyin: Artistic Devotion of Buddhist Women in Late Imperial China (Columbia University Press), the answers to these questions can be found in creative usages of “women’s things” and the female body. Dr. Li shows in this book that through expressive depictions of Guanyin, or the Bodhisattva Avalokiteśvara in various media such as painting and embroidery, and through embodiments of the deity via jewelry and dance, Buddhist women in Ming-Qing China were able to forge personal connections with the Bodhisattva of Compassion. Dr. Li argues that this connection was made possible through “mimetic devotion,” which allowed the faithful devotees to use their own bodies and material things to “become” the feminized form of the popular Buddhist deity. Yuhang Li is an assistant professor of Chinese art in the Department of Art History at the University of Wisconsin-Madison. Daigengna Duoer is a PhD student at the Religious Studies Department, University of California, Santa Barbara. Her dissertation researches on transnational and transregional networks of Buddhism connecting twentieth-century Inner Mongolia, Manchuria, Republican China, Tibet, and Imperial Japan. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the middle of the twentieth century, a newspaper photographer who went by the name of Weegee took memorable pictures of New York City’s street life that appeared everywhere from tabloid newspapers to seminars on the history of photography. Christopher Bonanos’ book Flash: The Making of Weegee the Famous (Henry Holt and Company, 2018), winner of the National Book Critics Circle Award, tells the story of his life from his childhood as an immigrant street kid on the Lower East Side to his years photographing murder scenes to his experiments with caricatures of celebrities. As Bonanos observes, Weegee “very early on grasped that the distinction between high culture and low culture was growing blurry.” Out of that insight he made a career and a body of work that tell us a lot about New York City, its journalism, and photography. Robert W. Snyder, professor emeritus of American Studies and Journalism at Rutgers-University-Newark and Manhattan Borough Historian, is the author of Crossing Broadway: Washington Heights and the Promise of New York and co-author of All the Nations Under Heaven: Immigrants, Migrants and the Making of New York. He can be reached at rwsnyder@newark.rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Michelangelo’s Inner Anatomies (Penn State University Press), Christian Kleinbub challenges the notion that Michelangelo, renowned for his magnificent portrayals of the human body, was merely concerned with “superficial” anatomy—that is, the parts of the body that can be seen from the outside. Providing a fresh perspective on the artist’s portrayals of the human figure, Kleinbub investigates what he calls the artist’s “inner anatomical poetics,” revealing the Michelangelo’s beautiful bodies as objects of profound intellectual and spiritual significance. In so doing, Michelangelo’s Inner Anatomies illuminates how Renaissance discourses on anatomical organs and organ systems informed the artist’s figures, linking the interior experiences of his subjects to physiological processes associated with sex, love, devotion, and contemplation, among other thoughts and feelings. The book’s case studies cover the full range of Michelangelo’s prodigious output—including such iconic works as the Sistine Ceiling, Dying Slave, and Last Judgment—and reconstructs what the artist knew of internal anatomy and how he projected that knowledge into his most important works. Drawing upon theological, poetic, philosophical, and scientific texts, the book shows how Michelangelo created a context-dependent, adaptable practice that could be adjusted according to the needs of an individual situation or commission and manipulated to embody, literally and figuratively, a variety of meanings. Deeply researched and convincingly argued, this study heralds a significant shift in thinking about the Italian Renaissance body as it pertains not only to the work of Michelangelo but also to the era as a whole. Christian K. Kleinbub is Professor of Italian Renaissance Art at The Ohio State University and CoDirector of the New Foundation of Art History. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, we talk with Michael Gubser about the pioneering art historian Alois Riegl, one of Eisler’s teachers in Vienna and a major influence on his thought. Then we look at Eisler’s first work on the history of religions, World Mantle and Heavenly Canopy, a massive two-volume study of ancient cosmology published in 1910. In the second half, we turn to Orpheus the Fisher: Comparative Studies in Orphic and Early Christian Cult Symbolism, larger questions about the figure of Orpheus and the idea of a widespread cult devoted to his worship in the ancient world, and even larger questions about what we can learn from “outdated” scholarship. Voice of Robert Eisler: Caleb Crawford Additional voices: Brian Evans Music: “Shibbolet Baseda,” recorded by Elyakum Shapirra and His Israeli Orchestra. Guests: Michael Gubser (James Madison University) Vladimir Marchenkov (Ohio University School of Interdisciplinary Arts) and Radcliffe G. Edmonds, III (Paul Shorey Professor of Greek and Chair of the Department of Greek, Latin, and Classical Studies at Bryn Mawr College) Funding provided by the Ohio University Humanities Research Fund and the Ohio University Honors Tutorial College Internship Program. Special thanks to the Warburg Institute and the Griffith Institute at the University of Oxford. Bibliography and Further Reading --Edmonds, Radcliffe G. Redefining Ancient Orphism: A Study in Greek Religion. Cambridge: Cambridge University Press, 2013. --Eisler, Robert. Orpheus the Fisher: Comparative Studies in Orphic and Early Christian Cult Symbolism. London: J. M. Watkins, 1921. ———. Weltenmantel und Himmelszelt: Religionsgeschichtliche Untersuchungen zur Urgeschichte des antiken Weltbildes. [World Cloak and Heavenly Canopy: Investigations into the Ancient Worldview through the History of Religions].Two Volumes. Munich: Oscar Beck, 1910. --Gubser, Michael. Time’s Visible Surface: Alois Riegl and the Discourse on History and Temporality in Fin-de-Siècle Vienna. Detroit: Wayne State Press, 2006. --Marchenkov, Vladimir. The Orpheus Myth and the Powers of Music. Hillsdale, NY : Pendragon Press, 2009. Follow us on Twitter: @averysquarepeg Associate Professor Brian Collins is the Drs. Ram and Sushila Gawande Chair in Indian Religion and Philosophy at Ohio University. He can be reached at collinb1@ohio,edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Politics of Taste: Beatriz González and Cold War Aesthetics (Duke University Press, 2019), Ana María Reyes examines the ways Colombian artist Beatriz González and Argentine-born art critic Marta Traba railed against international forms of modernism and promoted low brow or even provincial forms of art in the period of the Colombian National Front’s coalition government (1958-1974). In doing so, Reyes situates art in a pivotal moment in Colombian history where efforts to end political violence through compromise and power-sharing also led to the ushering of modernizing projects promoted initially under President Alberto Lleras Camargo. Reyes shows that art became under the purview of elites seeking to project Colombia as a modern, internationalist nation. González, on the other hand, increasingly questioned and challenged elite efforts to present modernism as the epitome of high art and culture in Colombia. In doing so, Reyes wholeheartedly adopted her role as a provocateur as a way to resist U.S. cultural interference and to preserve the marginal voices so often derided by urban elites in Bogotá. Through an examination of art, Reyes offers a refreshing perspective on the ways taste became politicized in mid-twentieth century Colombia. Sharika Crawford is an associate professor of history at the United States Naval Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art