The Hidden South–Come Home (Beaver’s Pond Press, 2016) is the result of an ongoing project that documents intimate stories of people who are often overlooked in society. Photographer and author Brent Walker traveled around the southern United States meeting and interacting with people of different backgrounds and experiences. Many of his subjects live with addiction and struggle daily with their survival. Started in September 2014, The Hidden South Come Home soon developed a large online presence and subsequent following, and in 2015, the project followers supported the funding the book. After almost a year in production, the book was published in early 2016. Since the release of the book, Brent spends his time speaking, teaching, and working on a second book, which he considers a second phase of the project. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Could the Qur’an–understood, according to Muslims, as the verbatim word of God in Arabic–acquire a nationality? Specifically, could it be American? And written in English? Contemporary visual artist Sandow Birk’s American Qur’an (Liveright, 2015) raises these questions and many more. The groundbreaking and subversive project draws on multiple English translations, which Birk synthesizes to produce his own hand-written American graffiti-style translation. On top of that, every single page of the over-sized coffee table book contains meticulous illustrations of everyday American life, ranging from celebration to tragedy. As a commentary on both the Qur’an as well as American culture, moreover, the provocative visuals offer the reader a way to connect a book from 7th-century Arabia to 21st-century American cities, landscapes, challenges, and humanity. Given the herculean task that Birk accomplishes, it perhaps comes as no surprise that it took him nearly a decade to complete. Beyond the illustrations and translation, American Qur’an also contains essays from Reza Aslan (UC Riverside), Zareena Grewal (Yale), and Iftikhar Dadi (Cornell), which help to contextualize the project. As for Birk himself, he offers no commentary aside from a brief acknowledgements section; this lack of explanation thus challenges the reader to draw conclusions based on the primary source itself. Additionally, because many of the illustrations have no ostensibly straightforward connection to the text, readers have the opportunity to search for meaning in the pictures, which typical translations of the Qur’an cannot present. At the end of the day, American Qur’an is sure to spark conversations and make waves among a wide variety of people, including artists and academics (within Islamic studies and beyond), as well as other curious minds wishing to know more about the Qur’an. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What’s Going On? 1969 -1974 (Lighted Square Media, 2015) is Ken Light‘s ninth book. Ken started his professional life as a photojournalist at his college newspaper in 1969 and has developed a career as a documentary photographer who tells stories about social and political life in the United States. Ken is the Reva and David Logan Professor of Photojournalism at the Graduate School of Journalism at U.C. Berkeley and director for its Center for Photography. He was also the co-founder of Fotovision and the International Fund for Documentary photography. What’s Going On? 1969 -1974 is project born out of Ken’s observations that many of the significant politically based movements of our time have their roots, and are mirrored, in the social and cultural landscape of the early 1970s – from the Occupy movement of 2011 to the riots in Ferguson, Missouri and the many forms that Black Lives Matter has taken since the hashtag was first used in 2013. The book combines Ken’s photographs with personal memoir and a timeline of events from 1969 – 1974. The timeline describes day by day, year by year the significant incidents that occurred in the United States and shaped Ken’s perception and experience of the time period. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Monk’s Haggadah: A Fifteenth-Century Illuminated Codex from the Monastery of Tegernsee (Penn State UP, 2015) is unique. The book, edited by David Stern, Christoph Markschies, and Sarit Shalev-Eyni, combines a gorgeous facsimile of a late 15th-century illuminated haggadah with a Latin prologue written by a Dominican Friar! Mystery abounds as a Jewish Passover text, written in Hebrew by a Jewish scribe, is found to include illustrations of Christian significance. Thanks to a special collaboration of multi-disciplinary experts from three continents and an element of serendipity, the manuscript of a haggadah from the 15th century, now at home in a state library in Munich, was discovered, translated, and its importance as a primary source for Christian Jewish relations during the late medieval and early modern period recognized.The prologue by fifteen-century Dominican Hebraist Erhard von Pappenheim includes the testimony of Jews tortured to testify to blood libel in 1475 in Trent. Recorded by von Pappenheim in a matter-of-fact tone, as though by an ethnographer, the testimony also becomes a primary source for Jewish ritual practice during this period in German lands. It also speaks to Christian understanding of Jewish ritual and tradition.Read the essays in this special volume for the thoughtful questions that the experts raise and address. Turn the pages of the Haggadah to experience its beauty. During the interview we also discussed The Washington Haggadah (Harvard University Press, 2011), edited by David Stern. This elegant reproduction of the most beautiful haggadah in the collection of the Library of Congress in Washington reflects the work of the late 15th century southern German illustrator Joel ben Simeon. The illuminations that adorn the text are an ethnographers dream: they evidence the home ritual practices of the era and place. When the book was displayed by the Metropolitan Museum of Art in NYC, objects from the Museums collection that are reflected on the pages of the haggadah accompanied the display. Essays by David Stern and art historian Katrin Kogman-Apel accompany the text of the Passover haggadah, providing a history of the haggadah for interested readers.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What role do images play in the enlightenment experience? Can Buddha images, calligraphy, mandalas, and portraits function as nodes of access for a practitioner’s experience of enlightenment? Or are these visual representations a distraction from what ultimately matters? Pamela D. Winfield‘s recent award-winning monograph, Icons and Iconoclasm in Japanese Buddhism: Kukai and Dogen on the Art of Enlightenment (Oxford University Press, 2013), explores these major Japanese Buddhist figures artistic and textual productions in order to answer these questions. Bringing together her expertise in the fields of art history and Buddhist studies, Winfield guides the reader to more nuanced understandings of Kukai as a promoter of icons and Dogen’s seemingly iconoclastic stance. In addition, she offers a model for bridging textual studies and studies of material cultures that opens paths for further explorations of the relationship of practice, text, and image. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In “How Come Boys Get to Keep Their Noses?”: Women and Jewish American Identity in Contemporary Graphic Memoirs (Columbia University Press, 2016), Tahneer Oksman explores the graphic memoirs of seven female cartoonists, whose works grapple with issues of Jewish identity – from confronting stereotypes of Jewish women’s bodies and behaviors, to ambivalence over what it means to be a progressive Jew on a Birthright trip to Israel. Through visual and textual analysis, Oksman illustrates how her authors’ connections to Jewishness remain complicated, fluid, and intimately tied to perceptions of self and how others view them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach 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 Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at [email protected], Ellis Jones 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

Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (Duke University Press, 2015) is a gorgeous book. It’s about light and the practices of self representation in diasporic and Caribbean communities. Krista A. Thompson looks carefully and sees in the glittery surfaces of contemporary art, photographic and video practices in proms and dancehalls, and the visual culture of hip-hop the generative power of alternative modalities of being. Taking us to New Orleans, Jamaica, the Bahamas and on the global hip-hop circuit, this book engages with the discourses of art history and dissolves its Eurocentric bearings.   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 excellent new book The Transnational Mosque: Architecture and Historical Memory in the Contemporary Middle East (UNC Press, 2015), Kishwar Rizvi, Associate Professor of the History of Art at Yale University, interrogates the interaction of history, memory, and architecture by exploring arguably the most important sacred space in Islam: the mosque. By combining the study of religion, history, and architecture in the most compelling of ways, Rizvi highlights the material and political significance of the mosque as a transnational symbol. While focused on the contexts of Iran, Turkey, Saudi Arabia, and the UAE, the theoretical insights of this richly textured book extend much beyond the contemporary Middle East. In our conversation, we talked about the concept of the transnational mosque, the historicist desires and assumptions that often undergird projects of mosque construction in Muslim societies, the transnational mosque, religious identity and international politics, and ways in which mobile networks of architects and corporations reorient our understanding of what we mean by the Middle East. This stunningly well-written book is also aesthetically pleasing, populated with wonderful visuals and images. It will also make an excellent reading for both undergraduate and graduate courses on sacred space, the modern Middle East, Islam and architecture, and religion, mobility, and globalization. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What is cultural taste? How is it formed, imagined and patterned? In Understanding Cultural Taste: Sensation, Skill and Sensibility (Palgrave MacMillan, 2015), David Wright, Associate Professor at the University of Warwick, explores the theories and practices framing cultural taste in contemporary society in order to account for the social role of cultural taste. The book explains how taste is made knowable, through quantification and measurement, moves through an explanation of differing cultural taste patterns, including the all important figure of the omnivore, and narrates the impact of technology on cultural taste. The book accounts for the governing and globalisation of cultural taste, thinking through the rise of cosmopolitan tastes, as well as engaging with ideas about taste and expertise. The book uses a range of examples, including detailed discussions of contemporary art works such as Greyson Perry’s The lovely consensus. Although grounded in sociology, the book speaks to debates, and thus to readers, from across arts and cultural subjects. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I’m talking with Lynn Gamwell about Mathematics and Art: A Cultural History (Princeton University Press, 2015). This book is a breathtaking combination of scholarship and beauty, tracing the interplay of mathematics and art throughout mankind’s history, East and West. Gamwell is a lecturer in the history of mathematics and science at the School of Visual Arts in New York, and thus she is uniquely positioned to write a book that brings together the two disparate cultures described by C.P. Snow in his 1959 essay. Snow would have appreciated how the author communicates the depth, passion, and beauty that characterize each culture, while describing how each inspires the other. The in-depth discussion is brought to life by 440 stunning artworks and 102 crystal-clear math diagrams. This is a big, beautifully produced book that you will want to place on your coffee table. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Roberta Wue‘s new book brings readers into the world of late Qing Shanghai, a center of art, culture, and entertainment. As artists fled to the city after the Taiping Rebellion, they helped create new ways of being an artist that emerged from new kinds of relationships between them, their audiences, and their work. Art Worlds: Artists, Images, and Audiences in Late 19th-Century Shanghai (University of Hawaii Press, 2014) focuses on Ren Bonian (1840-1895), a celebrated painter of the Shanghai School, and his circles and audiences. The chapters each use a particular medium or format to explore the changing landscape of the arts in Shanghai, from painted fans and fan shops, to advertisements and mass media (including an interesting account of art world activism around famine relief), to illustrated books and periodicals (including inserts accompanying the Dianshizhai huabao), to portraits of members of the art world (including a truly amazing image of a man about to butcher a dog). It is a fascinating and beautiful book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What are the alternatives to the current neo-liberal cultural settlement prevailing in much of the global north? In To Defend the Revolution is to Defend Culture: The Cultural Policy of The Cuban Revolution (PM Press, 2015), Rebecca Gordon-Nesbitt, from The Centre for Cultural Change, argues that this question can be addressed by learning from the cultural policy of the Cuban revolution. The book draws on a wealth of archival material, coupled with the theoretical framework of Marxist Humanism, to give a detailed picture of the revolutionary period on the island and chart the lessons from that era. The book introduces the key policy documents and events, along with examples from a variety of cultural forms, including a detailed engagement with the role of film and cinema in the revolutionary era. The book will be essential reading for cultural studies and cultural policy scholars, alongside anyone seeking an alternative vision of culture’s social role. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Megan Prelinger‘s beautiful new book brings together the histories of technology and visuality to ask the question, “What cultural history of electronics can be extrapolated from a close look at the associated graphic art?” Inside the Machine: Art and Invention in the Electronic Age (W. W. Norton, 2015) treats the commercial and advertising art of the mid-twentieth century as an archive to explore the social and cultural engagement with electronics technologies during a particularly vibrant moment for the American graphic commercial arts. Incorporating text and image as sources to be read, Prelinger’s book moves from the beginnings of FM technology and vacuum tubes, to televisions and quartz crystals, to transistors and circuit boards, to digital computing and into space. Of special interest is the attention Prelinger pays to to the importance of graphic designers and staff artists at major labs and research centers. The book models an innovative and inspiring way to read graphic images as historical documents, and the story is a pleasure to read for specialists and non-experts alike. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ink landscape painting was distinctive to the Song dynasty, and the Northern Song period was a special time for the medium. By the tenth century, this kind of painting emerged as a “scholars’ category” whose “values were especially worthy of support” in critical scholarly discourse, according to Ping Foong‘s fascinating new book. Bringing together paintings, poems, colophons, texts about painting, and other sources, Efficacious Landscape: On the Authorities of Painting at the Northern Song Court (Harvard University Asia Center, 2015) looks carefully at the imperial establishment’s efforts “to cultivate the genre of ink landscape painting and its iconography as a dynastic project.” In a story that focuses on Shenzong’s favorite painter: Guo Xi (after 1000-ca. 1090), Part I of The Efficacious Landscape brings readers into the spaces of the Song imperial city and their political connotations, from a careful exploration of the political import of the paintings decorating the walls of the Hanlin Institute, to a reading of unusually-juxtaposed works by Guo Xi and Li Gonglin as political commentaries on contemporary ritual and reform, to an argument about the court’s imbrication in creating a particular lineage of ink landscape painters. Part II looks at the significance and outcome of a century of the court investing in ink landscape as a cultural medium as it gained new social status and dimensions, due in part to the appearance of intimate landscape painting scenes inspired by the work of Guo Xi. This part of the book features a wonderful and surprising reading of the Metropolitan Museum of Art handscroll by Guo Xi, Old Trees, Level Distance that places a careful analysis of the scroll into conversation with the poetry of Su Shi and his colleagues. This part of the book also shows how intimate landscape paintings became socially acceptable outlets of expression, as they were used as private communications between scholars and forms of social currency exchanged on particular social occasions. The book concludes by reconsidering Guo Xi’s legacy under Huizong. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How has American cultural and artistic policy changed over the last 25 years? Performing Policy: How Contemporary Politics and Cultural Programmes Redefined US Artists for the Twenty-First Century (Palgrave, 2014) explains the process of policy-making, funding models, NGOs and specific places that have shaped the current cultural settlement in the USA. Paul Bonin-Rodriguez’s book uses examples of policy reports, theatre and cross-arts organisations, as well as drawing on debates about creative platemaking. The multi-disciplinary approach allows Performing Policy to speak directly to the history of arts funding, in the context of the U.S.’s culture wars, as well as to the contemporary question of the role and purpose of the artist in society, along with how those artists might be educated. The book will be important reading for cultural policy and arts management students, as well as those in cultural studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

As demographic trends continue to mark the so-called “Latinization” of the U.S., pundits across various media outlets struggle to understand the economic, cultural, and political implications of this reality. In popular discourse, Latinoas/os are often referred to as a monolithic group in terms of cultural practices, voting patterns, and consumer preferences. Of course, Latinas/os are one of the most diverse ethnic groups in the U.S., comprising more than 14 nationalities (including indigenous groups) with variances in language, cultural practices, and political attitudes that mirror their geographic distribution. In Thirteen Ways of Looking At Latino Art (Duke University Press, 2014) the accomplished essayist and cultural commentator Ilan Stavans enters into conversation with the distinguished philosopher Jorge J.E. Gracia around 13 pieces of Latina/o art in order to excavate the underpinnings of Latina/o identity and culture. Each work of art provides the impetus for lively exchanges between Stavans and Garcia over the purpose and politics of historical representation, artistic expression, ethno-racial identification, ethics, and religion. Written in an engaging dialogic form, the reader is permitted to listen in as Stavans and Gracia reflect (and at time disagree) over the meanings and significance of each art piece to the broader Latina/o experience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

While many are familiar with the call for ‘One Love’ from the music of Bob Marley they more than likely know little about the tradition that this message is rooted in. In Rastafari and the Arts: An Introduction (Routledge, 2015), Darren Middleton, Professor of Religion at Texas Christian University, introduces his readers to Rastafari through the creative expressions of its members in literature, art, film, and music. He traces the development of the tradition in Jamaica and abroad, including Ghana, Britain, and Japan, as well as highlighting key narrative, doctrinal, social, and ethical teachings. In our conversation we discussed Haile Selassie, Rastafari and Gender, the literary tradition of insiders and outsiders, the notion of Babylon, the great masters of dub poetry, including Mutabaruka and Benjamin Zephaniah, documentary film, the role of reggae and Rastafari in Japanese culture, ethnographic work in Ghana, British Rastas, Bob Marley, and the commodification of Rastafari. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Jonathan M. Reynolds‘s new book looks carefully at how photographers, architects, and others wrestled with a postwar identity crisis as they explored and struggled with new meanings of tradition, home, and culture in modern Japan. Building on the work of Walter Benjamin, Allegories of Time and Space: Japanese Identity in Photography and Architecture (University of Hawaii Press, 2015) takes readers into a range of media in which writers and artists engaged with these questions. From photographs of rural inhabitants of the Snow Country of northern Japan to photobooks on Japanese architecture to special structures built to serve young female nomads in Tokyo, the objects of Reynolds’s study all served their makers as spaces for working through problems of identity, Japaneseness, and their transformations. It’s a fascinating study that beautifully integrates images as an integral part of the text, and it is well worth reading. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Nick Sousanis‘s new book is a must-read for anyone interested in thinking or teaching about the relationships between text, image, visuality, and knowledge. Unflattening (Harvard University Press, 2015) uses the medium of comics to explore “flatness of sight” and help readers think and work beyond it by opening up new perceptive possibilities. It proposes that we think about unflattening as a “simultaneous engagement of multiple vantage points from which to engender new ways of seeing,” and beautifully embodies what it can look like to make that happen. Readers will find thoughtful reflections on the possibilities and constraints afforded by working and thinking with different kinds of verbal and visual language, including a consideration of comics as “an amphibious language of juxtapositions and fragments,” and some wonderful work on storytelling and imagination. The book includes a wonderful “Notes” section that offers some background on the inspiration behind many of the images (including Flatland, Calvino’s Six Memos for the New Millennium, Deleuze & Guattari, and many others) a bibliography for further reading, and a series of maps of the structure of the book when it was a work-in-progress. It’s a fabulous book that is a pleasure to read and deserves a wide readership. For more on Nick’s work on Unflattening and beyond, check out his website: http://spinweaveandcut.com/. For listeners and readers interested in teaching with the book, check out this site: http://scholarlyvoices.org/unflattening/index.html Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

As Meryle Secrest notes in the introduction to her new book, Elsa Schiaparelli: A Biography (Knopf, 2014),”The most extraordinary fashion designer of the twentieth century is now just a name on a perfume bottle.” Were it not a book about Schiaparelli, it’s a sentence many people might assume was being applied to Coco Chanel, for Chanel looms large as the fashion designer of the last century. But Schiaparelli was, as Secrest reveals, more than a fashion designer: she was an artist. And, through her collaborations with SalvadoreDali, Jean Cocteau, Man Ray and others, she was in the vanguard of surrealism and transformed women’s fashions into an art form. Who was Schiap? It’s hard to know. But then we can never know everything about another person, which iswhat makes reading biography so beguiling: the illusion that we could. It’s a circumstance Secret openly acknowledges. “A great many aspects of Elsa Schiaparelli’s life will probably never be known,” Secrestwrites. “She was not much of a letter writer… If she had a diary, it has not survived. Her memoir is an example of an evasiveness that was almost automatic.” And yet, there are things we can know: Schiaparelli’s “gambler’s instinct” and “conjurer’s sleight of hand”; that she was famously difficult, a perfectionist, voracious reader, and excellent skier; that smoking was her one indulgence. She was, also, an extraordinarily gifted artist who worked very, very hard. In 1922, she had “no money, no career, no future, and a very sick daughter.” Five years later, Vogue was callingher V-neck sweater with 3/4-sleeves and a trump l’oeil bow “an artistic masterpiece.” Secrest’s biography is, ultimately, a compelling story of a complicated, determinedworking woman, and we need all the stories like that we can get. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Greg Barnhisel‘s new book, Cold War Modernists: Art, Literature, and American Cultural Diplomacy (Columbia UP, 2015) examines how modernism was defanged, re-packaged, and resold during the Cold War. Barnhisel, an Associate Professor at Duquesne University, reveals that–from its incendiary beginnings–modernism was made safe for the bourgeois West thanks to the intervention of unlikely contributors like the CIA, the Department of State, and even major corporations. Barnhisel’s extensive archival research unearths the thinking that went into the repurposing of modernism to support American cold-war ideology. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

That games, particularly video games, could be viewed as art should come as no surprise. And yet, a debate exists over what is and should be considered art with respect to games. In his new book, Works of Game: On the Aesthetics of Games and Art (MIT Press, 2015), John Sharp offers context for the discussion of games and art. To do so, Sharp presents case studies of “Game Art,” “Art Games,” and “Artists’ Games” in an explication of three communities of practice that provide the foundation for the discussion of games and art. Game Art examines the use of games as tools for the creation of art. Sharp, then, examines the Art Game movement that pushes video games into the domain of other humanistic art forms. Finally, Artists’ Games examines the use of video games as an artistic medium that combines the aesthetics of artists and game developers. Sharp also discusses the potential for the the merging of the values of traditional artists and gaming communities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Reading Winnie Wong's new book on image production in Dafen village will likely change the way you think about copying, China, and the relationship between them. Based on fieldwork that included artist interviews, studio visits, and participant observation alongside local officials, bosses, interpreters, foreign artists, buyers, and traders, Van Gogh on Demand: China and the Readymade (University of Chicago Press, 2014) takes readers into the production of images in a village in Shenzhen. After establishing what we're talking about when we talk about "copying" and "copies" in this context, Wong guides us through a series of media and spaces that collectively upend several assumptions that are often brought to understanding Dafen and its painters specifically, and copying and creativity in China more broadly. Indeed, understanding what Dafen painters are not is a crucial first step toward understanding what is happening in their work and home lives. Dafen painters, we learn, are not "especially unfree victims" of global capitalism or of totalitarian communism in a way that prevents them from making original and creative art. (In fact, Wong challenges us to think again about what and where "creativity" is, and how and by whom it is produced as a value.) Dafen painters do not work on a typical mass assembly-line. And their paintings are not simply "forgeries" of Western masterpieces. After coming to understand this, we learn about the painters and their work by visiting their workshops, reading about their life trajectories and the different sorts of training they receive, exploring propagandistic TV dramas and documentaries about them, and peering into some of the ways that artists working outside of Dafen (in Beijing, in Germany, in Amsterdam, and beyond) have understood and engaged with Dafen painting practices. It is an arresting and masterfully argued study and should be required reading for anyone interested in labor, art, and/or the history of authenticity and copying in modern China. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Caricaturing Culture in India: Cartoons and History in the Modern World (Cambridge University Press, 2014) is a wonderful piece of visual anthropology by Ritu Gairola Khanduri, which uses the history of cartoons, from colonial to current times, to talk about various aspects of Indian society from the state, to political society to modernity. Through archival material and fascinating discussions with cartoonists, the book reveals the various ways in which cartoons talk in India, past and present.   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 Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome (Penn State University Press, 2014), Melissa Dabakis takes readers on an unexpected journey from Boston to Rome to discover multiple American women sculptors working in studios, winning public commissions, and earning artistic renown in the mid-19th Century. The book navigates through the worlds of sculpture, feminism, American and Italian politics, slavery and abolition, expatriate circles, Roman culture, and Italian independence struggles. Dabakis illuminates the critical period from 1850 to 1876 when American women sculptors not only forged professional artistic careers but also participated in and impacted feminist and abolitionist movements. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Kristina Kleutghen‘s beautiful new book offers a fascinating window into the culture of illusion in China in the eighteenth century and beyond. Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces (University of Washington Press, 2015) guides readers into the scenic illusions of the Qing dynasty, focusing on pictorial illusions and the technologies that helped create and contextualize them in high Qing palaces, and especially under the reign of the Qianlong emperor (r. 1736-95). Imperial Illusions describes and explains a range of visual images and objects that were meant to trick the eye and delight the viewer, from illusionistic murals in tombs and temples, to massive wall- and ceiling-mounted paintings, diagrammed treatises on optics and vision, copperplate engravings, and more. Not only do these illusions help us understand Qianlong – especially when read alongside his poems – but they also inform a broader history of Sino-European artistic and technological exchange and help broaden the very notion of “Chinese painting.” This trans-disciplinary book is relevant not just to the history of art and of the high Qing, but also to the history of science and technology! Check out the website for Imperial Illusions for some wonderful multi-media accompaniments to the book! http://arthistorypi.org/books/imperial-illusions Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Ann C. Pizzorusso‘s new book is a wonderfully creative and gorgeously illustrated meeting of geology, art history, and Renaissance studies. Arguing that understanding Italy’s geological history can significantly inform how we see its art, literature, medicine, architecture, and more, Tweeting Da Vinci (Da Vinci Press, 2014) takes a deeply interdisciplinary approach to engaging the cultural history of Italy from the Etruscans to Da Vinci and beyond. The chapters explore the significance of volcanic activity, cave geology, lightning, gemstones, the healing powers of amber, underwater cities, and much more as they inform how we understand the histories of painting, religious practice, entombment, and the work of authors including Virgil, Dante, and Leonardo Da Vinci, among others. A pair of chapters focuses particularly closely on demonstrating how analyzing Da Vinci’s art from the perspective of geology and botany has helped to identify and authenticate his work and that of his students. Enjoy! Here’s the website for an upcoming conference on medical geology, a topic that Ann discusses during the interview: http://medgeo15.web.ua.pt/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Arts and culture are under threat in the age of austerity. This threat is underpinned by the misuse of the idea of participation in contemporary performance. This is one of the central arguments of Fair Play: Art, Performance and Neoliberalism (Palgrave, 2013) by Professor Jen Harvie. The book considers how arts and culture are changing in the era of neoliberalism, seeking to pinpoint the way that ideologies of individualisation, participation and creativity have, at best, ambivalent effects. The book sets out its argument by exploring the rise of working practices such as delegating and prosumption. The rise of the precarious labourer is linked with the rise of audience and spectator participation. Whilst this can have positive impacts, it is also part of shifting the basis for aesthetic work to the participant. A similar process occurs with the demand that the cultural practitioner become entrepreneurial- whilst this might make the practitioner more attentive to her audience it may also create an individualised, market driven cultural practice. These issues play out in place and space too, as the narrative of the creative city is contrasted with the forms of exclusion associated with contemporary issues of housing in the city. The book concludes by asking a fundamental question, as to how best to fund the arts, discussing the rise and risks of philanthropy and market modes of support. The book uses a host of examples, from contemporary art, theatre pop ups and cultural institutions. It will be vital reading for anyone interested in the state of culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Steven Shaviro‘s new book is a wonderfully engaging study of speculative realism, new materialism, and the ways in which those fields can speak to and be informed by the philosophy of Alfred North Whitehead. While The Universe of Things: On Speculative Realism (University of Minnesota Press, 2014) will satisfy even advanced scholars working on “object-oriented ontology” and related issues, it’s also a fantastic introduction for readers who have never heard of “correlationism” or panpsychism, don’t quite understand what all of the recent humanities-wide Whitehead-related fuss is all about, and aren’t sure where to begin. After a helpful introduction that lays out the major terms and stakes of the study, seven chapters each function as stand-alone units (and thus are very assignable in upper-level undergrad or graduate courses) while also progressively building on one another to collectively advance an argument for what Shaviro calls a “speculative aesthetics.”The Universe of Things emphasizes the importance of aesthetics and aesthetic theory to reading and engaging the work of Whitehead, Harman, Meillassoux, Kant, Levinas, Bryant, and others as an ongoing conversation about how we understand, inhabit, and exist as part of a material world. It’s a fabulous (and fabulously clearly written!) work that I will be recommending widely to colleagues and students. During the course of the interview we talked a bit about the opportunities that electronic and web-based media have brought to life and work in academia. On that note, you can find Steve’s blog here: http://www.shaviro.com/Blog/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

I love picking up a historical monograph in which the footnotes count for a quarter or more of the total pages. Most students don’t share this strange love of mine. I’m therefore always trying to figure out ways to bring in other sorts of works that will engage students without giving up anything in terms of historical richness or depth of thought. To this end, I often assign “graphic histories” in my classes (aka comics). One that I recently used in class, and was deeply impressed with, was Gene Luen Yang‘s Boxers & Saints (First Second, 2013). This informative, thought-provoking, and deeply moving graphic history is set during the “Boxer Rebellion” (1898-1900), a massive anti-foreign and anti-Christian movement that rocked northern China. Each of the two volumes of this work focus on a different character, one an anti-Christian and anti-foreign Boxer leader, and the other a Chinese convert to Catholicism. Skillfully weaving these stories together, Gene Luen Yang provides a fascinating meditation on war, the meaning of heroism and sainthood, Chinese identity, and faith, all historically grounded in a careful reading of secondary sources by such great Chinese historians as Joseph Esherick and Paul Cohen. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Daniel Margocsy‘s beautiful new book opens with a trip to Amsterdam by Baron Zacharias Conrad von Uffenbach, and closes with a shopping spree by Peter the Great. These two trips bookend a series of fascinating forays into the changing world of entrepreneurial science in the early modern Netherlands. Commercial Visions: Science, Trade, and Visual Culture in the Dutch Golden Age (University of Chicago Press, 2014) considers scientific knowledge as a commodity, looking carefully at how the growth of global trade in the Dutch Golden Age shaped anatomy and natural history as commercial practices. Margocsy argues that commercialization stimulated “a debate over the epistemological status of visual facts in natural history & anatomy,” transforming the concept of visual representation in the process. While learning about these debates and transformations, readers are guided on a tour through a world of seashells, forgeries, and wax-filled cadavers, evidence of a commercially-driven proliferation of ways to represent living and dead bodies and a series of heated debates about them. Commercial Visions convincingly demonstrates that paying attention to the commercial aspects of early modern science can inform how we think about early modern circulation, the history of “objectivity,” and the concept of the public sphere. Don’t miss the beautiful color plates nestled in the midst of the book! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Carolyn L. Kane’s new book traces the modern history of digital color, focusing on the role of electronic color in computer art and media aesthetics since 1960. Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code (University of Chicago Press, 2014) places color at the center of media studies, exploring some amazing works of art and technology to understand the changing history of the relationship between color as embodied in machine code and screen interface. Using a methodology called “media archaeology” that is informed by the work of Foucault, Nietzsche, Kittler, Heidegger, Stiegler, and others, Chromatic Algorithms traces a transformation of color from optics to algorithms.  The chapters trace a history of synthetic color in Western aesthetics and philosophy, the rise of Day-Glo, the aesthetics of color in video art from the 1960s and 1970s, the technology of color TVs, the connection between color and notions of transcendence and utopia, “democratic color” and Salvador Dalí’s urinated-upon pen, the early history of art/engineering at Bell Labs, the technology of digital infrared visualization, the aesthetics of “Photoshop cinema,” bioart and its glow-in-the-dark bunnies, and the work of some amazing artists including Lillian Schwartz, Jeremy Blake, and many many others. It is a gorgeous and fascinating study of color, technology, visualization, the digital, and beyond. As you work through the book, I highly recommend searching the Web for some of the amazing work described in its chapters. I’m based in Canada and so some of the following links may not work for you: in that case, just try searching on your own for the title: The rock opera Battle for Milkquarious! https://www.youtube.com/watch?v=_zDMhwq3pcA Jeremy Blake, Winchester Redux http://vimeo.com/16485005 Zbigniew RybczyÅ„ski, Tango http://vimeo.com/9033947 Paper Rad: http://www.paperrad.org/ This site has some clips from Lillian Schwartz’z Proxima Centauri: http://lillian.com/kinetic/ You can browse video clips from WGBH’s New Television Workshop here: http://main.wgbh.org/wgbh/NTW/ Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Joan Kee‘s new book is a gorgeous and thoughtful introduction to the history of contemporary art in Korea. Contemporary Korean Art: Tansaekhwa and the Urgency of Method (University of Minnesota Press, 2013) traces the creation, promotion, reception, and rhetoric of the work produced by a constellation of artists creating large, mostly abstract paintings in neutral colors from the mid-1960s to the mid-1970s. Kee opens up these works for readers by offering close readings of many important paintings and objects. In doing so, she teaches us how to see these works as methods, showing us how to visualize labor and process in an aesthetic product and pointing out ways that tansaekhwa artists were visualizing conceptions of time, space, materiality, and the agency of the viewer. Contemporary Korean Art also considers tansaekhwa in relation to the global circulation and translation of information about the art world beyond Korea, and explores how the postwar Korean art world dealt with the legacies of empire, nationalism, and colonization. It’s a beautiful and fascinating book. You can find a recent exhibition on tansaekhwa here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Seeking to fill the gap in scholarship focused on African American artisans in the American South, Catherine W. Bishir uses the very specific location of New Bern, North Carolina to “dig a deep hole” and produce a longitudinal study of black artisans that moves chronologically from the colonial period, through the early national period to the period following the Civil War. Crafting Lives: African American Artisans in New Bern, North Carolina, 1770-1900 (University of North Carolina Press, 2013) looks at how artisans, enslaved and free, negotiated a complex social landscape that relied on their skills but circumscribed their lives. Specifically, Bishir examines the broader American artisan-citizen identity, the hallmarks of which are independence, mastery and self-determination and how the racial mores of the South made the enactment of this identity a problematic proposition for black artisans in New Bern despite its relatively lenient racial laws. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Lara Netting’s new book explores the life, career, and work of one man as a window into the history and associated practices of “Chinese art” during a period of massive transformation in the China of the late nineteenth and early twentieth centuries. While reading A Perpetual Fire: John C. Ferguson and His Quest for Chinese Art and Culture (Hong Kong University Press, 2013), we journey along with John C. Ferguson as he navigates through a complex and fascinating world of government officials, art dealers, scholars, and museums in China and the US. Ferguson gradually became embedded in a social web whose connections made it possible for him to transform from a minister’s son in rural Ontario to a world-class collector, dealer, and scholar of Chinese art while the very notion of “Chinese art” was still emerging and being debated. Netting’s book charts the early development of Ferguson’s relationships with key figures in the political and social landscape of Qing and Republican China, tracing the ways that these relationships gave him an access to and a perspective on antiquities that would shape his later scholarship and career. For that reason, it offers a wonderful perspective on the history of modern China, and specifically on the role of foreign residents of China in that history. A Perpetual Fire also pays special attention to the making of some important museum collections in Chinese art and antiquities – including the collections of the Metropolitan Museum of Art and of Ferguson himself – and so it is of special import to readers interested in museum studies, in material culture, and in knowing the complex and fascinating history of how the objects hanging on museum walls and illuminated in display cases got there in the first place. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Craig Clunas‘s new book explores the significance of members of the imperial clan, or “kings” in Ming China. A king was established in a “state” (guo), and mapping the Ming in terms of guo‘s is a way of mapping Ming space in units that had centers, but not boundaries. (In having many guo‘s, the Ming thus had many centers.) A wonderfully and productively revisionist account of Ming history and its artifacts, Screen of Kings: Royal Art and Power in Ming China (University of Hawaii Press and Reaktion Books, 2013) explores this poly-centric kingly landscape as evidenced by documentary and archaeological traces of material production, while paying special attention to the history of practices that did not leave abundant traces. In doing so, Clunas shifts our attention in several ways. In addition to reorienting our focus to kingly figures in the Ming (an often-overlooked but deeply significant historical group), Screen of Kings also moves us away from the oft-trod historiographical territory of the Jiangnan region and toward regions that boasted a significant kingly presence but don’t usually earn a significant place in our histories of Ming China. The kingly cityscapes in Clunas’s beautifully-written book are full of buildings, gardens, tombs, calligraphic texts, paintings, jewelry, poems, bronzes, and musical instruments. The book situates these objects in an innovative way, emphasizing the importance of Ming kingly courts as sites of cultural innovation, production, and reproduction, and of kings as producers, collectors, and patrons of the arts. This is a must-read for anyone interested in Ming history, the history of the arts in China, histories of locality, or the history of relationships between art and power more broadly conceived. It is also an absolute pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Omar W. Nasim‘s new book, a series of fascinating characters sketch, paint, and etch their way toward a mapping of the cosmos and the human mind. Observing by Hand: Sketching the Nebulae in the Nineteenth Century (University of Chicago Press, 2013) examines the history of observation of celestial nebulae in the nineteenth century, exploring the relationships among the acts of seeing, drawing, and knowing in producing visual knowledge about the heavens and its bodies. Observing by Hand treats not just published images, but also argues for the centrality of “working images” to the histories of science and observation, paying special attention to personal drawings in private notebooks as instruments of individual and collective observation. Nasim’s approach blends the history and philosophy of science in a study that informs the histories of astronomy, images, and paperwork, and that emphasizes the importance of the philosophy of mind and its history in shaping this heavenly narrative. His transdisciplinary approach spans several media that include maps and portraits, oil paintings and etchings, private drawings and collectively-produced published images. The book helped me see Van Gogh’s The Starry Night, and the starry night above, with new eyes and a new appreciation for the vision and visioning of nineteenth century astronomical observers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The pages of Matthew C. Hunter‘s wonderful new book are full of paper fish, comets, sleepy-eyed gazes, drunk ants, and a cast full of fascinating (and sometimes hilarious) members of the experimental community of Restoration London. Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013) maps the visual traces of drawing, collecting, and building practices between 1650 and 1720 to narrate the emergence of a particular kind of intelligence that was formed by visualization techniques. Hunter’s book pays close attention to the work of Robert Hooke while situating Hooke within a community of painters, architects, writers, customs brokers, telescope makers, and other fashioners of early modern experiments of all sorts. A significant contribution to both the histories of science and of art, Wicked Intelligence pays equal attention to the flat spaces of the imaged page and the built spaces of the museum, the city, and the “laboratory of the mind.” It is a beautifully written book based on a gorgeously weird archive. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Beautiful Geometry (Princeton UP, 2014), by the mathematician prof. Eli Maor and the noted artist Eugen Jost.  It’s a fascinating collaboration which helps to bridge the gap deplored by C. P. Snow in his classic The Two Cultures.  If you’re a lover of geometry, you’ll find some of your favorites depicted here – as well as a number of theorems that will undoubtedly be new to many readers (including the interviewer).  Each result is accompanied by an original work of art by Eugen Jost.  It’s fascinating not only to read about some of the more piquant results in a field (geometry) that is more than 2,500 years old, but just as delightful to see how these results inspire the creativity of an artist.  If you come for the geometry, you’ll certainly stay for the artwork – and if your interest is in art, you’ll be intrigued by how a presumably dry subject such as geometrical theorems can give birth to works of exquisite beauty. 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 field of children’s programming, few people- with the possible exception of Fred Rogers- are as beloved as Jim Henson, a contributor to Sesame Street and Saturday Night Live, but most famous for his creation of the Muppets. And yet, he’s remained an enigmatic figure in the years since his death. People remember the Muppets and they remember Jim, but they don’t know much about him. Jim Henson: The Biography (Ballantine Books, 2013), by Brian Jay Jones is thus an effort to correct that and to pin down the puppeteer: as a man, a husband, a father, and an innovator. For, with the passage of time, we’ve come to take the Muppets and their maker rather for granted. They’ve been around for over fifty years so it’s easy to forget they had to be invented. It’s equally easy to forget how ground-breaking an invention- along with Henson’s other innovations- they were. As Jerry Juhl, the first official employee of Muppet’s Inc., reminds us in Jim Henson: “This guy was like a sailor who had studied the compass and found that there was a fifth direction in which one could sail.” And how doggedly he sailed. Henson worked relentlessly, not simply at a job but at his passions. As Jones notes, one of his top business objectives as to “work for the common good of all mankind.” And that is, in the end, perhaps one of the most striking things to emerge from Jim Henson: the fact that Henson was who he appeared to be. A complicated man, yes, with complications in his private life, but also a gentle soul who truly wanted to make the world a better place. And, also, a man who is, to this day, deeply beloved by all who knew and worked with him. Henson once wrote: “My hope still is to leave this world a little bit better for my being here.” As Jones’s biography proves, he did. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The "primitivist idea" has played an important role in art and culture from at least the late nineteenth century. From Paul Gauguin to Pablo Picasso, to the more recent Musée du Quai Branly (opened in 2006), a variety of individuals and institutions have engaged with so-called "primitive" peoples; collected their artifacts; displayed, represented, and mimicked their cultural forms and practices. Daniel Sherman's French Primitivism and the Ends of Empire, 1945-1975 (University of Chicago Press, 2011) examines the postwar history of primitivism as one inflected throughout by the colonial past and present. Offering readers a perspective on the trente glorieuses ("thirty glorious years") following the Second World War, Sherman challenges oversimplified narratives of economic recovery and prosperity, reminding us that the period was one of deep cultural and political cleavages that cannot be understood without reference to the history and legacies of French imperialism. The book looks at the visual arts, of course, but also makes fascinating links between this domain and others: ethnography, ideas about home décor, tourism, and nuclear testing. Tensions between notions of modernity and tradition run throughout the chapters of French Primitivism. Postwar anthropologists, artists, museum curators, and planners considered the primitive in the metropolitan context, developing internal as well as external forms of preservationism and systems of knowledge/representation that drew on long-standing ideas and practices directed at colonial subjects and cultures. From rural Brittany to Paris, to French Polynesia, French Primitivism and the Ends of Empire illustrates an interdependence of culture and imperialism that continues to resonate in contemporary France. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art