A SCHOLARLY BOOK REPOSITORY112 start with H start with H
The many major exhibitions of Antonin Artaud’s drawings and drawn notebook pages in recent years—at New York’s Museum of Modern Art, Vienna’s Museum Moderner Kunst, and Paris’s Centre Georges Pompidou—have entirely transformed our perception of his work, reorienting it toward the artworks of his final years. This volume collects all three of Artaud’s major writings on his artworks. “The Human Face” (1947) was written as the catalog text for Artaud’s only gallery exhibition of his drawings during his lifetime, focusing on his approach to making portraits of his friends at the decrepit pavilion in the Paris suburbs where he spent the final year of his life. “Ten years that language is gone” (1947) examines the drawings Artaud made in his notebooks—his main creative medium at the end of his life—and their capacity to electrify his creativity when language failed him. “50 Drawings to assassinate magic” (1948), the residue of an abandoned book of Artaud’s drawings, approaches the act of drawing as part of the weaponry deployed by Artaud at the very end of his life to combat malevolent assaults and attempted acts of assassination. Together, these three extraordinary texts—pitched between writing and image—project Artaud’s ferocious engagement with the act of drawing.
Engaging critical human rights studies from an interdisciplinary arts and humanities perspective, Human Rights on the Move addresses a range of human rights violations in contemporary society, including the carceral systems that prevent movement, the gendered and racial restrictions placed on movement, the lack of access that assures movement only for those who have the ability to move, and the histories of movements such as settler colonialism. The approaches to human rights in this wide-ranging collection are also “on the move,” emphasizing a nimble, cross-disciplinary approach that considers the intersection of politics, culture, and the arts.
Contributing artists, activists, and scholars expose the fundamental paradox of human rights (namely that nation-states are violators and guarantors of rights) while also showing how people facing violence and persecution move with the hope of more livable and equitable futures. The assembled scholarly essays, interviews, and creative pieces demonstrate the importance of a more relational and contextual understanding of human rights—one that can destabilize current definitions and open space for new formulations.
Contributors:
nora chipaumire, Víctor M. Espinosa, Bridget M. Haas, Wendy S. Hesford, Sona Kazemi, Wendy Kozol, Guisela LaTorre, Rachel Lewis, Faustin Linyekula, Paloma Martinez-Cruz, Tiyi M. Morris, Momar K. Ndiaye, Eleanor Paynter, Cristian Pineda, Elaine Richardson, Amy Shuman, Jennifer Suchland, Mary E. Thomas, Shui-yin Sharon Yam
Humans are organisms, but “the human being” is a term referring to a complicated, self-contradictory, and historically evolving set of concepts and practices. Humans explores competing versions, constructs, and ideas of the human being that have figured prominently in the arts of the United States. These essays consider a range of artworks from the colonial period to the present, examining how they have reflected, shaped, and modeled ideas of the human in American culture and politics. The book addresses to what extent artworks have conferred more humanity on some human beings than others, how art has shaped ideas about the relationships between humans and other beings and things, and in what ways different artistic constructions of the human being evolved, clashed, and intermingled over the course of American history. Humans both tells the history of a concept foundational to US civilization and proposes new means for its urgently needed rethinking.
Reproducing some 150 images drawn from Furniss’s extensive graphic work, The Humours of Parliament: Harry Furniss’s View of Late-Victorian Political Culture, edited and with an introduction by Gareth Cordery and Joseph S. Meisel, presents Furniss’s unpublished lecture text for the first time. The extensive introduction places the show in its biographical, political, and performative contexts. Cordery and Meisel’s volume therefore both documents a pivotal moment in British political and social history and provides a rare case study of an important yet little studied nineteenth-century performance genre: the illustrated platform lecture.
In the late 1950s, Chauncey C. Nash started collecting Inuit carvings just as the art of printmaking was being introduced in Kinngait (Cape Dorset), an Inuit community on Baffin Island in the Canadian territory of Nunavut. Nash donated some 300 prints and sculptures to Harvard’s Peabody Museum—one of the oldest collections of early modern Inuit art. The Peabody collection includes not only early Inuit sculpture but also many of the earliest prints on paper made by the women and men who helped propel Inuit art onto the world stage.
Author Maija M. Lutz draws from ethnology, archaeology, art history, and cultural studies to tell the story of a little-known collection that represents one of the most vibrant and experimental periods in the development of contemporary Inuit art. Lavishly illustrated, Hunters, Carvers, and Collectors presents numerous never-before-published gems, including carvings by the artists John Kavik, Johnniebo Ashevak, and Peter Qumalu POV Assappa. This latest contribution to the award-winning Peabody Museum Collections Series fills an important gap in the literature of Native American art.
The notion of ecology not only figures centrally in current debates around climate change, but also traverses contemporary discourses in the arts, the humanities, and the social and techno sciences. In this present form, ecology refers to the multilayered and multidimensional nexus of living processes and technological and media practices—that is, to the complex relations of human and nonhuman agents. Hybrid Ecologies understands ecology as an ambivalent notion, whose very broadness simultaneously opens up new fields of action and raises provocative questions, not least concerning its genealogy. This interdisciplinary volume explores the political and social effects of rethinking community in ecological terms, with a particular emphasis on what the contemporary notion of ecology might mean for artistic and design practices. The result of the fifth annual program of the cx centre for interdisciplinary studies, which was conceived in cooperation with the Chair of Philosophy | Aesthetic Theory at the Academy of Fine Arts in Munich, Hybrid Ecologies is a timely and thought-provoking study of one of the most important themes of our time.
With Hyecho’s Journey, eminent scholar of Buddhism Donald S. Lopez Jr. re-creates Hyecho’s trek. Using the surviving fragments of Hyecho’s travel memoir, along with numerous other textual and visual sources, Lopez imagines the thriving Buddhist world the monk explored. Along the way, Lopez introduces key elements of Buddhism, including its basic doctrines, monastic institutions, works of art, and the many stories that have inspired Buddhist pilgrimage. Through the eyes of one remarkable Korean monk, we discover a vibrant tradition flourishing across a vast stretch of Asia. Hyecho’s Journey is simultaneously a rediscovery of a forgotten pilgrim, an accessible primer on Buddhist history and doctrine, and a gripping, beautifully illustrated account of travel in a world long lost.
From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.
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