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This powerful presentation of photographs of Poland from the late 1980s to the present depicts the hybridized landscape of this pivotal Eastern European nation following its entry into the European Union. A visual record of the country's transition from socialism to capitalism, it focuses on the industrial blue-collar city ofLodz—located in the heart of New Europe and home to nearly one million people. Photographer Kamil Turowski's monotones are captivating—seeming to conceal a looming threat—while Katarzyna Marciniak's accompanying text expands on the photos and the "crocodilian" texture of contemporary Eastern Europe. A walk on the wild side, Streets of Crocodiles captures viscerally the changing landscape of postsocialist Poland.

The present volume of studies—a joint publication with the National Széchényi Library, Budapest—is the first Subsidium of the Central European Medieval Text series, accompanying CEMT vol. IX on the Illuminated Chronicle, composed in the fourteenth century at the royal court of Louis I of Hungary. The large size of the volume, with the text and its annotations, did not permit the inclusion of a detailed scholarly introduction, unlike other CEMT items, so it is here printed separately.

The first essays analyze the text and the illuminations of the Illuminated Chronicle (formerly called the Vienna Chronicle) from literary-historical, art historical and heraldic perspectives. They also summarize the literature on the chronicle for the past two hundred years. Additional studies address the narrative. Since the chronicle starts with the history of the Huns, the imaginary ancestors of the Hungarians, one essay addresses the Attila tradition in Hungarian historiography. Others devote attention to the dynastic struggles of the eleventh century, placing them in the context of amicitia and deditio, and to the image of St. Ladislas I as the “ideal king”. The final essays examine the fate of the fourteenth-century chronicle texts over the subsequent centuries, their appearance in legal texts, and their reception abroad.

Pyotr Pavlensky turns state violence into his medium—now, in his own words, he reveals the theory behind the fire.

Pyotr Pavlensky’s Subject–Object Art Theory is both a manifesto and a method—an incendiary redefinition of what art can and should be in an era of increasing repression. Known for his radical public events, such as setting fire to government buildings, stitching his lips shut, or nailing his own body to the ground, Pavlensky has been called a provocateur. In this book, he offers his own framework: subject–object art, a practice that redefines the position of art with respect to power and forces state mechanisms to work for art.

Venturing past the confines of political art, he examines the historical intersections of art and power, situating his work within a lineage of radical avant-garde movements. Whether seen as a guide or an act of defiance in itself, Subject–Object Art Theory urges the reader to rethink artistic freedom but as a means of bringing art back to its true independence.

Finalist — San Diego Comic-Con International 2024 Eisner Award in Best Academic/Scholarly Work
2024 MPCA/ACA Best Book for Use in the Classroom, Midwest Popular Culture Association / Midwest American Culture Association (MPCA/ACA)

An examination of the art in superhero comics and how style influences comic narratives.

For many, the idea of comic book art implies simplistic four-color renderings of stiff characters slugging it out. In fact, modern superhero comic books showcase a range of complex artistic styles, with diverse connotations. Leading comics scholar Jeffrey A. Brown assesses six distinct approaches to superhero illustration—idealism, realism, cute, retro, grotesque, and noir—examining how each visually represents the superhero as a symbolic construct freighted with meaning.

Whereas comic book studies tend to focus on text and narrative, Super Bodies gives overdue credit to the artwork, which is not only a principal source of the appeal of comic books but also central to the values these works embody. Brown argues that superheroes are to be taken not as representations of people but as iconic types, and the art conveys this. Even the most realistic comic illustrations are designed to suggest not persons but ideas—ideas about bodies and societies. Thus the appearance of superheroes both directly and indirectly influences the story being told as well as the opinions readers form concerning justice, authority, gender, puberty, sexuality, ethnicity, violence, and other concepts central to political and cultural life.

Realist sculptor Carole A. Feuerman's human-figure sculptures express a refreshing perspective on the mundane but intensely personal activities of modern life. her powers of observation and versatility find unique expression through various materials that include marble, bronze, vinyl, and painted resins, while she incorporates both ancient and contemporary methods in the creation of her works. Swimmers: Carole Feuerman is a gorgeous and shimmering glimpse at transitory, contemplative moments in time, often captured in a veil of clear resin that replicates tumbling water droplets.

In his astute and insightful essay, John Yau describes Feuerman's exquisitely rendered figures as subjects "caught in a moment of transition that radiates an intense eroticism." She evokes an inward life for her figures that invites our speculation, while revealing a mysterious chasm between them and the viewer that can never be plumbed. We cannot know their thoughts and perhaps that is exactly the point. Feuerman fuses the tactile nature of her sculpture with a visual verisimilitude that provides us a fleeting glimpse into private and isolated environments—women stepping out of the shower, in the rain, or swimming—that suggest a meditative bliss.

Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. 

Responding to this challenge, Switching Codes brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider how the precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields. Switching Codes will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including scientists, educators, policymakers, and artists, alike.