Courageous Surrealist artist Claude Cahun championed freedom at every turn, from rejecting gender norms and finding queer love to risking death to sabotage the Nazis.

At the turn of the twentieth century in Nantes, France, Lucy Schwob met Suzanne Malherbe, and lightning struck. The two became partners both artistically and romantically and transformed themselves into the creative personas Claude Cahun and Marcel Moore. Together, the couple embarked on a radical journey of Surrealist collaboration that would take them from conservative provincial France to the vibrancy of 1920s Paris to the oppression of Nazi-occupied Jersey during World War II, where they used art to undermine the Nazi regime.

Cahun and Moore challenged gender roles and championed freedom at a time when strict societal norms meant that the truth of their relationship had to remain secret. Featuring ten photographs by Cahun and Moore, this graphic biography by cartoonist Kaz Rowe brings Cahun’s inspiring story to life.

Ages thirteen to eighteen

A major reevaluation of collaboration's role in art since 1968. The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family--Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay--who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century. "Green makes an original and important contribution to the study of western art of the second half of the twentieth century. A valuable book for all readers." --Art & Australia Charles Green is an artist and a lecturer in the School of Art History and Theory at the University of New South Wales. He is the Australian correspondent for Artforum magazine and author of Peripheral Vision: Contemporary Australian Art 1970-94 (1995).