The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.
Wendy Lesser counters the reigning belief that male artists inevitably misrepresent women. She builds this daring case compellingly through inquiry into many unexpected and delightfully germane subjects—Marilyn Monroe’s walk, for instance, or dwarf manicurist Miss Mowcher in David Copperfield, or the shoulder blades of Degas’s bathers. Placing such particulars within the framework of Plato’s myth of the divided beings and psychoanalytic concepts of narcissism, Lesser sets out before us an art that responds to and even attempts to overcome division.
By following a developmental, rather than historical, sequence, the book uncovers startling correspondences and fresh insights. It begins by considering Dickens, Lawrence, Harold Brodkey, Peter Handke, and John Berger on the subject of mothers; turns to Degas and the Victorian novelist George Gissing to examine the figure of woman alone, and then to Henry James and Alfred Hitchcock for their perspectives on the battle between the sexes; and then looks at the poetry of Randall Jarrell, the fashion photographs of Cecil Beaton, and the range of artworks inspired by Marilyn Monroe to investigate the central idea of woman as the artist's mirror and secret self.
A chapter on Barbara Stanwyck returns us to an essential premise—that art transcends gender boundaries, that the masculine and the feminine coexist within each individual psyche. The refreshingly open-minded approach of His Other Half finds its corollary in Lesser's lucid and accessible style. With great affection for her subject and her audience, Lesser writes in language that is opinionated yet free of cant. Her book avoids—as the best art avoids—prefabricated schemes and ideological presumptions. At once exploratory and definitive, original and erudite, His Other Half is critical inquiry at its finest.
Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.
While numerous studies over the years have focused on the ways in which art functions in our society, How to Study Art Worlds is the first to examine it in light of the organizational aspects of the art world. Van Maanen delves into the works of such sociologists as Howard S. Becker, Pierre Bourdieu, George Dickie, and Niklas Luhmann, among others, to examine the philosophical debates surrounding aesthetic experience—and then traces the consequences that each of these approaches has had and continues to have on organizations in the art world.
From the lazy, fiddling grasshopper to the sneaky Big Bad Wolf, children’s stories and fables enchant us with their portrayals of animals who act like people. But the comparisons run both ways, as metaphors, stories, and images—as well as scientific theories—throughout history remind us that humans often act like animals, and that the line separating them is not as clear as we’d like to pretend.
Here Martin Kemp explores a stunning range of images and ideas to demonstrate just how deeply these underappreciated links between humans and other fauna are embedded in our culture. Tracing those interconnections among art, science, and literature, Kemp leads us on a dazzling tour of Western thought, from Aristotelian physiognomy and its influence on phrenology to the Great Chain of Being and Darwinian evolution. We learn about the racist anthropology underlying a familiar Degas sculpture, see paintings of a remarkably simian Judas, and watch Mowgli, the man-child from Kipling’s The Jungle Book, exhibit the behaviors of the beasts who raised him. Like a kaleidoscope, Kemp uses these stories to refract, reconfigure, and echo the essential truth that the way we think about animals inevitably inflects how we think about people, and vice versa.
Loaded with vivid illustrations and drawing on sources from Hesiod to La Fontaine, Leonardo to P. T. Barnum, The Human Animal in Western Art and Science is a fascinating, eye-opening reminder of our deep affinities with our fellow members of the animal kingdom.
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
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