Who Says, Who Shows, What Counts invites readers to think critically about how artists, artworks, and museums engage with narratives of the past. Richly illustrated and written for a general...
The exhibition If You Remember, I'll Remember (2017) at The Block Museum of Art, Northwestern University was an invitation to reflect upon the connection between the past and present through...
This book challenges the notion that the bourgeois public sphere is the most important informal institution between social and political actors and the state. María Pía Lara draws on cinematic images of women’ s struggles to develop a concept of the feminist social imaginary.
This book focuses on independent popular and avant-garde Egyptian theater in transition from 2004 to 2014, analyzing live performing arts as a means of cultural and political representation.
Contributions by David Cressy, Pedro Raposo, J.B. Shank, Pamela Smith, McKenzie Stupica, John Sullivan, Claudia Swan, Alexandra Thomas, Madeleine C. Viljoen, Debora Wood, Jim Akerman, Christopher Fletcher, Jill Gage, Megan Kelly, Analú Lopez, Isabella Magni, Martin Antonetti, Niall Atkinson, Karen Bowen, James Clifton, Matthew James Crawford, Ikumi Crocoll, Olivia Dill, Sven Dupré, Andrew Epps, Christine Göttler, Marisa Guo, Deborah Howard, Dirk Imhof, Elisa Jones, Suzanne Karr Schmidt, Jessica Keating, Stephanie Lee, Dániel Margócsy, Jennifer Nelson, Claire Ptaschinski, Sandra Racek, Alessandra Foscati, Risa Puleo, Luca Molà and Rebecca Zorach
This book is the first full-length study of Johannes Stradanus’s renowned print series Nova Reperta, yielding insights into cross-cultural collaboration and technological change during the Renaissance.
Eardrums contributes to contemporary discussions surrounding the historicity of listening and acoustical knowledge by examining a pivotal moment in the evolution of the ear and listening in German modernist literature and cultural production.
Walls of Prophecy and Protest is an illustrated history of the life, work, and legacy of famed Chicago muralist William Walker by Chicago arts journalist Jeff Huebner.
The “blk alter” of Avery R. Young’s poetic vision makes its stunning debut in a multidisciplinary arsenal entitled, neckbone: visual verses. Young’s years of supernatural fieldwork within the black experience and the gospel of his transitions between poetry, art and music, become the stitch, paint brush, metaphor, and narrative of arresting visual metaphors of childhood teachings and traumas, identity, and the personal reverence of pop culture’s beauty and beast. A mastermind in a new language of poetry, that engages and challenges readers to see beyond the traditional spaces poems are shaped and exist, Young’s neckbone extends tentacles in literature, art, and activism--redefining the collective and the sermon of the “blk” experience.
