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A landmark study of Native American rock art from Atlantic Canada to Chesapeake Bay.

Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.

Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.

Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.

Rod Penner infuses his photorealistic paintings of the American southwest with a cinematic quality in the first major monograph on this contemporary realist artist.

The abandoned and forgotten landscapes of rural southwestern towns are the favored subjects of Rod Penner's paintings. His deft use of contrasts in his images—despondency and hope, isolation and nostalgia—evokes memories of The Last Picture Show and elicits complex responses from viewers. "I'm interested in the look of things and the quality of being there," he says. "A moment that is completely frozen with all the variety of textures; rust on poles, crumbling asphalt, light hitting the grass."

Penner's works are based on his photographs, digital video stills, and his experience of the rural landscapes of Texas and New Mexico. He depicts desolate, often deserted locations, the character of old houses and abandoned buildings, weather, and unique geography. His chosen scenes are infused with a cinematic quality that is the result of the exquisite light that he captures with his meticulous process. "The finished paintings should evoke contrasting responses of melancholy and warmth, desolation and serenity," he says.

Penner's hyperrealistic technique meticulously records both the iconic imagery and the beauty in the ashes of these once-prosperous streets and nighborhoods that still endure. The incredible poignant scenes evoke a universalism, a collective experience seen through the lens of Americana. "You won't find any hidden or overt socio-political meaning in my work and at the same time I hope that by utilizing what I find in the American landscape I'm able to connect to viewers on a deeper psychological level."

Prize for Best Book in Environmental Studies, Latin American Studies Association
Honorable mention for Best Book Prize in Visual Culture, Latin American Studies Association
Honorable mention for Best Book on Mexico, Latin American Studies Association 

Since the first moment of conquest, colonizers and the colonized alike in Mexico confronted questions about what it meant to be from this place, what natural resources it offered, and who had the right to control those resources and on what basis.

Focusing on the ways people, environment, and policies have been affected by political boundaries, historian Rick A. López explores the historical connections between political identities and the natural world. López analyzes how scientific intellectuals laid claim to nature within Mexico, first on behalf of the Spanish Empire and then in the name of the republic, during three transformative moments: the Hernández expedition of the late sixteenth century; the Royal Botanical Expedition of the late eighteenth century; and the heyday of scientific societies such as the Sociedad Mexicana de Historia Natural of the late nineteenth century. 

This work traces how scientific intellectuals studied and debated what it meant to know and claim the flora that sprang from Mexican soil—ranging from individual plants to forests and vegetated landscapes—and the importance they placed on indigeneity. It also points to the short- and long-term consequences of these efforts. López draws on archival and published sources produced from the sixteenth century through the start of the twentieth century and gives special attention to the use of visual images such as scientific illustrations and landscape art. López employs the term “visualization” in recognition of the degree to which officials, botanists, and draftsmen produced imagery and also how they and others viewed nature.

Rooted in Place reveals how scientific endeavors were not just about cataloging flora but were deeply intertwined with the construction of identity and the political landscape at three pivotal moments in Mexican history.

Winner of the Latin American Studies Association's 2022 Best Book in Colonial Latin American Studies.

This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity.

Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects.

Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.

This is the first biography of the renowned American Chicano visual artist and activist Rupert García, drawing on fifty hours of interviews conducted over thirty years and accompanied by eighty images. This in-depth oral history gives an unparalleled look at García’s life and work, tracing his evolution as an artist and the political upheavals that shaped his life and worldview. 

Mario T. García’s testimonio places Rupert García’s art in historical perspective, from his beginnings as a working-class Mexican American from California’s Central Valley, his coming of age in the U.S. Air Force during the Vietnam War, his involvement in the antiwar movement during the San Francisco State student strike in 1968-69, and his participation in the Chicano Movement and beyond. Influenced by history and politics, García’s vital works of art represent a changing world through the eyes of an artist, speaking to issues of poverty, racism, capitalism, war, and the role of the artist in society.

His art—from revolutionary silkscreen posters to monumental pastels to portraits of political icons like Frida Kahlo, Che Guevara, and Dolores Huerta—serves to critique history and reassess it. It is work that will endure for generations to come. 

Blending social science, fine arts, and the humanities, Rural Queer Joy explores how the telling of rural LGBTQ+ stories affects young rural queer people today. The stories of well-known Wyoming LGBTQ+ people like Matthew Shepard, Sissy Goodwin, and Artemis Langford often center experiences of trauma and hardship, leaving little space for experiences of triumph or joy.

Author Jennifer Tabler and photographer Bailey Russel provided rural LGBTQ+ community members with an opportunity to represent their own experiences through participation in a social practice art project, asking what about being LGBTQ+ brings them joy. They then took the participants’ portraits and invited them to annotate these portraits with paint, markers, paper, or other media. This kind of social practice art provides an opportunity to engage in epistemic activism through the self-empowerment of marginalized voices and perspectives, while also centering visuals of rural queer people that counter existing stereotypes and add nuance to our understanding of rural LGBTQ+ people.

The dynamic artwork and quotes from young rural LGBTQ+ people displayed in this book highlight how their identities are sources of joy and opportunity rather than constraint and hardship. Rural and/or LGBTQ+ people, researchers, and teachers in the fields of community-engaged arts, gender studies, sociology of sexualities, and public humanities will find inspiration in Rural Queer Joy—inspiration to rethink what it means to be rural and LGBTQ+ as well as to use social practice art to increase the visibility of other underserved communities.