In Portraits in the Andes: Photography and Agency, 1900-1950 (University of Pittsburgh Press, 2018), Jorge Coronado, Professor of Spanish and Portuguese at Northwestern University, examines photography to further the argument that intellectuals grafted their own notions of indigeneity onto their subjects. He looks specifically at the Cuzco School of Photography (active in the southern Andes) to argue that photography, in its capacity as a visual and technological practice, can be a powerful tool for understanding and shaping what modernity meant in the region. Ryan Tripp teaches a variety of History courses at Los Medanos Community College. He also teaches History courses for two universities. He has a Ph.D. in History from the University of California, Davis, with a double minor that includes Native American Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Queering Contemporary Asian American Art (University of Washington Press, 2017), Laura Kina and Jan Christian Bernabe gather artists and scholars whose work disrupts, challenges, and reimagines ways of being Asian and Asian American. Through nine original artist interviews and seven critical essays, the editors showcase contemporary artists who queer our conceptions of surveillance, affect, mixed race, and Asian America itself. In doing so, the editors remain interested in the queer disturbances within artworks that respond to racism and state violence, while also forming solidarities based on critical understandings of shared oppression. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Why is the artist’s voice missing from cultural policy? In Artists’ Voices in Cultural Policy: Careers, Myths and the Creative Profession after German Unification (Palgrave Macmillan, 2018), Dr. Simone Wesner, a lecturer in arts management at Birkbeck, University of London, explores this question in the context of post-war and post-unification Germany. The book offers a wealth of detail on the German context, comparing two cultural policy regimes across Saxony, through a longitudinal study of a cohort of artists. Published as part of Palgrave’s New Directions In Cultural Policy Research series, the book offers new theoretical insights to cultural policy, particularly working with the idea of memory to help understand artistic careers as well as national and regional cultural policy. A fascinating read, the book will be of interest across media and cultural studies, as well as for historians, along with anyone interested in understanding the artist’s career and the artists’ role in society. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Reginald Jackson’s inspiring new book takes a transdisciplinary approach to rethinking how we read, how we pay attention, and why that matters deeply in shaping how we understand the past, live in the present, and imagine possible futures. Textures of Mourning: Calligraphy, Mortality, and The Tale of Genji Scrolls (University of Michigan Press, 2018) explores the relationship between reading, dying, and mourning across three central texts: the Heian period The Tale of Genji; the twelfth century Illustrated Handscrolls of the Tale of Genji (or, Genji Scrolls); and the twenty-first century Resurrected Genji Scrolls exhibition. The book’s analysis pivots on some key questions, including: “How does the desire to observe dying bodies potentially damage them?”; and “how do these deteriorating bodies in turn alter the texture of linguistic and visual representation?” The book addresses these questions while helping readers understand and appreciate calligraphy as a “kinetic medium” through which we might “chart the shifting contours of mortality’s link to legibility between terrains of written text and painted image.” In tracing Genji’s decompositional aesthetics across the four major parts of the book – Dying, Decomposing, Mourning, Resurrecting – Jackson’s writing simultaneously helps us to understand how mourning can itself be a kind of reading (and how “dwelling with the dead” can be a critical practice) at the same time that his writing becomes itself a form of mourning. As he reminds us in the book, mourning is not simply about experiencing loss: it can also be a resource for thriving. Textures of Mourning demonstrates what that might look like both when studying the medieval past, and when using it as a resource to inform the contemporary present and its many forms of violence. Ranging across art history, Japanese studies, and performance studies, this is a movingly and gorgeously composed book that should serve as a model for what transdisciplinary scholarship can be, and a reminder of the importance of performing and supporting more work that dances across disciplinary boundaries. Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Leopard print has a long history, as Jo Weldon shares in her new book, Fierce: The History of Leopard Print (Harper Design, 2018). In her illustrated text, Weldon chronicles the history of leopard print, situating it throughout popular culture. Starting in the early 1900s, Weldon examines the mass production of textiles and changes in the fashion industry to bring about the use of prints, colors, and patterns giving women more opportunities to use daring styles. In addition to fashion, Weldon explores influential individuals who changed popular culture with their choices in couture. Weldon’s book combines historical information about fashion, distinguishing features of large cats and large cat prints, and full color images of the compelling textile and its wearers. She argues that leopard print has been a powerful statement for women throughout history, adapting and changing to different fashion trends and technological advancements. Weldon’s book is a vivid illustration of a fashion statement that has not gone out of style. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. She is the author of Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018). You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at [email protected]. Enter the code “NBN10” and get 10% off this book and any book at University Press Books, Berkeley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Quilts and Health (Indiana University Press, 2017), Marsha MacDowell and her colleagues examine the phenomenon of health-related quilts, of which there are millions around the world. In fact, and as this book documents, almost any illness, disease, or condition is likely to be associated in some way with quiltmaking. Quilts are made to support health education and patient advocacy, to raise funds, to memorialize those passed, to promote personal well-being, and to comfort others in distress. Some quilts even document medical history; for example, Ohio-based quilter Helen Murrell created a piece that serves as a statement of outrage for the unjust treatment of 600 African-American men who, without their knowledge or consent, were subjected to a forty-year medical experiment of the United States government.  During the experiment, 399 men were deliberately infected with syphilis and were allowed to go untreated, even after a cure was developed. Quilts and Health explores the myriad connections that are forged between disease, recovery, and quilt making.  As the authors note, systematic study of quilts and the stories they hold has “great potential to help us understand the human experience for illness and health, advance medical knowledge, and, ultimately, enhance the quality of health, outcomes, and life” (2). McDowell’s co-writers are Clare Luz and Beth Donaldson, both of whom are also based at Michigan State University. Luz is Assistant Professor in the Department of Orthopedic Medicine.  Donaldson is Digital Humanities Project Asset Coordinator at the Museum and Coordinator of the Museum’s Quilt Index. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Did you catch that look? The theory of fabulousness is on the move. In his new book, Fabulous: the Rise of the Beautiful Eccentric (Yale UP, 2018), madison moore explores some of the sites where fabulousness is highly valued, such as the street, the catwalk, the club (including the line to get in), and the body itself. Our hour-long conversation references many personal experiences that capture the ephemeral quality of fabulousness, which can appear in any place, at any time, through any body. madison also speaks of his participation in and organization of the worlds that his scholarship extends. A running theme of our conversation is that fabulousness is never without risk. As he writes, “You can’t understand fabulousness unless you get that it emerges from trauma, duress, exclusion, exhaustion, and depression, and that in some ways being fabulous is the only thing that can get us out of bed in the morning.” There are, of course, groups of people who actively police fabulousness. But its self-making potential resides in all bodies. It is a confidence, and a gift to be shared. You just have to look—and listen—for yourself. madison moore is a dj, cultural critic, and assistant professor of gender, sexuality and women’s studies. He is also creative director and resident dj at OPULENCE, an art-collective and queer techno party. He has home bases in New York, London, and Berlin. Michael Amico holds a PhD in American Studies from Yale University. His dissertation, The Forgotten Union of the Two Henrys: A History of the “Peculiar and Rarest Intimacy” of the American Civil War, is about the romance between Henry Clay Trumbull and Henry Ward Camp of the Tenth Connecticut Regiment. He will be a Researcher at the Center for the History of Emotions in Berlin beginning this fall. He is the author, with Michael Bronski and Ann Pellegrini, of You Can Tell Just by Looking: And 20 Other Myths about LGBT Life and People (Beacon, 2013), a finalist for the Lambda Literary Award in Nonfiction. He can be reached at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ari Larissa Heinrich’s new book, Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Duke University Press, 2018), is a fascinating study of representations of the Chinese body in the context of biotechnology.  How are bodies reproduced, broken apart, and circulated?  And how do the representations of these processes help us understand transnational biopolitics? Heinrich takes up these questions and others in this pathbreaking work, one that will change how readers think about the body in contemporary art and media. Natasha Heller is an Associate Professor in the Department of Religious Studies at the University of Virginia. You can find her on Twitter @nheller or email her at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Heart of the Mission: Latino Art and Politics in San Francisco (University of Pennsylvania Press, 2017), Cary Cordova combines urban, political, and art history to examine how the Mission District, a longtime bohemian enclave in San Francisco, has served as an important place for an influential and largely ignored Latino arts movement from the 1960s to the present. Well before the anointment of the “Mission School” by art-world arbiters at the dawn of the twenty-first century, Latino artists, writers, poets, playwrights, performers, and filmmakers made the Mission their home and their muse. The Mission, home to Chileans, Cubans, Guatemalans, Mexican Americans, Nicaraguans, Puerto Ricans, and Salvadorans never represented a single Latino identity. In tracing the experiences of a diverse group of Latino artists from the 1940s to the turn of the century, Cordova connects wide-ranging aesthetics to a variety of social movements and activist interventions. The book begins with the history of the Latin Quarter in the 1940s and the subsequent cultivation of the Beat counterculture in the 1950s, demonstrating how these decades laid the groundwork for the artistic and political renaissance that followed. Using oral histories, visual culture, and archival research, she analyzes the Latin jazz scene of the 1940s, Latino involvement in the avant-garde of the 1950s, the Chicano movement and Third World movements of the 1960s, the community mural movement of the 1970s, the transnational liberation movements in Nicaragua and El Salvador, and the AIDS activism of the 1980s. Through these different historical frames, Cordova links the creation of Latino art with a flowering of Latino politics. Lori A. Flores is an Associate Professor of History at Stony Brook University (SUNY) and the author of Grounds for Dreaming: Mexican Americans, Mexican Immigrants, and the California Farmworker Movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Michelle C. Wang’s new book Mandalas in the Making: The Visual Culture of Esoteric Buddhism at Dunhuang (Brill, 2018) joins a growing body of scholarship on esoteric Buddhism in China. Her work is an important contribution for the way in which she draws together murals, portable paintings, ritual manuscripts, and diagrams connected to the Mandala of Eight Great Bodhisattvas. Wang traces how the use of this maṇḍala changed over time, and how it was shaped by the distinct cultural and linguistic milieu at Dunhuang, a key Buddhist site on the Silk Road.  This book will reshape scholarly understanding both of maṇḍalas in China, and also of Dunhuang as a Buddhist site. Natasha Heller is an Associate Professor in the Department of Religious Studies at the University of Virginia. You can find her on Twitter @nheller or email her at [email protected].   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How can art change the world? In Performance Action: The Politics of Art Activism (Routledge, 2018), Paula Serafini, a Research Associate at the University of Leicester’s CAMEo Research Institute for Cultural and Media Economies, explores art activism, looking at the power, potential, and problematics of art for political and social change. The book draws on a wealth of ethnographic material, including the author’s own art activism, to show the complexity as well as the importance of art activism. Moreover, the book offers a major theoretical contribution, fusing work on the public sphere, theories of aesthetics and politics, social movements theory, and theories of emotions and the body, with case studies including the high profile Art Not Oil coalition. The book will be essential reading for anyone interested in art, politics, and the potential to challenge and change our institutions and our politics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In her new book, Art of Suppression: Confronting the Nazi Past in Histories of the Visual and Performing Arts (University of California Press, 2016), Pamela M. Potter, Professor of Germany at the University of Wisconsin-Madison, carefully examines why historians and the general public have clung to a problematic narrative, which argued that the Nazi government had total control over the visual and performing arts. In order to address this narrative Potter details how historians after the fall of Nazi Germany have written about art, film, theater, music, dance and architecture. By investigating the cultural histories of Third Reich, she demonstrates how the exile, Allied occupation, the Cold War, combined with the complex definition of modernism have helped to sustain misconceptions about cultural life during the Third Reich. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

When you imagine the late-nineteenth and early-twentieth century, what colors do you see? Whatever comes to mind, Laura Kalba’s, Color in the Age of Impressionism: Commerce, Technology, and Art (Penn State University Press, 2018) will change the way you think about the contents, forms, and significance of the palette of this critical moment in the history of modernity. Examining the impact of emergent color technologies on French visual culture and landscapes, Color in the Age of Impressionism includes, but moves beyond, a discussion of the works and colors of Impressionist artists to consider color theory, dye manufacture, flower cultivation and gardening culture, fireworks, chromolithographic reproduction and collecting, autochromes and neo-Impressionism. Along the way, this is a history of aesthetics, art, fashion, technical innovation, and the modern markets of hue, tone, contrast, harmony, and shade during the “color revolution” of the decades Kalba explores. Approaching the history of color in the period with the archival passion and conceptual tools of the historian of visual culture, the book pushes past the discussion and prescription of taste to delve deeper into the social, economic, technological, political, and cultural history of color in a France in the throes of the emergence of a consumer and capitalist society divided by class and other differences. A “bottom-up” history of color, Color in the Age of Impressionism takes seriously the question: How did ordinary French men and women understand realism, abstraction, and fantasy during the decades of the emergence of a modernity that included a spectrum of visuality, imagination, and techniques of representation? A winner of The College Art Association’s 2018 Charles Rufus Morey Book Award, the study will be of great interest to anyone fascinated by the histories of art, looking, spectacle, culture, and everyday life in France in the decades before and after the fin-de-siècle. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. Her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: [email protected]. *The music that opens and closes the podcast is an instrumental version of “Creatures,” a song written by Vancouver artist/musician Casey Wei (performing as “hazy”). To hear more, please visit https://agonyklub.com/.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Steven Lubar’s latest book Inside the Lost Museum: Curating, Past and Present (Harvard University Press, 2017), Steven gets to the heart of what makes museums so interesting to both appreciate and critique. For him, the complex nature of the museum lies in the balancing act a curator and other museum staff must strike in both displaying a collection and making it open, accessible and useful while resisting the temptation to encourage or even force a certain way of looking or behaving among visitors. Structured along the four chapters collect, preserve, display and use, Steve tells the history of museums, from cabinets of curiosities and the Victorian model all the way to the contemporary in an easily accessible and very engaging way. In the last part of his book, the coda, he reveals how working with contemporary artist Mark Dion allowed him and his students from the Jenks Society for Lost Museums to think about museums in new ways, making them social and useful spaces that combine an object-centered and people-centered approach. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Wojtek Sawa‘s The Wall Speaks: Voices of the Unheard (National Center of Culture, 2016) is a bilingual Polish-English project that engages with the intricacies of remembering and forgetting as part of the individual’s personal history, which appears to challenge and collaborate with documented histories. Evolving out of personal memories, The Wall Speaks seeks to illuminate how the individual responds to overwhelming changes that shape and modify not only personal experiences but also collective memories. Although the emphasis is put on specific traumatic events—the core of the narrative constitutes stories of the Polish survivors who lived through World War II—this project reaches to individuals and communities which find themselves in a marginalized condition. The Wall Speaks is about Polish children and teenagers of World War II. It is also about people today who are prohibited from speaking with a voice of their own and are treated as less than fully human.” The personal stories/histories that Sawa assembles contribute to the re-arrangement of historical linearity, as well as to the formation of labyrinth-like connections between generations across time and space. This publication is part of a broader project that involves exhibitions, installations, and performances organized in museum, galleries, and academic institutions in the United States and Poland. Performative aspects that the project emphasizes invite dialogical communication that serves to maintain memories—personal and collective—and the continuity of humanistic aspirations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Foucault on Painting (University of Minnesota Press, 2017), Catherine Soussloff discusses an area of Foucault’s development that has remained largely overlooked: his engagement with painting.  Indeed Foucault, we learn, described himself as a painter.  Throughout his career, he examined painting and the image as he pursued critical elements of his philosophical ideas. Soussloff examines Foucault’s engagement with periods in European art history that captured his attention in particular: the Baroque, mid-nineteenth century French painting, Surrealism, and figurative painting of the 1960s and 1970s. The book also considers Foucault’s interest in five artists: Velázquez, Manet, Magritte, Rebeyrolle, and Fromanger. Soussloff’s study reveals the importance of art in Foucault’s philosophy, and affirms the relevancy of Foucault in consideration of the role of the image in the twenty first Century 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: [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Folklore scholar Joseph Sciorra is the Director for Academic and Cultural Programs at the John D. Calandra Italian American Institute in Queens College which is part of the City University of New York.  He’s also a Brooklyn-born and -raised Italian American and in this episode of the New Books in Folklore podcast, he talks about his latest book, Built with Faith: Italian American Imagination and Catholic Material Culture in New York City (University of Tennessee Press, 2015) which “offers a place-centric, ethnographic study of the religious material culture of New York City’s Italian American Catholics” (xiv). A transdisciplinary work, albeit firmly grounded in folklore scholarship and based on ethnographic research conducted over 35 years, this book is a comprehensive study of the myriad ways in which a people express their personal religious faith in tangible, dynamic, and often public forms.  The resulting yard shrines, sidewalk altars, elaborate presepi (Nativity scenes), and other manifestations – which also include extravagant Christmas light adornments of domestic exteriors, The Our Lady of Mount Carmel Grotto in Rosebank, Staten Island, and a series of Brooklyn religious processions – usually receive no kind of official sanction. In fact, they are more likely to provoke disdain than approbation in most quarters.  Nonetheless, they allow residents to both meaningfully relate to and actively construct the city in a way that is unique to “New York” and also speak to a vernacular Italian-American ethos that sets great store by the concept of lavoro ben fatto, or “work done well”. In Built with Faith, Sciorra gives prominence to the voices of the creators of this landscape of devotional material culture, voices which he has captured over decades in formal interviews as well as less formal ‘phone conversations, and casual street-side chats. He also takes pains to present the history of the sorts of displays that are his subject. In addition, the volume includes numerous photographs of the sites in question, often taken by the author himself. As noted by another New Books in Folkore interviewee, Luisa Del Giudice, in her review for the Journal of American Folkore: “Sciorra has vividly demonstrated why the study and practice of such material culture is important and how individual human creativity informed by a spiritual and cultural core becomes an act of both personal and community identity. These art forms may not have much social capital, but Sciorra does. As Director of Academic and Cultural Programs at the John D. Calandra Italian American Institute of New York, editor (Italian American Review), blogger (“Joey Skee,” for i-Italy), noted scholar and cultural activist, Sciorra, through Built with Faith, will make a high impact beyond the disciplines of vernacular culture; art and architecture; migration and ethnic, urban, religious studies; and beyond New York City. This is definitely a carefully crafted work—that is, un lavoro ben fatto.” Cindy R. Lobel, writing for the Vernacular Architecture Forum’s Buildings and Landscapes journal, is similarly effusive: “Built with Faith makes a fine contribution to the literature on landscape, material culture, immigration, ethnic studies, and urban studies. It offers important information on the kinds of approaches Italian American New Yorkers have taken toward shaping the built environment of New York through their religious and cultural practices. Sciorra documents and offers wonderful thick descriptions of Italian American mat... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

At the beginning of the 20th century, surrealists such as André Breton and Man Ray played a game called “Exquisite Corpse.” You can play it by drawing or by writing, and the rules are very simple. Let’s say you’re writing. You would write the beginning of a story or poem at the top of a piece of paper and, when you finished, fold the paper so that only the last line of the poem or story is visible. Then you’d hand the paper to another player, and this person would add to the story or poem knowing only that little bit of language. Then this play would fold the paper and pass it along. On the story or poem would go, jumping from topic to topic, from style to style, depending on how the next person added to it, until it’s done. That’s it. The result is usually highly fragmented and often fascinating. Things that aren’t normally put together are suddenly combined. Poems, stories, and, in the case of drawings, images that seem impossible are suddenly on the page in front of you, asking you to consider them as a connected whole. The name of the game purportedly came from a phrase one of them wrote the first time the surrealists played it: “The exquisite corpse shall drink the new wine.” I’ve played it numerous times, and it’s always fascinating to see what emerges, but I’ve new understood why it’s so fascinating until I had the pleasure of reading Erin Edwards’ new book, The Modernist Corpse: Posthumanism and the Posthumous (University of Minnesota Press, 2018). In her insightful study, Edwards examines the presence of the corpse in modernist literature and changes the ways we understand what a corpse is and even who and what counts as being fully alive. I finished Edward’s book with the startling insight that “Exquisite Corpse,” far from being just an odd surrealist experiment, might be a more accurate way for art to capture our world and the things that live in it with us than more traditional stories, poems, and paintings. To say it another way, Edwards shows us that, in the work of modernist artists, the corpse, whether exquisite or not, might be the best way to show us what it really means to be alive. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Modeled on Bad Girls of Japan (Palgrave Macmillan, 2005), Bad Girls of the Arab World (University of Texas Press, 2017), edited by Nadia Yaqub and the late Rula Quawas stands apart from the edited volume crowd. It includes, not only academic entries, but personal essays and reflections on art by their artists, all centered on the theme of transgression, or to put it in the language of Bad Girls of the Arab World itself, bad girls. And there is no one bad girl. Some bad girls of the Arab world use their linguistic and cultural heritage to empower them, some rail against them. Some ally themselves with the West, some don’t think about the West and the East as binaries, but rather, apply a complicated, nuanced worldview to their universes. However, all are allotted their agency. Bad Girls of the Arab World will be a resource for students of the Middle East and the general public on gender and the Arab world. Nadia Yaqub is an associate professor at the Department of Asian Studies at the University of North Carolina, Chapel Hill, where she is also chair of the Department of Asian Studies and adjunct associate professor at the Department of English and Comparative Literature. She is also associate editor for film and theater at the Review of Middle East Studies, an editorial collective member with the Journal of Middle East Women’s Studies and an advisory board member with the Middle East Journal of Culture and Communication. Her research interests include Arab cultural texts ranging from medieval literature and contemporary oral poetry to modern prose fiction and visual culture. She is the author of many articles and a book Pens, Swords, and the Springs of Art: The Oral Poetry Dueling of Palestinian Weddings in the Galilee (Brill Academic Publishers, 2006) and Palestinian Cinema in the Days of Revolution will be coming out from University of Texas Press in July 2018. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Sewing, knitting, quilting, the crafts related to fabric making, are usually not what we think about when we consider our digital communications devices. Yet, many of the activities that we find ourselves doing with our devices touching the screen, scrolling, swiping, etc. and some of the language that we use to describe our actions, draw from textile culture. In his book The Fabric of Interface: Mobile Media, Design, and Gender (MIT Press, 2017), Stephen Montiero, at Concordia University, explores the connection between the fabric arts and computing. In it he investigates the relationship between gender and the construction of media technologies. A particular focus of his is an examination of how, as in former years sewing was dismissed as women’s work, social aspects of digital technologies are gendered and dismissed as inconsequential. Montiero also details the eraser of the contributions of many women to the evolution of the technology that is now ubiquitous. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Native Space: Geographic Strategies to Unsettle Settler Colonialism (Oregon State University Press, 2017), Natchee Blu Barnd examines how Indigenous populations create space and geographies through naming, signage, cultural practices, and artistic expression within the confines of settler colonialism in the United States. Native Space explores these acts as everyday cultural practices, and also examines how settler societies deploy the concept of Indian-ness to create colonial geographies. Barnd takes an interdisciplinary approach toward these subjects, and examines these concepts through the use of demographic and cartographic data, stories, and imagery, each of which underscores the different methods Native peoples use to unsettle settler society and reclaim Indigenous spaces. Samantha M. Williams is a PhD candidate in History at the University of California, Santa Cruz. She is currently writing her dissertation, which examines the history of the Stewart Indian School in Carson City, Nevada through the lenses of settler colonialism and public history. She can be reached at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Singular Spaces: From the Eccentric to the Extraordinary in Spanish Art Environments (Raw Vision, 2013) is an audacious tome. A comprehensive survey of 45 art environments on the Spanish mainland, it weighs just over eight and a half pounds and contains over 1300 color photographs (with over 4000 more plus site plans on the accompanying CD). Its author, Jo Farb Hernandez, is the Director of SPACES, a non-profit focused on art environments around the world. She first became interested in place-based creative constructions when she was an undergraduate in Wisconsin. In her introduction to Singular Spaces, she recounts how this particular book began: she and her husband were in the process of renovating an old farmhouse they’d purchased in Catalonia. They took a short road-trip to explore the area around their new home and chanced upon “the enormous roadside construction of Josep Pujiula I Vila, at that time one of the largest and most idiosyncratic art environments found worldwide” (16). Shortly thereafter Farb Hernandez began documenting Pujiula’s work while writing another book. In the process she came across more and more such endeavors that demanded her attention. Singular Spaces is devoted to those sites and like them, the book is the product of years of labor and dedication. Singular Spaces features the work of 45 artists, all men. Alongside the photographs and descriptions of the art environments, Farb Hernandez also tells the stories of their creators’ lives, and details the history and development of each project. She also describes the challenges that many of the artists have faced, not least those posed by unhappy neighbors and unsympathetic municipal authorities. In fact, helping the men deal with local adversities has led to Farb Hernandez frequently taking on the role of advocate on behalf of her interlocutors. A recent review in the Journal of American Folklore described Singular Spaces as “incredibly important for those who are interested in architecture, the politics of place and space, folk art and art in general, art and activism, the psychology of creativity, and relationships between tradition and the individual. Jo Farb Hernandez has written more than a survey of eccentric art spaces. She has opened a door to each artist and space so that they may be explored, analyzed, and, in some cases, loved by any who enjoy such contextual art forms.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This is the fourth in a series of podcasts from Zoe Kontes’ terrific “Looted.” Archaeologist Dr. Spencer Pope shares his thoughts on looting in Sicily, particularly at the site of Palik, a 2,400 year old town not far from Catania on Sicily’s east coast, in the fertile plains of the islands active volcano, Mt Etna. The site has a mystical nature, considered sacred since antiquity due to the bubbling lakes near which it is situated. Looters use metal detectors at the site to find ancient coins, and in the process destroy important scientific evidence for understanding the mix of cultures that once interacted here. 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 from the ground without this kind of proper excavation. Looting destroys the context of artifacts, and while they may look beautiful in a display case, we lose any information about their significance or function in the culture that made them. This is a loss of our common human history, and it affects us all. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

My students don’t remember Vietnam. That’s hard to believe, for someone born in 1968. But it’s true, nonetheless. High school history courses rarely make it past World War Two. The Cold War and the Berlin Wall are mysteries. And Vietnam, unless someone in their family fought there, is just a country. But most, if not all, of my students have heard of the Vietnam Memorial. They may not know what or who it commemorates. But they’ve seen it on class trips, or in textbooks. And they universally praise its power and simplicity. So, unless you’re my age, it’s hard to imagine the bitterness and divisions which greeted Maya Lin’s memorial. In his new book A Rift in the Earth: Art, Memory and the Fight for a Vietnam War Memorial (Arcade Publishing, 2017), James Reston, Jr. retells this story in a way that brings it alive again. Reston brings a journalist’s eye for character and narrative to the book. Several authors have told this tale, but Reston is by far the best at bringing the story to life. Less interested in putting this memorial into the broader context of memorialization in the 1970s, he instead concentrates on retelling the story and on explaining to a modern audience why it matters. And, when you’ve finished the narrative heart of the book, you suddenly learn why the story seems so personal and important to Reston. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. He’s the author of four modules in the Reacting to the Pastseries, including The Needs of Others: Human Rights, International Organizations and Intervention in Rwanda,1994. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

For most people the field of architecture is not what they think about when discussing artificial intelligence as we describe it today. Yet, architects are a part of the historic foundations of what we call the Internet and now AI. In her new book, Architectural Intelligence: How Designers and Architects Created the Digital Landscape (MIT, 2017), Carnegie Mellon associate professor Molly Wright Steenson, considers four of these designers: Christopher Alexander, Richard Saul Wurman, Cedric Price, and Nicholas Negroponte, to examine how they included elements of interactivity in their projects. In so doing she illuminates how their work influences today’s technology. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via [email protected].   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Phantom Unmasked: America’s First Superhero (University of Iowa Press, 2017), Kevin Patrick examines the history of The Phantom—an American comic strip superhero that made his debut in 1936. Although not popular in the United States, The Phantom knows a long history and popularity in Australia, Sweden, and India. In The Phantom Unmasked, Patrick explores this history. By tracing the publication history of The Phantom and connecting its success to the media licensing industries starting in the 1930s and 40s, Patrick presents an under-explored history to show the role of this comic in international markets and its importance for understanding how international markets worked. In The Phantom, Patrick assesses how historical, cultural, political, and economic conditions impacted The Phantom’s rise in popularity in Australia, Sweden, and India. In addition, he surveys Phans in order to explain how they have come to love the superhero. Well researched and informative, The Phantom Unmasked adds to the burgeoning comic history. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. She is the author of Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018). You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at [email protected].   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Is making art a job? This question is central to The Work of Art: Value in Creative Careers (Stanford University Press, 2017), the new book by Alison Gerber, a postdoctoral fellow in the Department of Sociology at Lund University. The book explores the working lives of artists by thinking through the idea of value in their work. At the heart of this exploration are four accounts of being an artist; four accounts of value; and four accounts of the occupation. These four accounts—pecuniary, credentialising, vocational, and relational—connect and conflict with each other to explain the place of both art and the artist in contemporary society. Using rich and detailed interview and ethnographic data, the book is essential reading for its contribution to contemporary sociology of culture and its insights into the art world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via [email protected]. 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 third in a series of podcasts from Zoe Kontes’ terrific “Looted.” There’s nothing like a full-bodied ancient Greek bronze nude to get the crowds to a museum. A visitor might even fall in love (speaking from personal experience Riace Bronzes, here’s looking at you). We’ll focus on two of these very rare figures, found in US museums, but currently the subject of great debates of identification and international ownership. 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 from the ground without this kind of proper excavation. Looting destroys the context of artifacts, and while they may look beautiful in a display case, we lose any information about their significance or function in the culture that made them. This is a loss of our common human history, and it affects us all. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Syrian Revolution, which began in March 2011, has since resulted in what can be described as a civil war, the deaths of hundreds of thousands of people, and the forced migrations of millions of Syrians. This story has been told countless times in news media. However, less known is the story of the Syrian artists who have portrayed the revolution with all of its nuances. miriam cooke’s Dancing in Damascus: Creativity, Resilience and the Syrian Revolution (Routledge, 2017) tells that story, beginning before the revolution and continuing until the present. Through cooke’s work, we see how oppression can beget creativity and how art in the Syrian context can create public memory. cooke brings together different mediums to show how different conversations cut through the Syrian artistic community and how Syrians relate to one another. Dancing in Damascus is comprehensive, provocative, and hopeful. Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his new book, Stan Lee: The Man Behind Marvel (Rowman and Littlefield, 2017), cultural historian and biographer Bob Batchelor examines the life of Marvel’s Stan Lee one of the most iconic figures in comic book history. Batchelor has written the first biography of Stan Lee. Starting with his childhood as a Depression-era New Yorker born to immigrant parents, Batchelor follows Lee’s career as a teenage editor at Marvel Comics, his stint as a playwright for the United States Army during World War II, and his unrelenting work ethic and drive that transformed the comic book industry and brought characters such as Spider Man, the Hulk, Iron Man, the Fantastic Four, the Avengers, and the X-Men to life. Batchelor explores the larger place in popular and American cultural history that Stan Lee has played over the past 70 years from comics to television to film, reflecting on the role of the superhero in the American experience. Well researched, Stan Lee: The Man Behind Marvel gives insight not only into well-known aspects of Lee’s life, but also presents readers with little known background into Lee’s past and what has made him the icon he is today. Batchelor’s book is a must read for Marvel and comic books fans. Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people’s lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

John Neel’s Focus in Photography: Master the Advanced Techniques That Will Change Your Photography Forever (Ilex Press, 2016) is both instructional manual and analysis on why focus is such an important artistic tool for photographers. Neel uses his own images to illustrate how focus works to directs viewers into and around an image. In his book Neel creates the first serious treatment of the topic in the digital age, by showing how mastery of the lens will greatly enhance the quality and “wow” factor of photographs. John Neel is a graduate of the University of South Florida, School of Fine Arts and has an MFA from the Visual Studies Workshop SUNY. He has an interest in merging photography, design and illustration. Recently he has become interested in the relationship of synthesized sound and electronic images and became a member of the electronic band uforkestra as the group’s visual musician. His work is held in public and private galleries in both the US and Canada, including the George Eastman House, the Art Gallery of Ontario. In the 1990s John worked at Kodak Research Labs where he developed skills and knowledge on such subjects as stereo and immersive imaging, as well as new human interface technologies (such as haptic), augmented reality and experimental media. Besides his artistic pursuits and accomplishments, John holds numerous patents and patent applications regarding digital imaging. Focus in Photography is available online at Ilex Press and through Amazon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Horace Poolaw, Photographer of American Indian Modernity (University of Nebraska Press, 2016), Laura E. Smith, Assistant Professor of Art History at Michigan State University, unravels the compelling life story of Kiowa photographer Horace Poolaw (1906-84), one of the first professional Native American photographers. Born on the Kiowa reservation in Anadarko, Oklahoma, Poolaw bought his first camera at the age of fifteen and began taking photos of family, friends, and noted leaders in the Kiowa community, also capturing successive years of powwows and pageants at various fairs, expositions, and other events. Though Poolaw earned some income as a professional photographer, he farmed, raised livestock, and took other jobs to help fund his passion for documenting his community. Smith examines the cultural and artistic significance of Poolaw’s life in professional photography from 1925 to 1945 in light of European and modernist discourses on photography, portraiture, the function of art, Native American identity, and American Indian religious and political activism. Rather than through the lens of Native people’s inevitable extinction or within a discourse of artistic modernism, Smith evaluates Poolaw’s photography within art history and Native American history, simultaneously questioning the category of fine artist in relation to the creative lives of Native peoples. 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 second in a series of podcasts from Zoe Kontes’ terrific “Looted.” Marble figurines made ca. 5,000 years ago in the Cycladic Islands of the Aegean became all the rage for collectors, and a great influence in Modernist Art. Easily looted and almost as easily faked, these objects have a unique role in the modern world. The question is, what was their role in the ancient world? More to see, read and hear: Gill, D. W. J., and C. Chippindale. “Material and intellectual consequences of esteem for Cycladic figures.” American Journal of Archaeology 97 (1993): 601-59. Chippindale, C., and D. W. J. Gill. “Cycladic figurines: art versus archaeology?” In Antiquities: trade or betrayed. Legal, ethical and conservation issues, edited by K. W. Tubb (1993): 131-42. Review: A Seductive and Troubling Work. Reviewed Work:The Cycladic Spirit: Masterpieces from the Nicholas P. Goulandris Collectionby Colin Renfrew, Christos Doumas. Review by: Ricardo J. Elia,Archaeology. Vol. 46, No. 1 (JANUARY/FEBRUARY 1993), pp. 64, 66-69 http://www.jstor.org/stable/41766251 Renfrew, C. “Keros: Rethinking the Cycladic Early Bronze Age,” Penn Museum lecture: https://www.youtube.com/watch?v=epwk71maFRc 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 from the ground without this kind of proper excavation. Looting destroys the context of artifacts, and while they may look beautiful in a display case, we lose any information about their significance or function in the culture that made them. This is a loss of our common human history, and it affects us all. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/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 Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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 second part of the book, Making and Materiality highlights the production and physicality of the art that Degas produced as objects. Exploring the relationship of Degas’s painting to photography, the internal structures of his sculptures, and aspects of his printmaking and illustration, the essays by Marni Reva Kessler, Patricia Failing, Jonas Beyer, and Brown herself, are analyses grounded in the very practical and technical aspects of what and how the artist made. In the third section of the book, Writing Degas, authors Ruth Iskin, Heather Dawkins, and Anna Gruetz Robbins all pursue the testimonies and criticism of Degas’s friends, colleagues, and art historians, as well as his own reflections on his relationships, and the studio space where he worked. Moving in many different directions, the essays nevertheless cohere as a set with the aim of complicating our understanding of the artist, reconsidering previous assumptions, and opening up new questions about his oeuvre. This was my first interview with an author/editor of a collection and it was a pleasure learning more about how this group of essays came together in such an impressive volume. Roxanne Panchasi is an Associate Professor in the Department of History at Simon Fraser University. Her current research focuses on the representation of nuclear weapons and testing in France and its empire since 1945. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send an email to: [email protected]. *The music that opens and closes the podcast is an instrumental version of “Creatures,” a song written by Vancouver artist/musician Casey Wei (performing as “hazy”). To hear more, please visit https://agonyklub.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In A 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 Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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 from the ground without this kind of proper excavation. Looting destroys the context of artifacts, and while they may look beautiful in a display case, we lose any information about their significance or function in the culture that made them. This is a loss of our common human history, and it affects us all. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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: Journeys through Storyscapes of the American Past (University of North Carolina Press, 2016). Over the course of the hour, I talk with Richard about the changing ways people have come to engage with the past and how this has impacted, and been shaped by, his many museum projects and exhibitions. Richard focuses on the materiality of lived experience. From it he culls knowledge of big ideas (such as freedom, revolution, and oppression) and uses places, objects, and the bodily sensorium to create “storyscapes” in which audiences can recognize themselves. Crucial to this process is the knowledge that audiences and museum-goers bring with them. Richard speaks to how he has, together with these stakeholders, generated a new historical awareness that is more reflective of our ever-changing present. Michael Amico holds a PhD in American Studies from Yale University. His dissertation, The Forgotten Union of the Two Henrys: The True Story of the Peculiar and Rarest Intimacy of the American Civil War, is about the romance between Henry Clay Trumbull and Henry Ward Camp of the Tenth Connecticut Regiment. He is the author, with Michael Bronski and Ann Pellegrini, of “You Can Tell Just by Looking”: And 20 Other Myths about LGBT Life and People (Beacon, 2013), a finalist for the Lambda Literary Award in Nonfiction. He can be reached at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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 enslaved. She also contends that some illustrated books characterize the enslaved as obtaining a degree of control over narrative and lived experiences, even if these figurations entail a sense that the story of slavery is beyond representation itself. Through exploration of famous works and unfamiliar ones she delineates a mode of radical empathy that attempts to destroy divisions between the enslaved individual and the free white subject and between the viewer and the viewed. Author Martha J. Cutter is a Professor in the Department of English and in the Africana Studies Institute at the University of Connecticut. She received her Ph.D. in English from Brown University, and is currently the editor of the journal MELUS: Multi-Ethnic Literature of the U.S. Her previously book-length projects include Unruly Tongue: Language and Identity in American Womens Fiction, 1850-1930 and Lost and Found in Translation: Contemporary Ethnic American Writing and the Politics of Language Diversity. She has published articles in numerous academic journals and remains intrigued by the interrelationships between literary texts and cultural contexts. James P. Stancil II is an educator, multimedia journalist, and writer. He is also the President and CEO of Intellect U Well, Inc. a Houston-area NGO dedicated to increasing the joy of reading and media literacy in young people. He can be reached most easily through his LinkedIn page or at [email protected].   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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 Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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 the 1930s and his association with Soviet consular officials both during and after World War II brought increasing attention from the U.S. government during the postwar “Red Scare” era, with their monitoring of his activities ending only with his return to the Soviet Union in 1957. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art