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Loyola University Chicago Libraries

FNAR 199: Introduction to Art and Visual Culture


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Tree and Serpent

With new photography of extraordinarily rare works of art, this pioneering study features discoveries and research essential to understanding the origins and meaning of Buddhist artistic traditions Buddhist art originated more than 2,000 years ago, shaping religious practice and artistic motifs as it spread from India throughout South, North, and Southeast Asia. Tree and Serpent explores the ways early sculptural works by Buddhist artists, architects, and practitioners were transformed as the religion moved across the continent. World-renowned scholars from India, Europe, and the United States demonstrate how figurative sculpture and the narrative tradition in India were central to the function and meaning of early Buddhist art and architecture. The book's essays probe such topics as the pre-Buddhist cults of earth, water, and tree spirits; the Buddha's presence in relics; the influence of Roman bronzes and coins found in India; and the financial life of monks. The catalogue includes a wide range of early Buddhist artworks--from expertly carved stone reliefs to impeccably decorated pieces of jewelry--and features the first publication of sculptures unearthed over the past decade at major monastic sites in South India. With new photography of more than 125 objects from international collections dating from roughly 200 BCE to 450 CE, this ambitious catalogue provides essential new insights into our understanding of ancient Indian art and the origins of Buddhism. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (July 17-December 3, 2023)

The Land Carries Our Ancestors

A groundbreaking survey of contemporary Indigenous art and its enduring connections to the land The Land Carries Our Ancestors: Contemporary Art by Native Americans brings together works by many of today's most boldly innovative Native American artists. Jaune Quick-to-See Smith, one of the leading artists and curators of her generation, has carefully chosen some fifty works across a diversity of practices--including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video--that share the common thread of the land. This beautifully illustrated book features both well-known and emerging artists, from G. Peter Jemison (Seneca Nation of Indians, Heron Clan) and Kay WalkingStick (Cherokee Nation of Oklahoma/European descent) to Eric-Paul Riege (Diné) and Rose B. Simpson (Pueblo of Santa Clara, New Mexico). Smith brings her personal perspective to the Native American experience and Indigenous connections to the land. In her essay, heather ahtone examines the history and practices of landscape art, shedding light on how it is both a tool for self-expression and a means to understanding the natural world. Celebrated poet and memoirist Joy Harjo pays homage to the land in her poem "Once the World Was Perfect." Shana Bushyhead Condill discusses the themes and practices that distinguish these artworks. The Land Carries Our Ancestors: Contemporary Art by Native Americans shares new perspectives on these visionary and provocative artists while offering a timely celebration of contemporary Indigenous art. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC September 22, 2023-January 15, 2024 New Britain Museum of American Art, New Britain, Connecticut April 18-September 15, 2024

Art of Japan

An exploration of the treasures of Japanese art at the Philadelphia Museum of Art reveals a wealth of fascinating works dating from prehistoric times to today Art of Japan presents one hundred highlights of Japanese art from the collection of the Philadelphia Museum of Art, dating from the Neolithic period to today. Among them are a temple and a teahouse, acquired in 1928, each the first of its type in an American museum. The collection is also notable for tea wares, particularly ceramics produced between the sixteenth and twenty-first centuries. The Edo and Meiji periods are especially well represented by a wide range of artworks that include calligraphy, paintings, and prints by such luminaries as Hon'ami Kōetsu (1558-1637), Ike Taiga (1723-1776), and Tsukioka Yoshitoshi (1839-1892). An introductory essay by Felice Fischer illuminates the formation of the museum's extensive collection of Japanese art, which began with the 1876 Philadelphia Centennial Exhibition--the event that first opened American eyes to Japanese art and culture. The naissance of the museum's exceptional holdings of Japanese ceramics can be traced directly to the Centennial, where General Hector Tyndale acquired more than a hundred examples that he bequeathed to the fledgling museum. This collection has continued to be augmented with ceramics by current practitioners of the craft, also represented in this volume, along with works by other contemporary Japanese artists. For anyone curious about Japanese art and its relevance to the art of the world today, this book provides an engaging roadmap from earliest times to the present. Distributed for the Philadelphia Museum of Art

Unmaking the East India Company

Illuminates how new modes of artistic production in colonial India shaped the British state's nationalisation of the East India Company, transforming the relationship between nation and empire   This pioneering book explores how art shaped the nationalisation of the East India Company between the loss of its primary monopoly in 1813 and its ultimate liquidation in 1858. Challenging the idea that parliament drove political reform, it argues instead that the Company's political legitimacy was destabilised by novel modes of artistic production in colonial India. New artistic forms and practices--the result of new technologies like lithography and steam navigation, middle-class print formats like the periodical, the scrapbook and the literary annual, as well as the prevalence of amateur sketching among Company employees--reconfigured the colonial regime's racial boundaries and techniques of governance. They flourished within transimperial networks, integrating middle-class societies with new political convictions and moral disciplines, and thereby eroding the aristocratic corporate cultures that had previously structured colonial authority in India.   Unmaking the East India Company contributes to a reassessment of British art as a global, corporate and intrinsically imperial phenomenon--highlighting the role of overlooked media, artistic styles and print formats in crafting those distinctions of power and identity that defined 'Britishness' across the world.   Distributed for the Paul Mellon Centre for Studies in British Art


This fresh look at artist Takashi Murakami takes on the "monstrous" themes of rampant consumerism, human fallibility, and the perils of life in the digital fast lane, in works from the past decade   One of Japan's leading contemporary artists, Takashi Murakami (b. 1962) is known for a wide-ranging practice that encompasses not only fine art but fashion, consumer products, curation, and entertainment. Founder of the Superflat movement, Murakami makes art that is larger than life, boldly colored, and buoyant, with a Pop sensibility that draws inspiration from anime and manga.   But beyond the happy flowers and kawaii characters that have defined Murakami's career lurk darker manifestations: the sharp-toothed, multi-eyed monsters that have increasingly become the artist's vehicle for expressing the effects of rampant consumerism, human fallibility, and the perils of life in the digital fast lane. This book explores these themes in works from the last decade, presenting a disquieting vision of monsterized beings born in an era of unprecedented environmental, political, and social turmoil.   Conversations with Murakami and essays by Laura W. Allen, Hiroko Ikegami, and Masako Shiba deconstruct what monsters mean to the artist and reflect on new directions in Murakami's sculpture and the genesis of his recent NFT projects. The book features lavish color illustrations, a plastic jacket, dyed edges, and four gatefolds.   Published in association with the Asian Art Museum of San Francisco   Exhibition Schedule:   Asian Art Museum of San Francisco (September 15, 2023-February 12, 2024)

When We See Us

A major new study of Black figurative art from Africa and the African diaspora, covering 100 years from the early 20th century to now. Published to accompany a major exhibition at Zeitz MOCAA, Cape Town, this book presents a comprehensive exploration of Black self representation through portraiture and figuration, celebrating Black subjectivity and Black consciousness from Pan-African and Pan-Diasporic perspectives. With a primary focus on representational painting, When We See Us celebrates how artists from Africa and the African diaspora have imagined, positioned, memorialized and asserted African and African diasporic experiences during a 100-year period spanning from the early 20th century to the present. The publication demonstrates how generations of artists throughout the 20th century and at the beginning of the 21st have critically engaged with multiple notions of Blackness and Africanity. Figurative painting by Black artists has risen to a new prominence in the field of contemporary art over the last decade. This timely and revelatory publication and exhibition will highlight the many ways in which artists have contributed to the critical discourse on topics such as Pan-Africanism, the Civil Rights Movement, African Liberation and Independence movements, the Anti-Apartheid and Black Consciousness mobilisations, Decoloniality and Black Lives Matter.

Gary Simmons: Public Enemy

Long overdue, this first comprehensive survey spans three decades of Simmons' richly layered, socially engaged art Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist. Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

Whitfield Lovell

The most comprehensive survey to date of the contemporary artist Whitfield Lovell, whose poetic and intricately crafted tableaux and installations document and pay tribute to the history and cultural memory of the African American experience. Whitfield Lovell: Passages accompanies a major traveling exhibition of the artist's powerful Conté crayon drawings combined with objects to create assemblages and multisensory installations that focus on aspects of Black history, raising questions about identity, memory, and America's collective heritage. Whitfield Lovell (b. 1959, Bronx), a 2007 MacArthur Foundation fellowship recipient and conceptual artist, creates exquisite drawings inspired by his own collection of vintage photographs of unidentified African Americans taken between the Emancipation Proclamation and the civil rights movement. He pairs his meticulously rendered drawings done on paper or salvaged wooden boards with found objects, creating enigmatic assemblages and stand-alone tableaux that are rich with symbolism and ambiguity and evoke personal memories, ancestral connections, and the collective American past. This richly illustrated volume features essays by leading scholars that contextualize Lovell's work through the exploration of compelling elements such as sound and card playing, contemplating memory as method. Exhibition Itinerary (exh is circulated by American Federation of Arts): Boca Raton Museum of Art February 11-May 21, 2023 Virginia Museum of Fine Arts June 17-September 10, 2023 Arkansas Museum of Fine Arts October 13, 2023-January 14, 2024 Cincinnati Art Museum March 1-May 26, 2024 The Mint Museum, Charlotte, NC June 29-September 22, 2024 McNay Art Museum, San Antonio, TX October 26, 2024-January 19, 2025

Camille Claudel

Abundantly illustrated, this catalogue is a fascinating and comprehensive reevaluation of the French modernist sculptor Camille Claudel. Camille Claudel (1864-1943) was among the most daring and visionary sculptors of the late nineteenth century. Although much attention has been paid to her tumultuous life--her affair with her mentor, Auguste Rodin; the premature end to her career; her thirty-year institutionalization in an asylum--her art remains little known outside of France. Memorably praised by critic Octave Mirbeau in 1895 as "a revolt of nature: a woman of genius," Claudel was celebrated for her brilliance during a time when women sculptors were rare. Featuring more than two hundred photographs along with contributions from leading experts, this publication accompanies the first comprehensive survey of Claudel's oeuvre in nearly forty years. With essays exploring the many facets of her life, work, and reception; a biography; commentary by American sculptor Kiki Smith; and a fascinating appendix of documents written by Claudel and her contemporaries, this volume reevaluates the artist's work on its own merits and repositions her legacy within a more complex genealogy of modernism. This volume, copublished with The Art Institute of Chicago, accompanies an exhibition on view at The Art Institute of Chicago from October 7, 2023, to February 19, 2024 and at the J. Paul Getty Museum at the Getty Center from April 2 to July 21, 2024.


Battleground is the first illustrated history of contemporary African American art. The volume offers an in-depth examination of twenty-five Black artists, discussing their artworks, practices, and philosophies, as expressed in their own words. Celeste-Marie Bernier has done extensive archival work in sources that have not been studied before, and her research provides a foundation for an intellectual and cultural history of contemporary African American artists and art movements from 1990 to the present. The wealth of quoted material-published interviews, artist statements, and autobiographical essays-should inform and inspire additional research in the years to come. Battleground examines the paintings, drawings, sculptures, and installation, digital, and performance art produced by twenty-five Black artists living and working in the United States over the last three decades. The artists studied in this book include Emma Amos, Radcliffe Bailey, Mary Lee Bendolph, Chakaia Booker, Beverly Buchanan, Willie Cole, Leonardo Drew, Meta Vaux Warrick Fuller, Myra Greene, Lyle Ashton Harris, Ronald Lockett, Whitfield Lovell, Kerry James Marshall, Lorraine O'Grady, Jefferson Pinder, Debra Priestly, Winfred Rembert, Nellie Mae Rowe, Alison Saar, Dread Scott, Clarissa T. Sligh, LaShawnda Crowe Storm, Mickalene Thomas, Nari Ward, and Pat Ward Williams.

Surreal Spaces

An illustrated biography of the pioneering British artist and writer, tracing her life and work through the many places around the world where she lived The British-born artist and writer Leonora Carrington (1917-2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary--feminism, ecology, the arcane and the mystical, the interconnectedness of everything--are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society, and England to embrace new experiences and forge a unique artistic style in Europe and the Americas. In this evocative illustrated biography, writer and journalist Joanna Moorhead traces her cousin's footsteps, exploring the artist's life, loves, friendships, and work. Leading readers on a personal journey across Britain, Ireland, France, Italy, Spain, Portugal, the United States, and Mexico, Surreal Spaces describes the places and experiences that would become etched in Carrington's memory and be echoed, sometimes decades later, in her art and writing--whether her grandmother's kitchen with its giant stove; a remote Cornish hideaway where she holidayed with Max Ernst, Lee Miller, and Man Ray; the Left Bank of Paris; an asylum in Santander, Spain; New York, where she lived among other European exiles; or Mexico City, her final sanctuary. "Houses are really bodies," Carrington wrote in her novella The Hearing Trumpet. "We connect ourselves with walls, roofs and objects just as we hang on to our livers, skeletons, flesh and blood streams." Featuring photographs, drawings, and paintings of the spaces that so richly influenced Carrington's work, Surreal Spaces is an intimate and vivid portrait of a fascinating artist.

Remedios Varo

An exploration of the captivating work and mystical outlook of the modern artist Remedios Varo, focusing on her years in Mexico City   This publication offers a definitive look at the artistic practice of Remedios Varo (1908-1963) following her emigration from Spain to Mexico City in 1941. Her work from 1955 to 1963 made a lasting contribution to modern art and the legacy of Surrealism. In Remedios Varo: Science Fictions, fresh historical and material findings establish the integral relationship between Varo's layered interests--in alchemy, architecture, magic, mysticism, philosophy, and science--and her beguiling technical approach to art making. Essays detail specific works' complex stories and spectacular surfaces. An illustrated taxonomy of Varo's artistic techniques, including automatic mark making as well as careful manipulation of materials and media, offers new insights into the artist's craft. An illustrated inventory of a major portion of Varo's library--published here for the first time--reveals the artist's engagement with a wide range of subjects. Stunning new photography of many of her artworks are presented within a dynamic geometric design inspired by the artist's work. Situating Varo as a woman working in midcentury Mexico City and living among a tight-knit community of local and émigré artists, poets, and thinkers, the catalogue illuminates the complex worldview that shaped her search for individual and collective transcendence.   Distributed for the Art Institute of Chicago, in partnership with the Museo de Arte Moderno, Mexico City   Exhibition Schedule   Art Institute of Chicago (July 29, 2023-November 27, 2023)  

The Real and the Romantic: English Art Between Two World Wars - a Times Best Art Book Of 2022

The Times and Sunday Times Art Book of the Year 'Superb ... Spalding is a lucid and revealing guide who wears her scholarship lightly' Sunday Times 'Spalding's prose is as clear as a Ravilious greenhouse, her thoughts as orderly as a Ben Nicholson white relief' The Times A fresh look at a period of English art that has surged in interest and popularity in recent years, authored by one of Britain's leading art historians and critics. The 21st century has seen a surge of interest in English art of the interwar years. Women artists, such as Winifred Knights, Frances Hodgkins and Evelyn Dunbar, have come to the fore, while familiar names - Paul Nash, Eric Ravilious and Stanley Spencer - have reached new audiences. High-profile exhibitions have attracted recordbreaking visitor numbers and challenged received opinion. In The Real and the Romantic, Frances Spalding, one of Britain's leading art historians and critics, takes a fresh and timely look at this rich period in English art. The devastation of the First World War left the art world decentred and directionless. This book is about its recovery. Spalding explores how exciting new ideas co-existed with a desire for continuity and a renewed interest in the past. We see the challenge to English artists represented by Cézanne and Picasso, and the role played by museums and galleries in this period. Women artists, writers and curators contributed to the emergence of a new avant-garde. The English landscape was revisited in modern terms. The 1930s marked a high point in the history of modernism in Britain, but the mood darkened with the prospect of a return to war. The former advance towards abstraction and internationalism was replaced by a renewed concern with history, place, memory and a sense of belonging. Native traditions were revived in modern terms but in ways that also let in the past. Surrealism further disturbed the ascetic purity of high modernism and fed into the British love of the strange. Throughout these years, the pursuit of 'the real' was set against, and sometimes merged with, an inclination towards the 'romantic', as English artists sought to respond to their subjects and their times.

The Eternal Present, Volume I

A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architecture In The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, materialistic approach, he explores paleolithic art by bringing abstraction, transparency, and simultaneity into play as modern art has revealed them anew. Focusing on the dual concepts of constancy and change, he examines paleolithic paintings, engravings, and sculpture, as well as modern art and recent examples of "primitive art." He argues that the two keys to the meaning of prehistoric art are the symbol, portraying reality before reality exists, and the animal as humankind's superior in the unified primordial world in which both human and animal were embedded. The result is a highly original and important study of prehistoric art.

The Rare Art Traditions

A cultural and social history of art collecting, art history, and the art market In The Rare Art Traditions, Joseph Alsop offers a wide-ranging cultural and social history of art collecting, art history, and the art market. He argues that art collecting is the basic element in a remarkably complex and historically rare behavioral system, which includes the historical study of art, the market for buying and selling art, museums, forgery, and the astonishing prices commanded by some works of art. The Rare Art Traditions tells the story of three important traditions of art collecting: the classical tradition that began in Greece, the Chinese tradition, and the Western tradition. The result is a major original contribution to art history.

The Art of the Genoese Colonies of the Black Sea Basin (1261-1475)

Rafal Quirini-Poplawski offers here the first panorama of the artistic phenomena of the Genoese outposts scattered around the Black Sea, an area whose cultural history is little known. The artistic creativity of the region emerges as extraordinarily rich and colorful, with a variety of heterogeneous, hybrid and intermingled characteristics. The book questions the extent to which the descriptor "Genoese" can be applied to the settlements' artistic production; Quirini-Poplawski demonstrates that, despite entrenched views of these colonies as centres of Italian and Latin culture, it was in fact Greek and Armenian art that was of greater importance.

Restoration As Fabrication of Origins

The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding.

With contributions by Kathleen W. Christian, Caroline S. Hillard, Mateusz Kapustka, Jérémie Koering, Victor Lopes, Florian Métral, Arnold Nesselrath, Neville Rowley, Beat Wyss.


  • Restoration practices in Italian Renaissance art
  • Reassessing the concept of Renaissance
  • Recoding of ancient works for political purposes

Each One Another

A consideration of how contemporary art can offer a deeper understanding of selfhood.    With Each One Another, Rachel Haidu argues that contemporary art can teach us how to understand ourselves as selves--how we come to feel oneness, to sense our own interiority, and to shift between the roles that connect us to strangers, those close to us, and past and future generations. Haidu looks to intergenerational pairings of artists to consider how three aesthetic vehicles--shape in painting, characters in film and video, and roles in dance--allow us to grasp selfhood. Better understandings of our selves, she argues, complement our thinking about identity and subjecthood.   She shows how Philip Guston's figurative works explore shapes' descriptive capacities and their ability to investigate history, while Amy Sillman's paintings allow us to rethink expressivity and oneness. Analyzing a 2004 video by James Coleman, Haidu explores how we enter characters through their interior monologues, and she also looks at how a 2011 film by Steve McQueen positions a protagonist's refusal to speak as an argument for our right to silence. In addition, Haidu examines how Anne Teresa de Keersmaeker's distribution of roles across dancers invites us to appreciate formal structures that separate us from one another while Yvonne Rainer's choreography shows how such formal structures also bring us together. Through these examples, Each One Another reveals how artworks allow us to understand oneness, interiority, and how we become fluid agents in the world, and it invites us to examine--critically and forgivingly--our attachments to selfhood.

Durer's Lost Masterpiece: Art and Society at the Dawn of a Global World

This book is about the celebrated German artist Albrecht Durer (1471-1528), his time, and his legacy. It tracks the history of a crucial, and often overlooked, turning point in his career, when Durer stopped painting altarpieces after falling out with the Frankfurt merchant Jakob Heller over a commission. The story of this painting, as Dürer's lost masterpiece, functions as a lens through which to view the new relationship developing between art, collecting, and commerce in Europe up to the Thirty Years' War (1618-48) when global trade and cultural exchanges were increasing. At the heart of the book is the argument that merchants, and their mentalities, were crucial for the making of Renaissance art and its legacy for modern art. The book draws on a decade of research, and uniquely draws the reader into the rich emotional worlds of three merchants each of whom typified the evolving relationship between art and commerce in that entrepreneurial and often ruthless age. It brings to life Dürer's determined fight for creative makers to be adequately paid, and explores the big questions about how European societies came to value the arts and crafts that remain relevant to our time.

The Slip

Longlisted for the National Book Award The never-before-told story of an obscure little street at the lower tip of Manhattan and the remarkable artists who got their start there. For just over a decade, from 1956 to 1967, a collection of dilapidated former sail-making warehouses clustered at the lower tip of Manhattan became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented and varied artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman. As friends and inspirations to one another, they created a unique community for unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Now, for the first time, Prudence Peiffer pays homage to these artists and the unsung impact their work had on the direction of late twentieth-century art and film. This remarkable biography, as transformative as the artists it illuminates, questions the very concept of a "group" or "movement," as it spotlights the Slip's eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Brought together not by the tenets of composition or technique, nor by philosophy or politics, the artists cultivated a scene at the Slip defined by a singular spirit of community and place. They drew lasting inspiration from one another, but perhaps even more from where they called home, and the need to preserve the solitude its geography fostered. Despite Coenties Slip's obscurity, the entire history of Manhattan was inscribed into its cobblestones--one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city's maritime industry; and, in the artists's own time, a development battleground for Jane Jacobs and Robert Moses. The Slip's history is entwined with that of the artists and their art--eclectic and varied work that was made from the wreckage of the city's many former lives. An ambitious and singular account of a time, a place, and a group of extraordinary people, The Slip investigates the importance of community, and makes an argument for how we are shaped by it, and how it in turns shapes our work. 


Illustrator Kaz Rowe's graphic biography Liberated: The Radical Art and Life of Claude Cahun, reveals how the creative and courageous Surrealist artist championed freedom at every turn, from rejecting gender norms and finding queer love to risking death to sabotage the Nazis. At the turn of the 20th century in Nantes, France, Lucy Schwob met Suzanne Malherbe, and lightning struck. The two became partners both artistically and romantically and transformed themselves into the creative personas Claude Cahun and Marcel Moore. Together, the couple embarked on a radical journey of Surrealist collaboration that would take them from conservative provincial France to the vibrancy of 1920s Paris to the oppression of Nazi-occupied Jersey during World War II, where they used art to undermine the Nazi regime. Cahun and Moore challenged gender roles and championed freedom at a time when strict societal norms meant that the truth of their relationship had to remain secret. Featuring 10 photographs by Cahun and Moore, this graphic biography by cartoonist Kaz Rowe brings Cahun's inspiring story to life. "Claude Cahun lived at the crossroads of masculine and feminine, of artist and activist, of blessed and cursed by the circumstances and time period they were born into. Rowe weaves together historical photos, direct quotes, and lyrical imagery to tell the tale of this brave queer icon to great effect." --Maia Kobabe, author of Gender Queer "The ubiquity of torrid love affairs in the lives of artists has often been used to entice readers, to give us a bit of gossip to pass on after we read. In Liberated: The Radical Art and Life of Claude Cahun, Kaz Rowe presents a different kind of love story--one in which love offers freedom and the passion it ignites isn't only romantic, but something more liberating. Here love is used as an anchor for radicalization and for art, and combined, for freedom. Liberated invites us to fall in love with--and alongside--Cahun. A wonderful read." --Isabel Quintero, author of Photographic: The Life of Graciela Iturbide and Gabi, a Girl in Pieces

An Indigenous Present

A monumental gathering of more than 60 contemporary artists, photographers, musicians, writers and more, showcasing diverse approaches to Indigenous concepts, forms and mediums This landmark volume is a gathering of Native North American contemporary artists, musicians, filmmakers, choreographers, architects, writers, photographers, designers and more. Conceived by Jeffrey Gibson, a renowned artist of Mississippi Choctaw and Cherokee descent, An Indigenous Present presents an increasingly visible and expanding field of Indigenous creative practice. It centers individual practices, while acknowledging shared histories, to create a visual experience that foregrounds diverse approaches to concept, form and medium as well as connection, influence, conversation and collaboration. An Indigenous Present foregrounds transculturalism over affiliation and contemporaneity over outmoded categories. Artists include: Neal Ambrose-Smith, Teresa Baker, Natalie Ball, Laakkuluk Williamson Bathory, Rebecca Belmore, Andrea Carlson, Nani Chacon, Raven Chacon, Dana Claxton, Melissa Cody, Chris T. Cornelius, Lewis deSoto, Beau Dick, Demian DineYazhi', Wally Dion, Divide and Dissolve, Korina Emmerich, Ka'ila Farrell-Smith, Yatika Starr Fields, Nicholas Galanin, Raven Halfmoon, Elisa Harkins, Luzene Hill, Anna Hoover, Sky Hopinka, Chaz John, Emily Johnson, Brian Jungen, Brad Kahlhamer, Sonya Kelliher-Combs, Adam Khalil, Zack Kahlil, Kite, Layli Long Soldier, Erica Lord, Cannupa Hanska Luger, Tanya Lukin Linklater, James Luna, Dylan McLaughlin, Meryl McMaster, Caroline Monnet, Audie Murray, New Red Order, Jamie Okuma, Laura Ortman, Katherine "KP" Paul/Black Belt Eagle Scout, Postcommodity, Wendy Red Star, Eric-Paul Riege, Cara Romero, Sara Siestreem, Rose B. Simpson, Jaune Quick-to-See Smith, Hulleah J. Tsinhnahjinnie, Anna Tsouhlarakis, Arielle Twist, Marie Watt, Dyani White Hawk and Zoon a.k.a. Daniel Glen Monkman.