New Books In Art

Just after World War II, West Indians began moving to London in large numbers. The artists, writers, and musicians among them found a place to create, and they found ways to express their complex notions of belonging to both the Caribbean and to the British Empire. Amanda Bidnall‘s The West Indian Generation: Remaking British Culture in London, 1945-1965 (Liverpool University Press, 2017) traces their paths and their fortunes, their successes and their troubles. Bidnall writes against a prevailing interpretation of immigrant London as torn apart with racial divisions. While this generation may have encountered degrees of racial animosity, they were at also intent on participating in and contributing to a burgeoning scene that welcomed them as newcomers.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Edgar Degas died in the fall of 1917. Marking this 100th anniversary, Kathryn Brown‘s edited collection, Perspectives on Degas (Routledge, 2016) brings together a range of authors and methodologies to consider the French artist in context, to examine aspects of his practice in terms of form and technique, and to think and rethink critical approaches to Degas and his legacies. Working in Europe, North America, and Asia, the volume’s fascinating and provocative essays introduce the reader to the artist in a number of ways while building on, responding to, and challenging some of the traditions and conclusions of previous Degas scholarship. Featuring an introduction as well an essay by its editor, the collection is divided into three parts. In the first section, Art in Context; Gender, Race, and Labour, authors Norma Broude, Shao-Chien Tseng, Mary Hunter, and Anthea Callen examine Degas’s representation of working women and horses, racecourses, the “cafe-concert,” female spectators, and circus performers. The

In A Vulgar Art: A New Approach to Stand-Up Comedy (The University Press of Mississippi, 2014), Ian Brodie, an associate professor of folklore at Cape Breton University, brings a folkloristic approach to the study of stand-up comedy. By focusing on comedic performance, Brodie shows stand-up comedy to be a collaborative act between comedian and audience similar to folk performance around the world, even as mediatization sees professional comedians transcend the initial performance to reach mass audiences. Timothy Thurston is Lecturer in Chinese Studies at the University of Leeds. His research examines language at the nexus of tradition and modernity in China’s Tibet. Learn more about your ad choices. Visit megaphone.fm/adchoices

Can we change minds about Confederate monuments? Kevin Levin is a historian and educator studying the American Civil War and memory. His book, Remembering the Battle of the Crater: War as Murder (University Press of Kentucky, 2012), was just released in paperback and he is the author of a recent article in the Atlantic Why I Changed My Mind About Confederate Monuments. The "Why We Argue" podcast is produced by the Humanities Institute at the University of Connecticut as part of the Humility and Conviction in Public Life project. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This is the first in a series of podcasts from Zoe Kontes’ terrific “Looted.” Listen to the story of a gold funerary wreath, looted from Northern Greece in the 1990s, smuggled into Germany, and eventually purchased by an illustrious U.S. museum. With their abundance of gold and other luxury items, the royal tombs of Macedonia in this area have been the target of looters (and archaeologists) for years. The debates about the VIPs who may or may not be interred within (the father of Alexander the Great, for one) continue, and demonstrate the essential importance of archaeological context. On Looted: The Podcast, we uncover the hidden stories of ancient artifacts and their journeys in the illicit antiquities trade. I’m Zoe Kontes, and I’m an archaeologist. When we archaeologists dig, we carefully record what we find so we can make the best sense of the evidence. But go to any museum, auction house, or dealer with an antiquities collection—Ebay even—and you’ll be sure to find objects that have been removed fro

Richard Rabinowitz is one of the leading public historians in the United States. He has helped conceptualize, design, organize, and build over 500 history programs across the U.S. at such sites as the Lower East Side Tenement Museum in New York; the Birmingham Civil Rights Institute; and the National Underground Railroad Freedom Center in Cincinnati. Between 2004 and 2011, Richard curated six blockbuster history exhibitions at the New-York Historical Society, including Slavery in New York and Revolution! The Atlantic World Reborn. He also drew up the interpretive and curatorial plan for the Slavery and Freedom exhibition at the new National Museum of African American History and Culture in Washington, D.C. Most of this work has come out of his founding and directing the American History Workshop. The journey he has taken—from receiving his PhD in the History of American Civilization at Harvard to becoming a public historian and working on these exhibits—is the subject of his recent book: Curating America: Jo

Slavery as a system of torture and bondage has fascinated the optical imagination of the transatlantic world for centuries. Scholars have examined various aspects of the visual culture that was slavery, including its painting, sculpture, pamphlet campaigns, and artwork, yet an important piece of this visual culture has gone unexamined: the popular and frequently reprinted antislavery illustrated books that were utilized extensively by the antislavery movement in the first half of the nineteenth century. The Illustrated Slave: Empathy, Graphic Narrative, and the Visual Culture of the Transatlantic Abolition Movement, 1800-1852 (University of Georgia Press, 2017) analyzes some of the more innovative works in the archive of antislavery illustrated books published from 1800 to 1852 alongside other visual materials that depict enslavement. The author argues that some illustrated narratives attempt to shift a viewing reader away from pity and spectatorship into a mode of empathy and interrelationship with the ensl

In her new book, Max Liebermann: Modern Art and Modern Germany (Routledge 2015), Marion Deshmukh, the Robert T. Hawkes Professor of History Emeritus at George Mason University, examines the life and career of the prolific German artist Max Liebermann. Liebermann, a pioneer of German modernism, portrayed scenes of the Dutch countryside and rural life, along with portraits of Germany’s cultural and political elites. Deshmukh describes Liebermann’s life and career in wonderful detail, while also demonstrating how the art world in Germany impacted and was impacted by the wider events of German history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Best remembered today for his work as a muralist, the Russian-American artist Victor Arnautoff lived a life worthy of Hollywood. In Victor Arnautoff and the Politics of Art (University of Illinois Press, 2017), Robert Cherny details the both range of Arnautoff’s activities and how the views born of those experiences influenced his work. Born in Russia, Arnautoff’s service as a cavalry officer for the anticommunist White forces in the Russian Civil War forced him to abandon his homeland for an involuntary exile, first in China, then in the United States. Long interested in a career as an artist, his studies of art in San Francisco during the 1920s led to a two-year period working for the famous Mexican muralist Diego Rivera. Returning to San Francisco during the depth of the Great Depression, Arnautoff quickly emerged as one of the greatest talents on the regional art scene, with works that championed the working man and criticized the brutalities of capitalism. Arnautoff’s embrace of Communism by the end of t

A Usable Past: American Folk Art at the Colby College Museum of Art (Colby College Museum of Art, 2016) is a contemporary analysis of paintings, works on paper, sculptures, needlework, quilts and other forms of folk art drawn primarily from the college’s American Heritage Collection donated by Edith Kemper and Ellerton Marcel Jette. Essays by contributors Lauren Lessing, Seth A. Thayer, Jr., Elizabeth Finch and Tanya Sheehan offer new insights into the definition and display of folk art. How should folk art fit into constructions of the American past and understandings of American Art? Individual entries detail the rich history of a variety of 19th Century American folk art objects from young women’s so-called accomplishment needlework pieces to portraiture and landscape painting by self-trained artists. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reach

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellswo

Hidden Mother by Laura Larson was published by Saint Lucy Press (January 2017), with 96 pages and 26 Color and black and white images. Hidden Mother tells the story of the adoption of Larson’s daughter from Ethiopia as mapped through nineteenth-century hidden mother photographs. The term “hidden mother” refers to the widespread but little-known practice in 19th-century portrait photography of concealing a mother’s body as she supported and calmed her child during the lengthy exposures demanded by early photographic technology. In the final portrait of the child, the mother–often covered from head-to-toe in a black drop cloth–appears as an uncanny figure. A practical strategy deployed by the photographer unintentionally yielded an evocative representation of the mother; never meant to be seen, her presence nonetheless haunts these images. Part photography book, part essay, Hidden Mother enlists these strange and powerful images to present a lyrical account of becoming a mother through adoption. Laura Larson

Dance & Politics: Moving Beyond Boundaries (Manchester University Press, 2017) by Dana Mills, considers dance as a political expression from a number of perspectives, situating the analysis within a framework of contemporary political theory. Mills notes that dance has always been with us, as humans, but that we do not usually think about it as part of our political discourse in the same way that other performative or artistic expressions are integrated into political discussions and political life. Mills’ book argues that dance, as a language or means of communication, should be considered from the dancers’ perspective but also from the audience or the receivers’ experience and understanding, as well as the choreographers’ point of view, and the interactions of the other dancers involved. Mills digs into the overarching question of how can we expand our notion of what is political so that dance is included, trying to also understand why it has often been excluded from the notion of the political. The book el

When the Sun comes back And the first quail calls Follow the Drinkin’ Gourd. For the old man is a-waiting for to carry you to freedom If you follow the Drinkin’ Gourd. -“Follow the Drinkin’ Gourd” author unknown (possibly Peg Leg Joe) They left in the middle of the night, often carrying little more than the knowledge to follow the North Star. Between 1830 and the end of the Civil War in 1865, an estimated one hundred thousand slaves became passengers on the Underground Railroad, a journey of untold hardship, in search of freedom. Through Darkness to Light: Photographs Along the Underground Railroad (Princeton Architectural Press, 2017) presents a remarkable series of images following a route from the cotton plantations of central Louisiana, through the cypress swamps of Mississippi and the plains of Indiana, north to the Canadian border a path of nearly fourteen hundred miles. The culmination of a ten-year research quest, Through Darkness to Light imagines a journey along the Underground Railroad as it

No Plan B by David J. Carol was published by Peanut Press Books in 2017. The book is a retrospective of David’s work with 32 black and white images and an afterward by photojournalist Jason Eskenazi. No Plan B is a David’s fifth book and is a culmination of images from David’s road trips from the Arctic Ocean to post-Soviet Russia, from the Mojave Desert to the streets of Istanbul taken between 1993 and 2016. David was born in New York City, and attended the School of Visual Arts and The New School for Social Research, where he studied under Lisette Model. He was the first assignment photographer for The Image Bank photo agency (now part of Getty Images) at the age of 26. David has traveled the world taking pictures for himself and others for over thirty years. David is a photographer first and foremost, he has most recently worked daily in the real world of commercial photography as the Director of Photography at Outfront Media (formerly CBS Outdoor). Currently he is Editor-in-Chief at Peanut Press Books,

Gillian McIver‘s Art History for Filmmakers: The Art of Visual Storytelling (Bloomsbury, 2016) is a ground-breaking book that illustrates the relationships among the histories of painting and cinema. Of interest to established filmmakers, students of film, and those engaged with the history of art and visual storytelling overall, Art History for Filmmakers is a comprehensive study of the ways in which painting and film influence one another in terms of light, composition, subject matter, theme and style. McIver presents examples of the impact of painting from the antique to the modern upon the work of filmmakers Peter Greenaway, Martin Scorcese, Peter Webber, Stan Douglas, Guillermo de Toro, John Ford and others. Through an array of color images, McIver demonstrates how Dutch Baroque, Realism, Surrealism, Expressionism, Minimalism and other art historical movements shape story and appearance in film. Art History for Filmmakers also provokes consideration of the ways the language of film brings idea and form t

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement,

In Asking the Audience: Participatory Art in 1980s New York (University of Minnesota Press, 2017) Adair Rounthwaite examines the roles of artist, audience and institutional context in the rise of new forms of live art during the Reagan years. The book focuses upon live art projects sponsored by the Dia Foundation involving a variety of practices from installation to Town Hall meetings and other participatory forms. Rounthwaite synthesizes diverse archival materials in order to develop a richly textured study that recovers the complexities of projects committed to fostering audience agency in the consumption of contemporary art. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

George White, President and COO of Up With Paper and Jumping Jack Press interviewed following the Bologna Children’s Book Fair, discusses the intricacies of creating pop-up art for greeting cards and for books. Susan Raab is president of Raab Associates, an internationally recognized agency that specializes in marketing literature, products and initiatives that help improve the lives of young people. Clients have included National Geographic, Scholastic, the International Board on Books for Young People, and bestselling authors and illustrators. Susan is marketing advisor for the Society of Childrens Book Writers and Illustrators (SCBWI). She’salso a journalist reporting on publishing, education and human rights. Her work as a broadcast correspondent has been hosted by the University of Connecticut, and by the University of Florida’s Recess Radio, a program syndicated to 500 public radio stations. Her many interviews, including with Art Spiegelman, Jon Scieszka, Norton Juster, Laurie Halse Anderson and man

Black is the Day, Black is the Night by Amy Elkins is self-published (2016), with an essay by Gregory J. Harris and C.F., unpaged, 80 color and black-and-white illustrations. Black is the Day, Black is the Night started as an exploration into, what author and photographer has called, “extreme manifestations of masculinity,” but over time it evolved into a meditation on time and memory through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of whom had served between 13-26 years at point of contact in 2009 when the project started. “Out of our letters a collaboration unfolded. I constructed images using formulas specific to each of their stories, age and years incarcerated. Through these formulas their portraits became more unrecognizable and their memories became more muddled, regurgitated and fictional with the endless passing years of their sentence. Stripped of personal context and placed in solitary cells, their sense of