Martin Patrick explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres. Examining the impact of various art movements on notions of performance, authorship, and identity, Across the Art/Life Divide argues that the most defining feature of contemporary art is the ongoing interest of artists in the problematic relationship between art and life. Looking at underexamined forms, such as stand-up comedy and sketch shows, alongside more traditional artistic media, he situates the work of a wide range of contemporary artists to ask: To what extent are artists presenting themselves? And does the portrayal of the “self” in art necessarily constitute authenticity? By dissecting the meta-conditions and contexts surrounding the production of art, Across the Art/Life Divide examines how ordinary, everyday life is transformed into art.

Our understanding of vertebrate origins and the backbone of human history evolves with each new fossil find and DNA map. Many species have now had their genomes sequenced, and molecular techniques allow genetic inspection of even non-model organisms. But as longtime Nature editor Henry Gee argues in Across the Bridge, despite these giant strides and our deepening understanding of how vertebrates fit into the tree of life, the morphological chasm between vertebrates and invertebrates remains vast and enigmatic.

As Gee shows, even as scientific advances have falsified a variety of theories linking these groups, the extant relatives of vertebrates are too few for effective genetic analysis. Moreover, the more we learn about the species that do remain—from sea-squirts to starfish—the clearer it becomes that they are too far evolved along their own courses to be of much use in reconstructing what the latest invertebrate ancestors of vertebrates looked like. Fossils present yet further problems of interpretation. Tracing both the fast-changing science that has helped illuminate the intricacies of vertebrate evolution as well as the limits of that science, Across the Bridge helps us to see how far the field has come in crossing the invertebrate-to-vertebrate divide—and how far we still have to go.

Across the Color Line: Reporting 25 Years in Black Cincinnati presents newspaper reporter Mark Curnutte’s stories published in The Cincinnati Enquirer over a twenty-five-year period beginning in 1993.  With hard-won insights gained from years of community reporting, Curnutte describes experiences of African-Americans living in Cincinnati through individual and neighborhood profiles, explorations of community institutions, historical perspectives, and issue stories.  The anthology tells a sweeping narrative of a city suffering and maturing through turn-of-the-century racial growing pains and increased racial sophistication and diversity. These stories are complimented by excerpts from Curnutte’s personal journal, providing his reflection on his role as a white man and reporter making the intentional decision to work and live across the color line.

Copublished with the Utah State Historical Society. Affiliated with the Utah Division of State History, Utah Department of Heritage & Arts

Andrew J. Russell is primarily known as the man who photographed the famous “East and West Shaking Hands” image of the Golden Spike ceremony on May 10, 1869. He also took nearly one thousand other images that document almost every aspect of the construction of the Union Pacific Railroad. Across the Continent is the most detailed study to date of the life and work of an often-overlooked but prolific artist who contributed immensely not only to documentation of the railroad but also to the nation’s visualization of the American West and, earlier, the Civil War.
 
The central focus in the book is on the large body of work Russell produced primarily to satisfy the needs of the Union Pacific. Daniel Davis posits that this set of Russell’s photos is best understood not through one or a handful of individual images, but as a photographic archive. Taken as a whole, that archive shows that Russell intended for viewers never to forget who built the Union Pacific. His images celebrate working people—masons working on bridge foundations, freighters and their wagons, surveyors with their transits, engine crews posed on their engines, as well as tracklayers, laborers, cooks, machinists, carpenters, graders, teamsters, and clerks pushing paper.
 
Russell contributed to a golden age of Western photography that visually introduced the American West to the nation, changing its public image from that of a Great American Desert to a place of apparently unlimited economic potential.

In recent years scholars have begun to question the cultural values underlying our view of Nature. Kevin Dann contributes to this debate by juxtaposing two radically different “Arcadian” experiments founded by Manhattanites seeking cultural renewal through contact with the natural world.

Dann focuses first on initiatives carried out by the American Museum of Natural History and the Eugenics Record Office from 1910 to 1940 within Harriman State Park in the Ramapo Mountains. He argues that these diverse expressions of the early “back-to-nature” movement are united by their biological materialism, or “Naturalism,” which became integral to the popular culture of educated metropolitan Americans in the early twentieth century.

He then compares this activity to the contemporary efforts at nearby Threefold Farm, where anthroposophists--followers of Rudolf Steiner's“spiritual science”--developed a program of natural scientific research and education that directly opposed Darwinian explanations of natural history, social Darwinian views of human society, and reductionist scientific methods. By challenging scientific “fact” with spiritual scientific descriptions of supersensible phenomena, the Threefold Farm initiative offered Americans a new gospel of nature.

 

If Asian Americans are to assume the role of bridge builders across the Pacific, what are the opportunities, the risks, the promises, and the perils? The answer to this question comes in eight groundbreaking essays in which contributors to Across the Pacific address issues of contemporary growth and diversification of Asian America in relation to the increasingly globalized economy. New meanings and  practices of Asian Americans are considered in the atmosphere of global transformation that is present in the post-Civil Rights, post-Cold War, postmodern, and postcolonial era. This book explores, in descriptive and critical ways, how transnational relationships and interactions in Asian American communities are manifested, exemplified, and articulated within the international context of the Pacific Rim.

Members of the Asian American community have always been trans-Pacific, but are now more than ever, since the 1965 change in U.S. immigration law. Entering the U.S. at the culmination of the Civil Rights movement, Asians becoming Asian Americans have joined a self-consciously multicultural society. Asian economies roared onto the world stage, creating new markets while circulating capital and labor at an unprecedented scale and intensity, thereby helping drive the forces of modern globalization. These essays by well-known scholars in the field of Asian American studies consider such topics as the impact of new migrations on Asian American subjectivity and politics, Asian American activism and U.S. foreign policy, and the role of Asian Americans in Pacific Rim economies.

Considering issues of diaspora, transmigrancy, assimilation, institutionalized racism, and community, Across the Pacific covers such cutting-edge subjects as the cultural expressions of dislocation among contemporary Asian American writers, as well as the impact of the new migrations on Asian American subjectivity and politics.

Richard Karl, a doctor and teacher, takes the reader closer than any writer before into the corridors of the hospital, on the surgical table, and into the world of medicine. In these pages we see the tragedies and triumphs of modern medicine: the beauty of surgery done well, and the aftermath of operations that fail to deliver on the hopes of the doctor and patient. We witness the "M&M"—the morbidity and mortality meeting—where doctors scrutinize their own work and mistakes, and the often inevitable outcomes of treatment. Suffused throughout are Karl’s keen observations on the workings of the human body and its immense capacity for healing. "...I celebrate the rich privilege accorded the practicing surgeon. The surgical life is really about bearing witness to the human condition and about respecting the many almost whimsical variations of biology and about the intersection of the two. It is remarkable, really, the way I get to know people so intimately so quickly, and to observe the brave and often noble behavior in them, while I witness the relentless push of biology, the aging and decay, the growth and development, but most especially the healing, both physical and emotional. It is this natural drive of our bodies to repair themselves from all injuries (including the surgeon's wounds) that is the centerpiece of medicine. Without it no surgeon could cut." Written with economy and subtlety, Across the Red Line offers a vivid picture of disease and the miracle of life. It will interest anyone who's ever been on either side of the surgical table.

Across the Shaman’s River is the story of one of Alaska’s last Native American strongholds, a Tlingit community closed off for a century until a fateful encounter between a shaman, a preacher, and John Muir.
            Tucked in the corner of Southeast Alaska, the Tlingits had successfully warded off the Anglo influences that had swept into other corners of the territory. This tribe was viewed by European and American outsiders as the last wild tribe and a frustrating impediment to access. Missionaries and prospectors alike had widely failed to bring the Tlingit into their power. Yet, when John Muir arrived in 1879, accompanied by a fiery preacher, it only took a speech about “brotherhood”—and some encouragement from the revered local shaman Skandoo’o—to finally transform these “hostile heathens.”
            Using Muir’s original journal entries, as well as historic writings of explorers juxtaposed with insights from contemporary tribal descendants, Across the Shaman’s River reveals how Muir’s famous canoe journey changed the course of history and had profound consequences on the region’s Native Americans.

This volume provides a cross-disciplinary examination of fear, that most unruly of our emotions, by offering a broad survey of the psychological, biological, and philosophical basis of fear in historical and contemporary contexts. The contributors, leading figures in clinical psychology, neuroscience, the social sciences, and the humanities, consider categories of intentionality, temporality, admixture, spectacle, and politics in evaluating conceptions of fear.

    Individual chapters treat manifestations of fear in the mass panic of the stock market crash of 1929, as spectacle in warfare and in horror films, and as a political tool to justify security measures in the wake of terrorist acts. They also describe the biological and evolutionary roots of fear, fear as innate versus learned behavior in both humans and animals, and conceptions of human “passions” and their self-mastery from late antiquity to the early modern era. Additionally, the contributors examine theories of intentional and non-intentional reactivity, the process of fear-memory coding, and contemporary psychology’s emphasis on anxiety disorders.

Overall, the authors point to fear as a dense and variable web of responses to external and internal stimuli. Our thinking about these reactions is just as complex. In response, this volume opens a dialogue between science and the humanities to afford a more complete view of an emotion that has shaped human behavior since time immemorial.

The images released by the Islamic State of militants smashing statues at ancient sites were a horrifying aspect of their advance across Northern Iraq and Syria during 2015-16. Their leaders justified this iconoclasm by arguing that such actions were divinely decreed in Islam, a notion that has remained fixed in the public consciousness. 

The Image Debate is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book has a foreword by Stefano Carboni, Director of the Art Gallery of Western Australia, followed by an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production of figural images in Islamic traditions. 

Twelve further articles are divided into three sections: the first deals with pre-modern Islam: Mika Natif looks at tensions between the Hadith prohibition on images and the praxis of image-making under the Umayyad dynasty and argues that the Umayyad rulers used imagery to establish their political and religious authority; Finbarr Barry Flood examines the practice of epigraphic erasure, i.e., the removal of names of rulers and patrons from historical inscriptions from the medieval Islamic world; and Oya Pancaroğlu focuses on the figural conventions of an illustrated manuscript of Varqa and Gulshah, a medieval Persian romance composed in the masnavi (rhyming couplet) form by the 11th-century poet ‘Ayyuqi. 

The second section addresses the situation outside Islam: Alicia Walker surveys attitudes toward the production and veneration of religious images in Byzantium from the earliest years of the Christian Roman Empire (early 4th century) to the aftermath of the Iconoclast controversy (late 9th century); Steven Fine explores the history of Jewish engagement with ‘art’ from Roman antiquity through the high middle ages through a detailed exploration of the 3rd-century Dura Europos synagogue and its wall paintings; Michael Shenkar examines evidence for the employment of figural images in the cultic practices of some of the major ancient Iranian cultural and political entities, offering a broad perspective on perceptions of images in ancient Iranian worship; and Robert DeCaroli delves into the question of why no image of the Buddha was made during the first five hundred years of Buddhism.  

The third section brings the reader back to Islamic lands with five articles examining aspects of the issue in the modern and contemporary periods: Yousuf Saaed investigates South Asian mass-produced images, especially posters that include illustrations of local Sufi shrines, portraits of saints and Shi‘i iconography; James Bennett explores the visual depiction of Javanese shadow puppets (wayang kulit), including the sage Begawan Abiyasa, whose narratives convey key elements of Sufi mystical philosophy; Allen and Mary Roberts consider images of Cheikh Amadu Bamba, the founding Sufi saint of the Senegalese Mouride order; Rose Issa addresses how the term ‘Islamic’ relates to contemporary art, how artists manage to create work in countries in constant turmoil and to what extent such works reflect their conceptual, aesthetic, and socio-political concerns; and finally Shiva Balaghi traces the use of the figure, along its symbolic shadows and silhouettes, in works by notable Iranian artists living in Iran and in diaspora.