Poetic Biopolitics by Peg Rawes; Tim Mathews; Stephen Loo Located in Architecture & Art

Tactical Biopolitics by Beatriz da Costa (Editor, Introduction by); Kavita Philip (Editor, Introduction by); Joseph Dumit (Foreword by) Located in the Social Sciences, Health, and Education Library

Chinese Surplus by Ari Larissa Heinrich Located in the History, Philosophy & Newspaper Library

On the Style Site by Ina Blom Located in Main Stacks

Practices of Looking by Marita Sturken; Lisa Cartwright Located in Architecture & Art

Exploring Visual Culture by Matthew Rampley (Editor) Located in Architecture & Art

Art and Visual Culture, 1100-1600 by Kim W. Woods (Editor) Located in Architecture & Art

Colour, Art and Empire by Natasha Eaton Located in Architecture & Art

Visual Culture in the Modern Middle East by Christiane J. Gruber (Editor); Sune Haugbolle (Editor) Located in Architecture & Art

The Image Society by Frits Gierstberg (Editor); Warna Oosterbaan (Editor); Jose Van Dijck (Contribution by); MariÎtte Haveman (Editor); Kitty Zijlmans (Text by); Pauline Terreehorst (Text by); Jose van Dijck (Text by); Frank van Vree (Text by) Located in Architecture & Art

Picturing Russia by Valerie A. Kivelson (Editor); Joan Neuberger (Editor) Located in Architecture & Art

On the Greek Origins of Biopolitics by Mika Ojakangas Located in Main Stacks

Eurocentrism : Modernity, Religion, and Democracy : A Critique of Eurocentrism and Culturalism by Samir Amin A discussion of how a worldview dominated by a focus on European culture and history impacts attitudes, interpretations, and politics. Includes bibliographical references and an index.

Race-Ing Art History by Kymberly N. Pinder (Editor) First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Maroon Arts by Richard X. Price; Sally Price "Lavishly illustrated with more than 300 images, this groundbreaking study presents the arts of the Maroons - descendants of rebel slaves from diverse African origins who wrested their freedom from Dutch plantation owners in South America in the eighteenth century and established independent societies in the tropical rain forest." "The Prices build on their more than thirty years of involvement with the Maroons, which has produced over a dozen books on Maroon history and culture. Here, they recount the art history of these unique societies, showcase the work of individual artists, and explore the place of the arts in daily life. They also chronicle the challenges faced by today's Maroons as they struggle to maintain their cultural identity despite harsh attacks from without - civil war, a plummeting economy, the introduction of drugs, and invasion of their territory by multinational mining and lumber companies. And readers will follow the spread of Maroon arts beyond the rain forest, as tourists, dealers, collectors, museum curators, and even art forgers enter the picture."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The Fanon Reader by Frantz Fanon; Azzedine Haddour (Editor, Introduction by) Frantz Fanon is a key figure in postcolonial and cultural studies. Born in 1925 on the French Caribbean island of Martinique, he passionately identified with Algeria's struggle for independence against the French. He became the leading voice in black liberationist writing. With the publication of this book, it is now possible to access all his important writings in one source.The Fanon Reader features extracts from each of Fanon's major works including Black Skin, White Masks, Studies in a Dying Colonialism, Toward the African Revolution and The Wretched of the Earth. It also contextualises Fanon and his work, and provides a comprehensive summary of critical perspectives on his writings.This fully rounded critical introduction to Fanon's work will appeal to students and teachers in postcolonial studies, cultural studies, political theory, psychoanalysis, literary theory, race studies and anyone interested in the life and writings of one of the world's foremost pioneers of black liberation.

The Methodologies of Art by Laurie Schneider Adams Since the nineteenth century, when art history became an established academic discipline, works of art have been 'read' in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here (formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender) reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism, and colonialism, and a new epilogue that analyzes a single painting to illustrate the different methodological viewpoints.

Among Others: Blackness at MoMA by Darby English (Editor); Charlotte Barat (Editor); Mabel Wilson (Text by) Among Others: Blackness at MoMA begins with an essay that provides a rigorous and in-depth analysis of MoMA's history regarding racial issues. It also calls for further developments, leaving space for other scholars to draw on particular moments of that history. It takes an integrated approach to the study of racial blackness and its representation: the book stresses inclusion and, as such, the plate section, rather than isolating black artists, features works by non-black artists dealing with race and race- related subjects. As a collection book, the volume provides scholars and curators with information about the Museum's holdings, at times disclosing works that have been little documented or exhibited. The numerous and high-quality illustrations will appeal to anyone interested in art made by black artists, or in modern art in general.

Art and Race Matters: the Career of Robert Colescott by Raphaela Platow (Editor); Lowery Stokes Sims (Editor); Matthew Weseley (Contribution by) The most comprehensive volume devoted to the life and work of pioneering African American artist Robert Colescott, accompanying the largest traveling exhibition of his work ever mounted. Robert Colescott (1925-2009) was a trailblazing artist, whose august career was as unique as his singular artistic style. Known for figurative satirical paintings that exposed the ugly ironies of race in America from the 1970s through the late 1990s, his work was profoundly influential to the generations of artists that have followed him, such as Kara Walker, Kehinde Wiley, and Henry Taylor, among many others. This volume surveys the entirety of Colescott's body of work, with contributions by more than ten curators and writers, including a substantive essay by the show's cocurator, the renowned Lowery Stokes Sims. It provides a detailed stylistic analysis of his politically inflected oeuvre, focusing on Colescott's own consideration of his work in the context of the grand traditions of European painting and contemporary polemic. In addition, the book features reminiscences and thought pieces by a variety of family, friends, students, curators, dealers, and scholars on his work as well as a selection of writings by the artist himself. Relying on previously unpublished transcripts of lectures, reviews, and archival materials provided by institutions and individuals, the book will provide a fuller story of the artist's life and career.

New Thoughts on the Black Arts Movement by Lisa Gail Collins (Contribution by, Editor); Adam Gussow (Contribution by); & Others During the 1960s and 1970s, a cadre of poets, playwrights, visual artists, musicians, and other visionaries came together to create a renaissance in African American literature and art. This charged chapter in the history of African American culture--which came to be known as the Black Arts Movement--has remained largely neglected by subsequent generations of critics. New Thoughts on the Black Arts Movement includes essays that reexamine well-known figures such as Amiri Baraka, Larry Neal, Gwendolyn Brooks, Sonia Sanchez, Betye Saar, Jeff Donaldson, and Haki Madhubuti. In addition, the anthology expands the scope of the movement by offering essays that explore the racial and sexual politics of the era, links with other period cultural movements, the arts in prison, the role of Black colleges and universities, gender politics and the rise of feminism, color fetishism, photography, music, and more. An invigorating look at a movement that has long begged for reexamination, this collection lucidly interprets the complex debates that surround this tumultuous era and demonstrates that the celebration of this movement need not be separated from its critique.

The Black Arts Movement and the Black Panther Party in American Visual Culture by Jo-Ann Morgan This book examines a range of visual expressions of Black Power across American art and popular culture from 1965 through 1972. It begins with case studies of artist groups, including Spiral, OBAC and AfriCOBRA, who began questioning Western aesthetic traditions and created work that honored leaders, affirmed African American culture, and embraced an African lineage. Also showcased is an Oakland Museum exhibition of 1968 called "New Perspectives in Black Art," as a way to consider if Black Panther Party activities in the neighborhood might have impacted local artists' work. The concluding chapters concentrate on the relationship between selected Black Panther Party members and visual culture, focusing on how they were covered by the mainstream press, and how they self-represented to promote Party doctrine and agendas.

Black Post-Blackness: The Black Arts Movement and Twenty-First Century Aesthetics by Margo Natalie Crawford A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the 'new black' and 'post-black.' 'Black Post-Blackness' compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of 21st century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of 21st century black aesthetics.

Black Art by Richard J. Powell The African diaspora--a direct result of the transatlantic slave trade and Western colonialism--generated a wide array of artistic achievements in the past century, from blues to reggae, from the paintings of Henry Ossawa Tanner to the video installations of Keith Piper. Richard Powell's study concentrates on the works of art themselves and on how these works, created during a time of major social upheaval and transformation, use black culture as both subject and context.From musings on the "the souls of black folk" in early twentieth-century painting, sculpture, and photography to questions of racial and cultural identities in performance, media, and computer-assisted arts in the 1990s, the book draws on the works of hundreds of artists including Jean-Michel Basquiat, Romare Bearden, Elizabeth Catlett, Lois Mailou Jones, Wifredo Lam, Jacob Lawrence, Spike Lee, Archibald Motley, Jr., Faith Ringgold, and Gerard Sekoto.This revised edition includes expanded coverage of video art and a new chapter that discusses work by a number of artists who have newly risen to prominence, such as Chris Ofili, Kara Walker, and Renée Cox. Biographies of more than 170 key artists provide a unique art-historical reference.Placing its emphasis on black cultural themes rather than on black racial identity, this groundbreaking book is an important exploration of the visual representations of black culture throughout the twentieth century and into the twenty-first.