Art History

(en)gendering: Chinese Women’s Art in the Making

“(en)gendering: Chinese Women’s Art in the Making,” the latest issue of positions: asia critique, edited by Shuqin Cui, is available now.

"(en)gendering: Chinese Women’s Art in the Making" cover

While contemporary Chinese art has arrived as a critical subject in art history and found market success, current art criticism has yet to fully engage with art made by Chinese women, especially from the perspective of gender politics. In this special issue, contributors consider how the work of contemporary women artists has generated new approaches to and perspectives on the Chinese art canon.

The issue begins by laying a historical framework for the potentials and problems regarding the interpretation of Chinese women’s art, tracing its evolution throughout a century of Chinese history. Next, the issue addresses the spatial notion of boundary crossing, addressing how travel across national and theoretical boundaries affects the perception of artworks, and explores the misgivings of Chinese women artists about participating in a global exhibition system in which their artwork stands for “China” and “Women.” The issue concludes by looking at the idea of (en)gendering as a revision of women’s art prompting artists and the viewers of women’s artworks to challenge the conventional gaze that has dominated our ways of seeing.

Browse the issue’s contents and read the introduction, freely available.

Farewell to Joanna Frueh

We were sorry to learn of the death of artist Joanna Frueh on February 20, 2020. We published Clairvoyance (For Those in the Desert): Performance Pieces, 1979–2004, a collection of  eighteen of her essential performance texts, in 2008. Her work also appears in M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism.

Frueh’s work has been called trailblazing, inspiring, seductive, innovative, liberating, and playful. In 1976 The Feminist Art Journal published Frueh’s first piece of art criticism, and in 1979 she presented her first performance at the Deson Gallery in Chicago. In Chicago during the 1970s Frueh was the director of Artemesia Gallery, one of the first women’s galleries. As a professor of art history, contemporary art was her area of expertise, and she taught studio courses in performance art. Between 1997 and 2006 she was Professor of Art History, and then in 2007, Professor Emerita at the University of Nevada, Reno. Frueh received a Lifetime Achievement Award from the Women’s Caucus for Art in 2008.

978-0-8223-4040-9_prAlong with Clairvoyance (For Those in the Desert), her books include Erotic Faculties (1996), Monster/Beauty: Building the Body of Love (2001), Swooning Beauty: A Memoir of Pleasure (2006), The Glamour of Being Real (2011), A Short Story about a Big Healing (2013), and Unapologetic Beauty (2019). In 2005 the exhibition Joanna Frueh: A Retrospective, curated by Tanya Augsburg, was at Sheppard Fine Arts Gallery, University of Nevada, Reno, Reno, NV.

In a cover endorsment for Clairvoyance, (For Those in the Desert),  James Elkins of the Art Institute of Chicago wrote, “There is a lot of talk in academia about innovation and independence, but there is also a lot of what Nietzsche called ‘herd mentality.’ For those searching for an independent voice, here it is. Joanna is everything academic critics like: theoretically sophisticated, complex, ambiguous, experimental. She is also a lot of things academic critics don’t trust: openly sexual, oblivious of convention, dreamy, ecstatic, wild beyond classification.”

Joanna Frueh’s personal archives are at Stanford University. She is survived by her beloved spouse Kathleen Williamson of Tucson, Arizona, and her sister Renee Wood, of Willow Springs, Missouri. We at the Press send them our condolences.

 

 

New Books in February

This month, we’re releasing an array of new reads in all of the subjects you love. Take a look at these new books coming this February!

The concluding volume in a poetic triptych, Alexis Pauline Gumbs’s Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise.

In Wild Blue Media, Melody Jue destabilizes terrestrial-based media theory frameworks and reorients the perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived.

In The Ocean in the School, Rick Bonus tells the stories of Pacific Islander students at the University of Washington as they and their allies struggled to transform a university they believed did not value their presence into a space based on meaningfulness, respect, and multiple notions of student success.

In Orozco’s American Epic, Mary K. Coffey examines José Clemente Orozco’s mural cycle Epic of American Civilization, which indicts history as complicit in colonial violence and questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project.

Nandita Sharma traces the development of the categories of migrants and natives from the nineteenth century to the present in Home Rule to theorize how the idea of people’s rights being tied to geographical notions of belonging came to be.

In Unfixed, Jennifer Bajorek traces the relationship between photography and decolonial politics in Francophone west Africa in the years immediately leading up to and following independence from French colonial rule in 1960, showing how photography both reflected and actively contributed to social and political change.

In Are You Entertained?, a collection of essays, interviews, visual art, and artist statements on topics ranging from music and dance to Black Twitter and the NBA’s dress code, the contributors consider what culture and Blackness mean in the twenty-first century’s digital consumer economy. This volume is edited by Simone C. Drake and Dwan K. Henderson.

In Musicophilia in Mumbai, Tejaswini Niranjana traces the place of Hindustani classical music in Mumbai throughout the long twentieth century, showing how the widespread love of music throughout the city created a culture of collective listening and social subjects who embodied new forms of modernity.

Focusing on the work of a Marxist anticolonial literary group active in India between the 1930s and 1950s, Neetu Khanna rethinks the project of decolonization in The Visceral Logics of Decolonization by showing how embodied and affective responses to colonial subjugation provide the catalyst for developing revolutionary consciousness.

Contributors to Queer Korea, edited by Todd A. Henry, offer interdisciplinary analyses of non-normative sexuality and gender nonconformity in Korea, extending individualized notions of queer neoliberalism beyond those set in Western queer theory.

Drawing on Marxist phenomenology, geography, and aesthetics and film from China, Hong Kong, and Taiwan made between the 1990s and the present, Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal postsocialist China in Urban Horror.

The contributors to Affective Trajectories examine the mutual and highly complex entwinements between religion and affect in urban Africa in the early twenty-first century, tracing the myriad ways religious ideas, practices, and materialities interact with affect to configure life in urban African spaces. This collection is edited by Hansjörg Dilger, Astrid Bochow, Marian Burchardt, and Matthew Wilhelm-Solomon.

In Naked Agency, Naminata Diabate explores how the deployment of defiant nakedness by mature women in Africa challenges longstanding assumptions about women’s political agency.

From The Guiding Light to Passions, Elana Levine traces the history of daytime television soap operas as an innovative and highly gendered mass cultural form in Her Stories.

In Seeing by Electricity, Doron Galili traces television’s early history, from the fantastical devices initially imagined fifty years before the first television prototypes to the emergence of broadcast television in the 1930s, showing how television was always discussed and treated in relation to cinema.

Jeremy Packer and Joshua Reeves provide a critical account of the history and future of automation in warfare in Killer Apps by highlighting the threats posed by the latest advances in media technology and artificial intelligence.

Originally published in German in 1978 and appearing here in English for the first time, the second volume of Peter Weiss’s three-volume novel The Aesthetics of Resistance depicts anti-fascist resistance, radical proletarian political movements, and the relationship between art and resistance from the late 1930s to World War II.

Working Together: Louis Draper and the Kamoinge Workshop by Sarah Eckhardt accompanies the exhibition of the photography of Virginia artist Louis Draper and other members of the Kamoinge Workshop that opens at the Virginia Museum of Fine Arts in February 2020. We are distributing it for the museum.

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Black British Art Histories

Black British Art Histories,” the latest issue of Nka: Journal of Contemporary African Art, edited by Salah M. Hassan and Chika Okeke-Agulu, is available now.

Until the early 1990s, curating or writing black British art histories was centered mainly on correcting or addressing the systemic absences of such artists from the canons of British art and modern and contemporary art. However, increased art world attention to individual black British practitioners and scholarship has led to the emergence of expansive, deeply nuanced art histories that do much more than attend to or counter the withering and brutalizing omission of black British artists in both the art scene and art history chronicles.

Contributors to this special issue reflect on and expand this work, offering articles that embody perceptive, probing, and illuminating considerations of a range of artists whose practices are fascinating, complex, and of great art historical importance.

Check out the table of contents and read the introduction, as well as a tribute to the late Olabisi Obafunke Silva, a Nigerian contemporary art curator, both made freely available.

New Books in January

If one of your resolutions for 2020 is to read more books, we’ve got you covered. Ring in the new year with these captivating new releases!

In Beneath the Surface, Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond, theorizing skin and skin color as a site for antiracist struggle and lighteners as a technology of visibility that both challenges and entrenches racial and gender hierarchies.

Weaving U.S. history into the larger fabric of world history, the contributors to Crossing Empires de-exceptionalize the American empire, placing it in a global transimperial context as a way to grasp the power relations that shape imperial formations. This collection is edited by Kristin L. Hoganson and Jay Sexton.

Engaging contemporary photography by Sally Mann, Lorna Simpson, Carrie Mae Weems, and others, Shawn Michelle Smith traces how historical moments come to be known photographically and the ways in which the past continues to inhabit, punctuate, and transform the present through the photographic medium in Photographic Returns.

Spanning the centuries between pre-contact indigenous Haiti to the aftermath of the 2010 earthquake, the selections in The Haiti Reader introduce readers to Haiti’s dynamic history and culture from the viewpoint of Haitians from all walks of life. This volume is edited by Laurent Dubois, Kaiama L. Glover, Nadève Ménard, Millery Polyné, and Chantalle F. Verna.

The contributors to Futureproof (edited by D. Asher Ghertner, Hudson McFann, and Daniel M. Goldstein) examine the affective and aesthetic dimensions of security infrastructures and technology with studies ranging from Jamaica and Jakarta to Colombia and the US-Mexico border.

Examining abjection in a range of visual and material culture, the contributors to Abjection Incorporated move beyond critiques of abjection as a punitive form of social death to theorizing how it has become a means to acquire political and cultural capital in the twenty-first century. This volume is edited by Maggie Hennefeld and Nicholas Sammond.

Margaret E. Dorsey and Miguel Díaz-Barriga argue that border wall construction along the U.S.–Mexico border manifests transformations in citizenship practices that are aimed not only at keeping migrants out but also enmeshing citizens into a wider politics of exclusion in Fencing in Democracy.

In Politics of Rightful Killing, Sima Shakhsari analyzes the growth of Weblogistan—the online and real-life transnational network of Iranian bloggers in the early 2000s—and the ways in which despite being an effective venue for Iranians to pursue their political agendas, it was the site for surveillance, cooptation, and self-governance.

In Invisibility by Design, Gabriella Lukács traces how young Japanese women’s unpaid labor as bloggers, net idols, “girly” photographers, online traders, and cell phone novelists was central to the development of Japan’s digital economy in the 1990s and 2000s.

Presented in the context of the nonprofit arts collective More Art’s fifteen-year history, and featuring first-person testimony, critical essays, and in-depth documentary materials, More Art in the Public Eye is an essential, experiential guide to the field of socially engaged public art and its increasing relevance. This volume is edited by Micaela Martegani, Jeff Kasper, and Emma Drew, and we are distributing it for More Art.

Shana L. Redmond traces Paul Robeson’s continuing cultural resonances in popular culture and politics in Everything Man, showing how he remains a vital force and presence for all those he inspired.

In The Complete Lives of Camp People, Rudolf Mrázek presents a sweeping study of the material and cultural lives of internees of two twentieth-century concentration camps and the multiple ways in which their experiences speak to and reveal the fundamental logics of modernity.

In Avian Reservoirs, Frédéric Keck traces how the anticipation of bird flu pandemics has changed relations between birds and humans in Hong Kong, Singapore, and Taiwan, showing that humans’ reliance on birds is key to mitigating future pandemics.

Collecting texts from all corners of the world that span antiquity to the present, The Ocean Reader (edited by Eric Paul Roorda) charts humans’ relationship to the ocean, treating it as a dynamic site of history, culture, and politics.

The contributors to Blue Legalities attend to the seas as a legally and politically conflicted space to analyze the conflicts that emerge where systems of governance interact with complex geophysical, ecological, economic, biological, and technological processes. This collection is edited by Irus Braverman and Elizabeth R. Johnson.

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W. Ian Bourland on the Legacy of Rotimi Fani-Kayode

Ian_BourlandIn this guest post, W. Ian Bourland writes about artist Rotimi Fani-Kayode on the eve of the thirtieth anniversary of his death, December 21, 1989. Bourland is the author of Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s, which examines Fani-Kayode’s art as a touchstone for cultural debates surrounding questions of gender and queerness, race and diaspora, aesthetics and politics, and the enduring legacy of slavery and colonialism. Bourland is Assistant Professor of Global Contemporary Art History at Georgetown University.

 

This month, Rotimi Fani-Kayode’s would have been 64 years old. Instead, he died in a hospital for infectious diseases in north London, survived by his partner, the writer Alex Hirst. They had met six years earlier when Fani-Kayode returned to London after seven years in the United States. There, he received formal and informal educations in Washington and New York, at university and in the countercultural spaces of clubland, the black gay poetry, and the rapidly changing eighties art world. In so doing, he broke with his family’s aspirations that he go into a “respectable” field, and consigned himself to permanent exile as an out gay man during a time of widespread homophobia and in the wake of the early days of the AIDS crisis. I explore this art and the context in which it was created in Bloodflowers.

BloodflowersFrom the time that Fani-Kayode knocked on Hirst’s door, he was a fixture in the community spaces around Brixton. Intellectuals like C.L.R. James, luminaries of the Caribbean Arts Movement, experimental theatre producers, and local non-profit gallery owners all converged in this landscape south of the Thames; they were part of a larger movement on the part of the Greater London Council and leftist leaders—from Darcus Howe to Ken Livingstone—to push back against the austerity and xenophobia of the Thatcher years. Perhaps unsurprisingly, in this era of conservatism and in advance of the art sector boomtimes of the 1990s, Fani-Kayode’s art existed below the radar for mainstream audiences. He published in the pages of Square Peg, a queer journal that Hirst co-edited; and showed his photographs at a range of smaller spaces throughout the city. Dozens of his black-and-white photographs of men were published by Gay Men’s Press by 1988, and they circulated globally, mostly in specialist book shops. He also co-founded Autograph ABP, which continues to thrive to this day. It is now housed in a David Adjaye-designed building in the Shoreditch neighborhood that it shares with the Stuart Hall library. They recently staged a powerful show of portraits by South African artist and activist Zanele Muholi who, in many ways, is a successor of Fani-Kayode’s.

To some extent, it is remarkable that Fani-Kayode’s art has persisted. He died with few resources, his archive only preserved by the grace of friends like Hirst and Autograph director Mark Sealy. In the closing weeks of 1989, the “globalized” network of the contemporary art world that we now take for granted was in its infancy. The idea of professors and curators and academic journals taking his photographs seriously—taking contemporary African art seriously at all—seemed unlikely. And yet, the work survived: in shows in France, a collection with the publisher Revue Noire, and in 1996 in the landmark In/Sight exhibition of modern and contemporary African photography at the Guggenheim Museum in New York. The museum still has some of those magnificent chromogenic prints, initially secured by the late Okwui Enwezor over two decades ago. They were on display this autumn alongside works by Lyle Ashton Harris, Glenn Ligon, Catherine Opie, Robert Mapplethorpe, and others. Smaller solo shows have been held throughout the United States, and even as far away as Cape Town.

I came to know Fani-Kayode’s work through the writing of Enwezor, Kobena Mercer, and Steven Nelson back in 2006. Then, he was widely celebrated as a key figure in the emerging field of contemporary African art history: he had written a powerful artist’s statement declaring himself to be a Yoruban photographer working in Europe, and his virtuosic photographs drew freely on iconographies from the western Africa and its diasporas. These he put in dialogue with Baroque painting, photographic modernism, classical myth and Christian symbolism. In short, his oeuvre is an art historian’s dream, and a source of boundless inspiration to viewers from many walks of life.

But I think Fani-Kayode was so important then, as now, for the visionary quality of his life and practice. This was literally true, in his invocation of a Yoruban “technique of ecstasy,” states of reverie in his method. But it was also socially resonant. He built on histories of gay liberation and black radicalism, but merged them in provocative ways that put pressure on a range of cultural boundaries and stereotypes. His pictures figured subjects that we might now think of in terms of queer or intersectional identities and what Stuart Hall was then theorizing as “New Ethnicities.” Moreover, Fani-Kayode was attuned to European history and contemporary politics—wary of ethno-nationalism and the lures of fascism, he thought of his camera as a weapon in a fight for survival fought every day by people of color, refugees, and exiles all over the world. Certainly these problems are as pressing today as they were in 1989.

I often felt a deep sadness writing Bloodflowers. I wondered what it would have been like for Fani-Kayode to survive long enough to see his work hang in some of the most important museums in the world, to see friends and contemporaries go on to great success, securing blue chip gallery representation, winning the prestigious Turner Prize. If only he had made it a few more years, he might have enjoyed the fruits of a post-Cold War world in which “difference” was suddenly so highly valued. Of course, Mercer and others wrote of the ambivalence with which such victories were won, the narrow path and creative strictures many black artists faced as the price of admission to the gilded circuit of fairs and biennials and wealthy dealers. As a singular voice and a defiantly independent artist, Fani-Kayode would have likely chafed at such expectations, but his perspective would have been a vital one as the decade unfolded.

Fani-Kayode is now widely recognized as one of the most important artists of the 1980s, is part of landmark group shows, and his reputation seems to grow with each passing year. He’s even featured alongside peers like Yinka Shonibare in the textbook I use in many of my courses. Looking back during this season of retrospection, on the anniversary of the fall of the Berlin Wall, and the apparent cultural and political sea change that it augured, it is easy to wonder how much progress we have made. Three decades later, it seems that the art world has caught up to Fani-Kayode’s powerful example; in so many other ways, our collective work is only beginning.

You can read the introduction of Bloodflowers free online now, and purchase a paperback copy of for 30% off using the coupon code E19BRLND.

 

New Books in December

‘Tis the season for brand new books! This month, we’re releasing a variety of compelling titles from a wide range of disciplines—art, history, music, theory and philosophy, cultural studies, and many more. Check out these great reads available in December.

Andrea Smith examines the racial reconciliation movement in Evangelical Christianity through a critical ethnic studies lens in Unreconciled, evaluating the varying degrees to which Evangelical communities that were founded on white supremacy have attempted to address racism and become more inclusive.

In Picasso’s Demoiselles, eminent art historian Suzanne Preston Blier uncovers a previously unknown history of the influences and creative process of Pablo Picasso’s Les Demoiselles d’Avignon, one of the twentieth century’s most important, celebrated, and studied paintings.

In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy.

In Listen But Don’t Ask Question Kevin Fellezs traces the ways in which slack key guitar—a traditional Hawaiian musical style played on an acoustic steel-string guitar—is a site for the articulation of the complex histories, affiliations, and connotations of Hawaiian belonging.

Militarization: A Reader, edited by Roberto J. González, Hugh Gusterson, and Gustaaf Houtman, offers an anthropological perspective on militarization’s origin and sustained presence as a cultural process in its full social, economic, political, cultural, environmental, and symbolic contexts throughout the world.

Originally published in French in 1997 and appearing here in English for the first time, David Lapoujade’s William James: Empiricism and Pragmatism is both an accessible and rigorous introduction to and a pioneering rereading of James’s thought.

With topics that span the sixteenth century to the present in Latin America, the United States, Australia, the Middle East, and West Africa, the contributors to Ethnopornography show how ethnopornography—the eroticized observation of the Other for supposedly scientific or academic purposes—is fundamental to the creation of race, colonialism, and archival and ethnographic knowledge. This volume is edited by Pete Sigal, Zeb Tortorici, and Neil L. Whitehead.

In Otaku and the Struggle for Imagination in Japan Patrick Galbraith examines Japanese “otaku,” their relationships with fictional girl characters, the Japanese public’s interpretations of them as excessive and perverse, and the Japanese government’s attempts to co-opt them into depictions of “Cool Japan” to an international audience.

In Mafalda: A Social and Political History of Latin America’s Global Comic—first published in Argentina in 2014 and appearing here in English for the first time—Isabella Cosse examines the history, political commentary, and influence of the world-famous comic character Mafalda from her Argentine origins in 1964 to her global reach in the 1990s.

In The Licit Life of Capitalism Hannah Appel uses a case study of U.S. oil industry in Equatorial Guinea to illustrate how inequality makes markets, not just in West Africa but globally.

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New Books in November

This month, we’re offering a cornucopia of fresh titles in anthropology, media studies, sociology, history, native and indigenous studies, and more. Take a look at all of these exciting new books available in November!

978-1-4780-0649-7_prWhat does it mean to be a decolonial tourist? We are excited to present our first travel guide book,  Detours, edited by Hokulani K. Aikau and Vernadette Vicuna Gonzalez.  In the book artists, activists, and scholars redirect readers from the fantasy of Hawai‘i as a tropical paradise and tourist destination toward a multilayered and holistic engagement with Hawai‘i’s culture, complex history, and the effects of colonialism. We’ll have lots of copies at the American Studies Association meeting in Honolulu later this month.

Mark Goodale’s ethnographic study of Bolivian politics and society between 2006 and 2015, A Revolution in Fragments, reveals the fragmentary and contested nature of the country’s radical experiments in pluralism, ethnic politics, and socioeconomic planning.colonialism.

In The Politics of Taste Ana María Reyes examines how the polarizing art of Beatriz González disrupted Cold War aesthetic discourses and the politics of class and modernization in 1960s Colombia.

Nicholas D’Avella offers an ethnographic reflection on the value of buildings in post-crisis Buenos Aires in Concrete Dreams, showing how everyday practices transform buildings into politically, economically, and socially consequential objects, and arguing that such local forms of value and practice suggest possibilities for building better futures.

In his engaging and moving book, Honeypot, E. Patrick Johnson combines magical realism, poetry, and performative writing to bear witness to the real-life stories of black southern queer women in ways that reveal the complexity of identity and the challenges these women face. Johnson is on a book tour for Honeypot. Look for a post later this month with all the dates.

In Trans Exploits Jian Neo Chen examines how contemporary trans of color artists are tracking and resisting their displacement and social marginalization through new forms of cultural expression, performance, and activism.

 

In Punctuations Michael J. Shapiro examines how the use of punctuation—conceived not as a series of marks but as a metaphor for the ways in which artistic genres engage with intelligibility—in art opens pathways for thinking through the possibilities for oppositional politics.

In a meditation on loss, inheritance, and survival, The Unspoken as Heritage, renowned historian Harry Harootunian explores the Armenian genocide’s multigenerational afterlives that remain at the heart of the Armenian diaspora by sketching the everyday lives of his parents, who escaped the genocide in the 1910s.

Tyler Denmead critically examines his role as the founder of New Urban Arts—a nonprofit arts program for young people of color in Providence, Rhode Island—and how despite its success, it unintentionally contributed to Providence’s urban renewal efforts, gentrification, and the displacement of people of color in The Creative Underclass.

Kamari Maxine Clarke explores the African Union’s pushback against the International Criminal Court in order to theorize affect’s role in shaping forms of justice in Affective Justice.

In Before the Flood, Jacob Blanc examines the creation of the Itaipu Dam—the largest producer of hydroelectric power in the world—on the Brazil–Paraguay border during the 1970s and 1980s to explore the long-standing conflicts around land, rights, indigeneity, and identity in rural Brazil.

In Screening Race in American Nontheatrical Film, edited by Allyson Nadia Field and Marsha Gordon, the contributors examine the place and role of race in educational films, home movies, industry and government films, anthropological films, church films, and other forms of noncommercial filmmaking throughout the twentieth century.

Deborah A. Thomas uses the 2010 military and police incursion into the Kingston, Jamaica, Tivoli Gardens neighborhood as a point of departure for theorizing the roots of contemporary state violence in Jamaica and other post-plantation societies in Political Life in the Wake of the Plantation.

In Progressive Dystopia Savannah Shange traces the afterlives of slavery as lived in a progressive high school set in post-gentrification San Francisco, showing how despite the school’s sincere antiracism activism, it unintentionally perpetuated antiblackness through various practices.

In Sacred Men Keith L. Camacho examines the U.S. Navy’s war crimes tribunal in Guam between 1944 and 1949 which tried members of Guam’s indigenous Chamorro community and Japanese nationals and its role in shaping contemporary domestic and international laws regarding combatants, jurisdiction, and property.

Maile Arvin analyzes the history of racialization of Polynesians within the context of settler colonialism across Polynesia, especially in Hawai‘i, arguing that a logic of possession through whiteness animates European and Hawaiian settler colonialism in Possessing Polynesians.

978-1-4780-0621-3_prIn his experimental ethnography, Ethnography #9, Alan Klima examines moneylending, gambling, funeral casinos, and the consultations of spirits and mediums to predict winning lottery numbers to illustrate the relationship between contemporary Thai spiritual and financial practices and global capitalism’s abstraction of monetary value.

In Biogenetic Paradoxes of the Nation, Sakari Tamminen traces the ways in which the mandates of 1992’s Convention on Biological Diversity—hailed as the key symbol of a common vision for saving Earth’s biodiversity—contribute less to biodiversity conservation than to individual nations using genetic resources for economic and cultural gain.

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New Books in October

It’s official—fall has arrived! With the start of this new season, we’re releasing dynamic new reads in art and visual culture, anthropology, feminist studies, cultural studies, sociology, and more. Check out all of these exciting books available in October.

Continuing the work she began in The Promise of Happiness and Willful Subjects by taking up a single word and following its historical, intellectual, and political significance, Sara Ahmed explores how use operates as an organizing concept, technology of control, and tool for diversity work in What’s the Use?

In Where Histories Reside Priya Jaikumar examines seven decades of films shot on location in India to show how attending to filmed space reveals alternative timelines and histories of cinema as well as the myriad ways cinema constructs India as a place.

Eva Haifa Giraud contends in What Comes after Entanglement? that recent theory that foregrounds the ways that human existence is entangled with other nonhuman life and the natural world often undermine successful action and calls for new modes of activist organizing and theoretical critique.

The contributors to Reading Sedgwick (edited by Lauren Berlant) reflect on the long and influential career of Eve Kosofsky Sedgwick, whose pioneering work in queer theory has transformed understandings of affect, intimacy, politics, and identity.

Conceptualizing anthropology as a mode of practical and transformative inquiry in A Possible Anthropology, Anand Pandian stages an ethnographic encounter with the field in an effort to grasp its impact on the world and its potential for addressing and offering solutions to the profound crises of the present.

In Symbolic Violence Michael Burawoy brings Pierre Bourdieu into an extended debate with Marxism by outlining the parallels and divergences between Bourdieu’s thought and preeminent Marxist theorists including Gramsci, Fanon, Beauvoir, and Freire.

Achille Mbembe theorizes the genealogy of the contemporary world—one plagued by inequality, militarization, enmity, and a resurgence of racist, fascist, and nationalist forces—and calls for a radical revision of humanism a the means to create a more just society in Necropolitics.

In Fidel between the Lines Laura-Zoë Humphreys tracks late-socialist Cuba’s changing dynamics of social criticism and censorship through Cuban cinema and its cultural politics.

In A Fragile Inheritance, Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram, illuminating  how their political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction.  

Ronak K. Kapadia examines multimedia visual art by artists from societies besieged by the US war on terror in Insurgent Aesthetics, showing how their art offers queer feminist critiques of US global warfare that forge new aesthetic and social alliances with which to sustain critical opposition to the global war machine.

In Eros Ideologies Laura E. Pérez analyzes Latina art to explore a new notion of decolonial thought and love based on the integration of body, mind, and spirit that offers a means to creating a more democratic and just present and future.

Edited by Frances Richard, I Stand in My Place with My Own Day Here features essays by more than fifty renowned international writers considering thirteen monumental works of art commissioned by The New School between 1930 and the present. We are distributing this beautiful art book for The New School.

Between Form and Content is a catalog that accompanied the first exhibition to focus on Jacob Lawrence’s experience at Black Mountain College in North Carolina in 1946, where his interaction with Josef Albers had a lasting impact on his future career. We are distributing this catalog for Black Mountain College Museum + Art Center.

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New Books in September

Summer’s almost over, which means it’s time to start to replenishing your reading list! Celebrate the start of a new academic year with us by checking out this diverse array of books arriving in September.

Acknowledging the impending worldwide catastrophe of rising seas in the twenty-first century, Orrin H. Pilkey and Keith C. Pilkey outline the impacts on the United States’ shoreline and argue that the only feasible response along much of the U.S. shoreline is an immediate and managed retreat in Sea Level Rise.

Brenda R. Weber’s Latter-day Screens examines the ways in which the mediation of Mormonism through film, TV, blogs, YouTube videos, and memoirs functions as a means through which to understand conversations surrounding gender, sexuality, spirituality, capitalism, justice, and individualism in the United States.

Self-Devouring Growth by Julie Livingston shows how the global pursuit of economic and resource-driven growth comes at the expense of catastrophic destruction, thereby upending popular notions that economic growth and development is necessary for improving a community’s wellbeing.

In Under Construction, Daniel Mains explores the intersection of infrastructural development and governance in contemporary Ethiopia by examining the conflicts surrounding the construction of specific infrastructural technologies and how that construction impacts the daily lives of Ethiopians.

Elizabeth Freeman’s Beside You in Time expands bipolitical and queer theory by outlining a temporal view of the long nineteenth century and showing how time became a social and sensory means by which people resisted disciplinary regimes and assembled into groups in ways that created new forms of sociality.

Terry Smith—who is widely recognized as one of the world’s leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity in Art to Come through analyses of topics ranging from Chinese and Australian Indigenous art to architecture.

Henry Cow by Benjamin Piekut tells the story of the English experimental rock band Henry Cow and how it linked its improvisational musical aesthetic with a collectivist, progressive politics.

Davina Cooper’s Feeling Like a State explores the unexpected contribution a legal drama of withdrawal—as exemplified by some conservative Christians who deny people inclusion, goods, and services to LGBTQ individuals—might make to conceptualizing a more socially just, participative state.

In Making The Black Jacobins, Rachel Douglas traces the genesis, transformation, and afterlives of the different versions of C. L. R. James’s landmark The Black Jacobins across the decades from the 1930s onwards, showing how James revised it in light of his evolving politics.

William E. Connolly links climate change, fascism, and the nature of truth to demonstrate the profound implications of the deep imbrication between planetary nonhuman processes and cultural developments in Climate Machines, Fascist Drives, and Truth.

Cara New Daggett’s The Birth of Energy traces the genealogy of the idea of energy from the Industrial Revolution to the present, showing how it has informed fossil fuel imperialism, the governance of work, and our relationship to the Earth.

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