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Contents 2
New Books New Journal Issues 23 Journals 24 Coming Soon 27 Also Available 21
NEW BOOKS History 4° Celsius Search for a Method in the Age of the Anthropocene IAN BAUCOM
Social theory/Political theory
August 2020
List: $23.95 Discount: $14.37
In History 4° Celsius Ian Baucom continues his inquiries into the place of the Black Atlantic in the making of the modern and postmodern world. Putting black studies into conversation with climate change, Baucom outlines how the ongoing concerns of critical race, diaspora, and postcolonial studies are crucial to understanding the Anthropocene. He draws on materialist and postmaterialist thought, Sartre, and the science of climate change to trace the ways in which evolving political, cultural, and natural history converge to shape a globally destructive force. Identifying the quest for limitless financial gain as the primary driving force behind both the slave trade and the continuing increase in global greenhouse gas emissions, Baucom demonstrates that climate change and the conditions of the Black Atlantic, colonialism, and the postcolony are fundamentally entwined. In so doing, he argues for the necessity of establishing a method of critical exchange between climate science, black studies, and the surrounding theoretical inquiries of humanism and posthumanism. Ian Baucom is Dean of Arts and Sciences and Professor of English at the University of Virginia.
Technocrats of the Imagination Art, Technology, and the Military-Industrial Avant-Garde JOHN BECK and RYAN BISHOP In Technocrats of the Imagination John Beck and Ryan Bishop explore the collaborations between the American avant-garde art world and the military-industrial complex during the 1960s, in which artists worked with scientists and engineers in universities, private labs, and museums. For artists, designers, and educators working with the likes of Bell Labs, the RAND Corporation, and the Los Angeles County Museum of Art, experiments in art and technology presaged not only a new aesthetic but a new utopian social order based on collective experimentation. In examining these projects’ promises and pitfalls and how they have inspired a new generation of collaborative labs populated by artists, engineers, and scientists, Beck and Bishop reveal the connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s. Art history/Media studies/ History of technology
March 2020
John Beck is Professor of Modern Literature at the University of Westminster. Ryan Bishop is Professor of Global Arts and Politics at the University of Southampton.
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Art and Art History | new books
Influx and Efflux Writing Up with Walt Whitman JANE BENNETT In influx & efflux Jane Bennett pursues a question that was bracketed in her book Vibrant Matter: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx & efflux”—a phrase borrowed from Whitman’s “Song of Myself ”—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us. Jane Bennett is Andrew W. Mellon Professor of the Humanities at Johns Hopkins University.
Political theory
May 2020
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Poor Queer Studies Confronting Elitism in the University MATT BRIM In Poor Queer Studies Matt Brim shifts queer studies away from its familiar sites of elite education toward poor and working-class people, places, and pedagogies. Brim shows how queer studies also takes place beyond the halls of flagship institutions: in night school; after a three-hour commute; in overflowing classrooms at no-name colleges; with no research budget; without access to decent food; with kids in tow; in a state of homelessness. Drawing on the everyday experiences of teaching and learning queer studies at the College of Staten Island, Brim outlines the ways the field has been driven by the material and intellectual resources of those institutions that neglect and rarely serve poor and minority students. By exploring poor and working-class queer ideas and laying bare the structural and disciplinary mechanisms of inequality that suppress them, Brim jumpstarts a queer-class knowledge project committed to anti-elitist and anti-racist education. Poor Queer Studies is essential for all of those who care about the state of higher education and building a more equitable academy. Matt Brim is Associate Professor of Queer Studies in the English Department at the College of Staten Island, City University of New York.
Queer studies/Class and higher education
April 2020
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Black Utopias Speculative Life and the Music of Other Worlds JAYNA BROWN In Black Utopias Jayna Brown looks to utopia as a way of exploring new states of being, doing, and imagining in Black culture. Brown uses the lives and work of Black women mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and speculative fiction writers Samuel Delany and Octavia Butler to develop a concept of utopia that radically refuses the terms of liberal humanism. For Brown, utopia consists of those moments in the here and now when Black people—untethered from the hope of rights, recognition, or redress—celebrate themselves as elements in a cosmic effluvium. In such moments, musical, literary, and mystic practices become utopian enclaves in which Black people can take part in modes of alternative worldmaking. Brown demonstrates that engaging in such practices gives Black people the power to destabilize humanism and to create new genres of existence and models of collectivity. Jayna Brown is Professor in the Graduate Program in Media Studies at the Pratt Institute.
Black studies/Queer studies/ Utopian studies
February 2021
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Journeys through the Russian Empire The Photographic Legacy of Sergey Prokudin-Gorsky WILLIAM CRAFT BRUMFIELD
Photography/Russia
July 2020
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Between 1903 and 1916, pioneering photographer Sergey Prokudin-Gorsky documented the Russian empire as it was undergoing rapid change due to industrialization and the building of railroads. His photographs have become a touchstone for understanding pre-revolutionary Russia. In Journeys through the Russian Empire, William Craft Brumfield—who has spent decades traversing Russia and photographing buildings and landscapes—juxtaposes Prokudin-Gorsky’s images against those he took of the same buildings and areas. Brumfield assesses the state of preservation of Russia’s architectural heritage and calls into question the nostalgic assumptions of those who see Prokudin-Gorsky’s images as the recovery of the lost past of an idyllic, pre-Soviet Russia. This lavishly illustrated volume—which features some 400 stunning full-color images of ancient churches and mosques, railways and monasteries, towns and remote natural landscapes—is a testament to two brilliant photographers whose work prompts and illuminates questions of conservation, restoration, and cultural identity and memory. William Craft Brumfield is Professor of Slavic Studies at Tulane University.
AIDS and the Distribution of Crises
JIH-FEI CHENG , ALEXANDRA JUHASZ , and NISHANT SHAHANI , editors AIDS and the Distribution of Crises engages with the AIDS pandemic as a network of varied historical, overlapping, and ongoing crises born of global capitalism and colonial, racialized, gendered, and sexual violence. Drawing on their investments in activism, media, anticolonialism, feminism, and queer and trans of color critiques, the scholars, activists, and artists in this volume outline how the neoliberal logic of “crisis” structures how AIDS is aesthetically, institutionally, and politically reproduced and experienced. Among other topics, the authors examine the writing of the history of AIDS; settler colonial narratives and laws impacting risk in Indigenous communities; the early internet regulation of both content and online AIDS activism; the Black gendered and sexual politics of pleasure, desire, and (in)visibility; and how persistent attention to white men has shaped AIDS as intrinsic to multiple, unremarkable crises among people of color and in the Global South. Feminism/Queer studies/ Critical Race Theory
April 2020
Jih-Fei Cheng is Assistant Professor of Feminist, Gender, and Sexuality Studies at Scripps College. Alexandra Juhasz is Distinguished Professor of Film at Brooklyn College, City University of New York. Nishant Shahani is Associate Professor of Women’s, Gender, and Sexuality Studies at the Department of English at Washington State University.
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Orozco’s American Epic Myth, History, and the Melancholy of Race MARY K. COFFEY
Art and Visual Culture/ American studies/Latinx and Latin American studies
February 2020
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Between 1932 and 1934, José Clemente Orozco painted the twenty-four-panel mural cycle entitled The Epic of American Civilization in Dartmouth College’s Baker-Berry Library. An artifact of Orozco’s migration from Mexico to the United States, the Epic represents a turning point in his career, standing as the only fresco in which he explores both US-American and Mexican narratives of national history, progress, and identity. While his title invokes the heroic epic form, the mural indicts history as complicit in colonial violence. It questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project. In Orozco’s American Epic Mary K. Coffey places Orozco in the context of his contemporaries, such as Diego Rivera and David Alfaro Siqueiros, and demonstrates the Epic’s power as a melancholic critique of official indigenism, industrial progress, and Marxist messianism. In the process, Coffey finds within Orozco’s work a call for justice that resonates with contemporary debates about race, immigration, borders, and nationality. Mary K. Coffey is Associate Professor of Art History at Dartmouth College.
Art and Art History | new books
Race and Performance after Repetition
SOYICA DIGGS COLBERT, DOUGLAS A. JONES JR. , and SHANE VOGEL , editors The contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe’s 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus’s music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders central theories in performance studies in order to find new understandings of race. Soyica Diggs Colbert is Idol Family Professor of the College of Arts and Sciences at Georgetown University. Douglas A. Jones Jr. is Associate Professor of English at Rutgers University. Shane Vogel is Ruth N. Halls Professor of English at Indiana University.
Performance studies/Race and ethnicity
September 2020
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The Lonely Letters ASHON T. CRAWLEY
In The Lonely Letters, A tells Moth: “Writing about and thinking with joy is what sustains me, daily. It nourishes me. I do not write about joy primarily because I always have it. I write about joy, Black joy, because I want to generate it, I want it to emerge, I want to participate in its constant unfolding.” But alongside joy, A admits to Moth, come loneliness, exclusion, and unfulfilled desire. The Lonely Letters is an epistolary blackqueer critique of the normative world in which Ashon T. Crawley—writing as A—meditates on the interrelation of blackqueer life, sounds of the Black church, theology, mysticism, and love. Throughout his letters, A explores blackness and queerness in the musical and embodied experience of Blackpentecostal spaces and the potential for platonic and erotic connection in a world that conspires against blackqueer life. Both a rigorous study and a performance, The Lonely Letters gestures toward understanding the capacity for what we study to work on us, to transform us, and to change how we inhabit the world. Ashon T. Crawley is Associate Professor of Religious Studies and African American Studies at the University of Virginia.
Black queer studies/Religion/ Creative non-fiction
April 2020
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Latinx Art Artists, Markets, and Politics ARLENE DÁVILA In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila’s book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world. Arlene Dávila is Professor of Anthropology and American Studies at New York University. Latinx art
August 2020 List: $25.95 Discount: $15.57
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Beyond the World’s End Arts of Living at the Crossing T. J. DEMOS
Art/Environment
September 2020 List: $26.95 Discount: $16.17
In Beyond the World’s End T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah’s cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad’s autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future. T. J. Demos is Professor of History of Art and Visual Culture and Director of the Center for Creative Ecologies at the University of California, Santa Cruz.
Are You Entertained? Black Popular Culture in the Twenty-First Century SIMONE C. DRAKE and DWAN K. HENDERSON , editors
African American studies/ Cultural studies
February 2020
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The advent of the internet and the availability of social media and digital downloads have expanded the creation, distribution, and consumption of Black cultural production as never before. At the same time, a new generation of Black public intellectuals who speak to the relationship between race, politics, and popular culture has come into national prominence. The contributors to Are You Entertained? address these trends to consider what culture and blackness mean in the twenty-first century’s digital consumer economy. In this collection of essays, interviews, visual art, and an artist statement the contributors examine a range of topics and issues, from music, white consumerism, cartoons, and the rise of Black Twitter to the NBA’s dress code, dance, and Moonlight. Analyzing the myriad ways in which people perform, avow, politicize, own, and love blackness, this volume charts the shifting debates in Black popular culture scholarship over the past quarter century while offering new avenues for future scholarship. Simone C. Drake is Hazel C. Youngberg Trustees Distinguished Professor of African American and African Studies at the Ohio State University. Dwan K. Henderson is on the English and American Studies faculty at the Lovett School in Atlanta, Georgia.
Working Together Louis Draper and the Kamoinge Workshop SARAH ECKHARDT
Aart/African American Studies
February 2020
List: $40.00 Discount: $24.00 Published by the Virginia Museum of Fine Arts. Distributed by Duke University Press.
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Working Together accompanies the exhibition of African American photography to be presented by the Virginia Museum of Fine Arts in January 2020. Both the exhibition and catalogue draw heavily on the museum’s complete archives of papers and photographs of Virginia artist Louis Draper (1935–2002)—a key founding member, who chronicled the Kamoinge Workshop’s formation and development. Focusing on the collective’s first twenty years, this catalogue includes more than 140 photographs by fourteen of the early members, including Draper, Anthony Barboza, Adger Cowens, Danny Dawson, Al Fennar, Ray Francis, Herman Howard, Jimmie Mannas, Herb Randall, Herb Robinson, Beuford Smith, Ming Smith, Shawn Walker, and Calvin Wilson. The preface by Deborah Willis is followed by essays that explore Draper’s life and work; the history of The Black Photographers Annual; Kamoinge’s position in contemporary studies of the history of photography; the notion of collectivity among African American artists in the 1960s and 1970s; the social and political context of Kamoinge’s formation, with special attention to the civil rights movement and the Black Arts Movement; jazz; and Kamoinge’s influence on contemporary African American photographers. Sarah Eckhardt is Associate Curator of Modern and Contemporary Art, Virginia Museum of Fine Arts.
Art and Art History | new books
The Cuban Hustle Culture, Politics, Everyday Life SUJATHA FERNANDES In The Cuban Hustle, Sujatha Fernandes explores the multitudinous ways artists, activists, and ordinary Cubans have hustled to survive and express themselves in the aftermath of the Soviet Union’s collapse. Whether circulating information on flash drives as a substitute for the internet or building homemade antennas to listen to Miami’s hip hop radio stations, Cubans improvise alternative strategies and workarounds to contend with ongoing isolation. Throughout these essays, Fernandes examines the emergence of dynamic youth cultures and social movements as Cuba grappled with economic collapse, new digital technologies, the normalization of diplomatic ties with the United States during the Obama administration, and the regression of US-Cuban relations in the Trump era. From reflections on feminism, new Cuban cinema, and public art to urban slums, the Afro-Cuban movement, and rumba and hip hop, Fernandes reveals Cuba to be a world of vibrant cultures grounded in an ethos of invention and everyday hustle. Sujatha Fernandes is Professor of Political Economy and Sociology at the University of Sydney.
Cuba/Cultural studies/Latin American studies
October 2020
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The Play in the System The Art of Parasitical Resistance ANNA WATKINS FISHER What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism—tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins—from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus—have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today. Anna Watkins Fisher is Assistant Professor of American Culture at the University of Michigan, Ann Arbor.
Cultural studies/Performance studies/Feminist theory
October 2020
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Seeing by Electricity The Emergence of Television, 1878-1939 DORON GALILI Already in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would “see” by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s such as the Telectroscope, the Phantoscope, and the Distant Seer to the emergence of broadcast television in the 1930s. Galili examines how televisual technologies were understood in relation to film at different cultural moments—whether as a perfection of cinema, a threat to the Hollywood industry, or an alternative medium for avant-garde experimentation. Highlighting points of overlap and divergence in the histories of television and cinema, Galili demonstrates that the intermedial relationship between the two media did not start with their economic and institutional rivalry of the late 1940s but rather goes back to their very origins. In so doing, he brings film studies and television studies together in ways that advance contemporary debates in media theory. Doron Galili is Researcher in the Department of Media Studies at Stockholm University.
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Television/History of technology/Cinema
February 2020
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A Time of Youth San Francisco, 1966–1967 WILLIAM GEDNEY Edited by LISA MCCARTY with an essay by PHILIP GEFTER
Photography
February 2021 List: $45.00 Discount: $27.00
A year before 1967’s famed Summer of Love, documentary photographer William Gedney set out for San Francisco on a Guggenheim Fellowship to record “aspects of our culture which I believe significant and which I hope will become, in time, part of the visual record of American history.” A Time of Youth brings together eighty-seven of the more than two thousand photographs Gedney took in San Francisco’s Haight-Ashbury neighborhood between October 1966 and January 1967. In these photographs Gedney documents the restless and intertwined lives of the disenchanted youth who flocked to what became the epicenter of 1960s counterculture. Gedney lived among these young people in their communal homes, where he captured the intimate and varied contours of everyday life: solitude and companionship, joyous celebration and somber quiet, cramped rooms and spacious parks, recreation and contemplation. In these images Gedney presents a portrait of a San Francisco counterculture that complicates popular depictions of late 1960s youth as carefree flower children. The book also includes facsimiles of handwritten descriptions of the scenes Gedney photographed, his thoughts on organizing the book, and other ephemera. William Gedney (1932–1989) was an American documentary photographer. His work has been exhibited at the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Pratt Institute; and CSMVS, Mumbai, among other museums. Lisa McCarty is Assistant Professor of Photography at Southern Methodist University. Philip Gefter is a photography critic.
The Voice in the Headphones DAVID GRUBBS
The voice in the headphones says, “you’re rolling” . . .
Music/Poetry/Sound Studies
March 2020
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The Voice in the Headphones is an experiment in music writing in the form of a long poem centered on the culture of the recording studio. It describes in intricate, prismatic detail one marathon day in a recording studio during which an unnamed musician struggles to complete a film soundtrack. The book extends the form of Grubbs’s previous volume Now that the audience is assembled, sharing its goal of musicalizing the language of writing about music. Mulling the insight that “studio is the absence of pushback”—now that no audience is assembled—The Voice in the Headphones details one musician’s strategies for applying the requisite pressure to the proceedings, for making it count. The Voice in the Headphones is both a literary work and a meditation on sound recording, delivered at a moment in which the commercial recording studio shades into oblivion. It draws upon Grubbs’s own history of several decades as a recording artist, and its location could be described as every studio in which he has set foot. David Grubbs is Professor of Music at Brooklyn College and The Graduate Center, City University of New York. As a musician, Grubbs has released fourteen solo albums and appeared on more than 190 commercially released recordings.
Dub Finding Ceremony ALEXIS PAULINE GUMBS The concluding volume in a poetic trilogy, Alexis Pauline Gumbs’s Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise. In these prose poems, Gumbs channels the voices of her ancestors, including whales, coral, and oceanic bacteria, to tell stories of diaspora, indigeneity, migration, blackness, genius, mothering, grief, and harm. Tracing the origins of colonialism, genocide, and slavery as they converge in Black feminist practice, Gumbs explores the potential for the poetic and narrative undoing of the knowledge that underpins the concept of Western humanity. Throughout, she reminds us that dominant modes of being human and the oppression those modes create can be challenged, and that it is possible to make ourselves and our planet anew. Poetry/Black feminism/ Caribbean Theory
Alexis Pauline Gumbs is a poet, independent scholar, and activist.
February 2020
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Art and Art History | new books
Wild Things The Disorder of Desire JACK HALBERSTAM In Wild Things Jack Halberstam offers an alternative history of sexuality by tracing the ways in which wildness has been associated with queerness and queer bodies throughout the twentieth century. Halberstam theorizes the wild as an unbounded and unpredictable space that offers sources of opposition to modernity’s orderly impulses. Wildness illuminates the normative taxonomies of sexuality against which radical queer practice and politics operate. Throughout, Halberstam engages with a wide variety of texts, practices, and cultural imaginaries—from zombies, falconry, and M. NourbeSe Philip’s Zong! to Maurice Sendak’s Where the Wild Things Are and the career of Irish anticolonial revolutionary Roger Casement—to demonstrate how wildness provides the means to know and to be in ways that transgress Euro-American notions of the modern liberal subject. With Wild Things, Halberstam opens new possibilities for queer theory and for wild thinking more broadly. Jack Halberstam is Professor of English and Gender Studies at Columbia University.
Queer theory/Cultural studies
October 2020
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Aesthetics of Excess The Art and Politics of Black and Latina Embodiment JILLIAN HERNANDEZ Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine: working-class Black and Latina girls and women are often framed as embodying “excessive” styles that are presumed to indicate sexual deviance. In Aesthetics of Excess Jillian Hernandez examines how middle-class discourses of aesthetic value racialize the bodies of women and girls of color. At the same time, their style can be a source of cultural capital when appropriated by the contemporary art scene. Drawing on her community arts work with Black and Latina girls in Miami, Hernandez analyzes the art and self-image of these girls alongside works produced by contemporary artists and pop musicians such as Wangechi Mutu, Kara Walker, and Nicki Minaj. Through these relational readings, Hernandez shows how notions of high and low culture are complicated when women and girls of color engage in cultural production and how they challenge the policing of their bodies and sexualities through artistic authorship. Jillian Hernandez is Assistant Professor of Gender, Sexualities, and Women’s Studies at the University of Florida.
Women’s studies/Latinx and Black studies/Art
November 2020
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Anaesthetics of Existence Essays on Experience at the Edge CRESSIDA J. HEYES “Experience” is a thoroughly political category, a social and historical product not authored by any individual. At the same time, “the personal is political,” and one’s own lived experience is an important epistemic resource. In Anaesthetics of Existence Cressida J. Heyes reconciles these two positions, drawing on examples of things that happen to us but are nonetheless excluded from experience. If for Foucault an “aesthetics of existence” was a project of making one’s life a work of art, Heyes’s “anaesthetics of existence” describes antiprojects that are tacitly excluded from life— but should be brought back in. Drawing on critical phenomenology, genealogy, and feminist theory, Heyes shows how and why experience has edges, and she analyzes phenomena that press against those edges. Essays on sexual violence against unconscious victims, the temporality of drug use, and childbirth as a limit-experience build a politics of experience while showcasing Heyes’s much-needed new philosophical method. Cressida J. Heyes is H. M. Tory Chair and Professor of Political Science and Philosophy at the University of Alberta.
dukeupress.edu
Philosophy/Feminist theory
May 2020
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Gods in the Time of Democracy KAJRI JAIN
Art and visual culture/South Asian studies
February 2021
In 2018 India’s prime minister, Narendra Modi, inaugurated the world’s tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India’s economic reforms of the 1990s. In Gods in the Time of Democracy Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the “infrastructures of the sensible.” Kajri Jain is Associate Professor of Art History and Visual Studies at the University of Toronto.
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AFRICOBRA Experimental Art toward a School of Thought WADSWORTH A. JARRELL With a foreword by RICHARD ALLEN MAY and an afterword by EDMUND BARRY GAITHER
Art/African American studies
May 2020
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Formed on the South Side of Chicago in 1968 at the height of the civil rights, Black power, and Black arts movements, the AFRICOBRA collective created a new artistic visual language rooted in the culture of Chicago’s Black neighborhoods. The collective’s aesthetics, especially the use of vibrant color, capture the rhythmic dynamism of Black culture and social life. In AFRICOBRA, painter, photographer, and collective cofounder Wadsworth A. Jarrell tells the definitive story of the group’s creation, history, and artistic and political principles. From accounts of the painting of the groundbreaking Wall of Respect mural and conversations among group members to documentation of AFRICOBRA’s exhibits in Chicago, New York, and Boston, Jarrell outlines how the collective challenged white conceptions of art by developing an artistic philosophy and approach wholly divested of Western practices. Featuring nearly one hundred color images of artworks, exhibition ephemera, and photographs, this book is at once a sourcebook history of AFRICOBRA and the story of visionary artists who rejected the white art establishment in order to create uplifting art for all Black people. Wadsworth A. Jarrell is a cofounder of AFRICOBRA and a visual artist who has taught art at Howard University, the University of Georgia, and Spelman College.
Wild Blue Media Thinking through Seawater MELODY JUE
Environmental humanities/ Media studies/Literary studies
February 2020
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In Wild Blue Media, Melody Jue destabilizes terrestrial-based ways of knowing and reorients our perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived. By recentering media theory on and under the sea, Jue calls attention to the differences between perceptual environments and how we think within and through them as embodied observers. In doing so, she provides media studies with alternatives to familiar theoretical frameworks, thereby challenging scholars to navigate unfamiliar oceanic conditions of orientation, materiality, and saturation. Jue not only examines media about the ocean—science fiction narratives, documentary films, ocean data visualizations, animal communication methods, and underwater art—but reexamines media through the ocean, submerging media theory underwater to estrange it from terrestrial habits of perception while reframing our understanding of mediation, objectivity, and metaphor. Melody Jue is Assistant Professor of English at the University of California, Santa Barbara.
Art and Art History | new books
Otherwise Worlds Against Settler Colonialism and Anti-Blackness TIFFANY LETHABO KING , JENELL NAVARRO , and ANDREA SMITH , editors The contributors to Otherwise Worlds investigate the complex relationships between settler colonialism and anti-Blackness to explore the political possibilities that emerge from such inquiries. Pointing out that presumptions of solidarity, antagonism, or incommensurability between Black and Native communities are insufficient to understand the relationships between the groups, the volume’s scholars, artists, and activists look to articulate new modes of living and organizing in the service of creating new futures. Among other topics, they examine the ontological status of Blackness and Indigeneity, possible forms of relationality between Black and Native communities, perspectives on Black and Indigenous sociality, and freeing the flesh from the constraints of violence and settler colonialism. Throughout the volume’s essays, art, and interviews, the contributors carefully attend to alternative kinds of relationships between Black and Native communities that can lead toward liberation. In so doing, they critically point to the importance of Black and Indigenous conversations for formulating otherwise worlds. Tiffany Lethabo King is Assistant Professor of Women’s, Gender, and Sexuality Studies at Georgia State University. Jenell Navarro is Associate Professor of Ethnic Studies at California Polytechnic State University, San Luis Obispo. Andrea Smith is Professor of Ethnic Studies at the University of California, Riverside.
Black studies/Native and Indigenous studies/Gender studies
May 2020
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Every Day I Write the Book Notes on Style AMITAVA KUMAR Amitava Kumar’s Every Day I Write the Book is for academic writers what Annie Dillard’s The Writing Life and Stephen King’s On Writing are for creative writers. Alongside Kumar’s interviews with an array of scholars whose distinct writing offers inspiring examples for students and academics alike, the book’s pages are full of practical advice about everything from how to write criticism to making use of a kitchen timer. Communication, engagement, honesty: these are the aims and sources of good writing. Storytelling, attention to organization, solid work habits: these are its tools. Kumar’s own voice is present in his essays about the writing process and in his perceptive and witty observations on the academic world. A writing manual as well as a manifesto, Every Day I Write the Book will interest and guide aspiring writers everywhere. Amitava Kumar is Helen D. Lockwood Professor of English at Vassar College.
Style guides
March 2020 List: $24.95 Discount: $14.97
Utopian Ruins A Memorial Museum of the Mao Era JIE LI In Utopian Ruins Jie Li traces the creation, preservation, and elision of memories about China’s Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and its cataclysmic reverberations. Li proposes a critical framework for understanding the documentation and transmission of the socialist past that mediates between nostalgia and trauma, anticipation and retrospection, propaganda and testimony. Assembling each chapter like a memorial exhibit, Li explores how corporeal traces, archival documents, camera images, and material relics serve as commemorative media. Prison writings and police files reveal the infrastructure of state surveillance and testify to revolutionary ideals and violence, victimhood and complicity. Photojournalism from the Great Leap Forward and documentaries from the Cultural Revolution promoted faith in communist miracles while excluding darker realities, whereas Mao memorabilia collections, factory ruins, and memorials at trauma sites remind audiences of the Chinese Revolution’s unrealized dreams and staggering losses. Jie Li is Loeb Associate Professor of the Humanities in the Department of East Asian Languages and Civilizations at Harvard University.
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Asian studies/Museum studies/ Media studies
December 2020
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11
The Meaning of Soul Black Music and Resilience since the 1960s EMILY J. LORDI
Music/African American studies
August 2020
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In The Meaning of Soul, Emily J. Lordi proposes a new understanding of this famously elusive concept. In the 1960s, Lordi argues, soul came to signify a cultural belief in black resilience, which was enacted through musical practices— inventive cover versions, falsetto vocals, ad-libs, and false endings. Through these soul techniques, artists such as Aretha Franklin, Donny Hathaway, Nina Simone, Marvin Gaye, Isaac Hayes, and Minnie Riperton performed virtuosic survivorship and thus helped to galvanize black communities in an era of peril and promise. Their soul legacies were later reanimated by such stars as Prince, Solange Knowles, and Flying Lotus. Breaking with prior understandings of soul as a vague masculinist political formation tethered to the Black Power movement, Lordi offers a vision of soul that foregrounds the intricacies of musical craft, the complex personal and social meanings of the music, the dynamic movement of soul across time, and the leading role played by black women in this musical-intellectual tradition. Emily J. Lordi is Associate Professor of English at Vanderbilt University.
Black Diamond Queens African American Women and Rock and Roll MAUREEN MAHON
Music/African American studies/Women’s studies
October 2020
African American women have played a pivotal part in rock and roll—from laying its foundations and singing chart-topping hits to influencing some of the genre’s most iconic acts. Despite this, black women’s importance to the music’s history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century. Maureen Mahon is Associate Professor of Music at New York University.
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Unseeing Empire Photography, Representation, South Asian America BAKIRATHI MANI
Photography/Asian American studies/Postcolonial studies
November 2020
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12
In Unseeing Empire Bakirathi Mani examines how empire continues to haunt South Asian American visual cultures. Weaving close readings of fine art together with archival research and ethnographic fieldwork at museums and galleries across South Asia and North America, Mani outlines the visual and affective relationships between South Asian diasporic artists, their photographic work, and their viewers. She notes that the desire for South Asian Americans to see visual representations of themselves is rooted in the use of photography as a form of colonial documentation and surveillance. She examines fine art photography by South Asian diasporic artists who employ aesthetic strategies such as duplication and alteration that run counter to viewers’ demands for greater visibility. These works fail to deliver on viewers’ desires to see themselves, producing instead feelings of alienation, estrangement, and loss. These feelings, Mani contends, allow viewers to question their own visibility as South Asian Americans in U.S. public culture and to reflect on their desires to be represented. Bakirathi Mani is Professor of English Literature at Swarthmore College.
Art and Art History | new books
For a Pragmatics of the Useless ERIN MANNING
What has a use in the future, unforeseeably, is radically useless now. What has an effect now is not necessarily useful if it falls through the gaps. In For a Pragmatics of the Useless Erin Manning examines what falls outside the purview of already-known functions and established standards of value, not for want of potential but for carrying an excess of it. The figures are various: the infrathin, the artful, proprioceptive tactility, neurodiversity, black life. It is around the latter two that a central refrain echoes: “All black life is neurodiverse life.” This is not an equation, but an “approximation of proximity.” Manning shows how neurotypicality and whiteness combine to form a normative baseline for existence. Blackness and neurodiversity “schizz” around the baseline, uselessly, pragmatically, figuring a more-than of life living. Manning, in dialogue with Félix Guattari and drawing on the black radical tradition’s accounts of black life and the aesthetics of black sociality, proposes a “schizoanalysis” of the more-than, charting a panoply of techniques for other ways of living and learning. Erin Manning is Professor in the Faculty of Fine Arts at Concordia University.
Theory and philosophy/ Neurodiversity/Black studies
November 2020
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The Future of Fallout, and Other Episodes in Radioactive World-Making JOSEPH MASCO
In The Future of Fallout, and Other Episodes in Radioactive World-Making Joseph Masco examines the strange American intimacy with and commitment to existential danger. Tracking the simultaneous production of nuclear emergency and climate disruption since 1945, he focuses on the psychosocial accommodations as well as the technological revolutions that have produced these linked planetary-scale disasters. Masco assesses the memory practices, visual culture, concepts of danger, and toxic practices that, in combination, have generated a U.S. national security culture that promises ever more safety and comfort in everyday life but does so only by generating and deferring a vast range of violences into the collective future. Interrogating how this existential lag (i.e., the material and conceptual fallout of the twentieth century in the form of nuclear weapons and petrochemical capitalism) informs life in the twenty-first century, Masco identifies key moments when other futures were still possible and seeks to activate an alternative, postnational security political imaginary in support of collective life today. Joseph Masco is Professor of Anthropology at the University of Chicago.
American studies/Science studies/Anthropology
January 2021
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Dear Science and Other Stories KATHERINE MCKITTRICK
In Dear Science and Other Stories Katherine McKittrick presents a creative and rigorous study of black and anticolonial methodologies. Drawing on black studies, studies of race, cultural geography, and black feminism as well as a mix of methods, citational practices, and theoretical frameworks, she positions black storytelling and stories as strategies of invention and collaboration. She analyzes a number of texts from intellectuals and artists ranging from Sylvia Wynter to the electronica band Drexciya to explore how narratives of imprecision and relationality interrupt knowledge systems that seek to observe, index, know, and discipline blackness. Throughout, McKittrick offers curiosity, wonder, citations, numbers, playlists, friendship, poetry, inquiry, song, grooves, and anticolonial chronologies as interdisciplinary codes that entwine with the academic form. Suggesting that black life and black livingness are, in themselves, rebellious methodologies, McKittrick imagines without totally disclosing the ways in which black intellectuals invent ways of living outside prevailing knowledge systems. Katherine McKittrick is Professor of Gender Studies at Queen’s University.
Black studies/Gender studies/ Geography
January 2021
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13
Japonisme and the Birth of Cinema DAISUKE MIYAO
Film/Art and visual culture/ Japan
August 2020
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In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualité films made by the Lumière brothers between 1895 and 1905. Examining nearly 1,500 Lumière films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumière films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumière films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumière brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West. Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego.
Keith Haring’s Line Race and the Performance of Desire RICARDO MONTEZ
Art/Performance studies/ LGBTQ studies
September 2020
In the thirty years since his death, Keith Haring—a central presence on the New York downtown scene of the 1980s—has remained one of the most popular figures in contemporary American art. In one of the first book-length treatments of Haring’s artistry, Ricardo Montez traces the drawn and painted line that was at the center of Haring’s artistic practice and with which the artist marked canvases, subway walls, and even human flesh. Keith Haring’s Line unites performance studies, critical race studies, and queer theory in an exploration of cross-racial desire in Haring’s life and art. Examining Haring’s engagements with artists such as dancer and choreographer Bill T. Jones, graffiti artist LA II, and iconic superstar Grace Jones, Montez confronts Haring’s messy relationships to race-making and racial imaginaries, highlighting scenes of complicity in order to trouble both the positive connotations of inter-racial artistic collaboration and the limited framework of appropriation. Ricardo Montez is Associate Professor of Performance Studies, Schools of Public Engagement, The New School.
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Embodying Relation Art Photography in Mali ALLISON MOORE
Contemporary Art/ Photography/African studies
June 2020
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In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou Keïta and Malick Sidibé became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s—when photography first arrived as an apparatus of French colonialism—to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa’s most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of Keïta and Sidibé, the biennale’s structure, the rise of women photographers, cultural preservation through photography, and how Mali’s shift to democracy in the early 1990s enabled Bamako’s art scene to flourish. Moore shows how Malian photographers’ focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant’s notion of “relation” in ways that spark new artistic forms, practices, and communities. Allison Moore has a PhD in Art History from the Graduate Center, City University of New York, and has published in numerous journals and exhibition catalogs.
14
Art and Art History | new books
The Sense of Brown
JOSÉ ESTEBAN MUÑOZ Edited and with an Introduction by JOSHUA CHAMBERS-LETSON and TAVIA NYONG'O
The Sense of Brown is José Esteban Muñoz’s treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad. This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world. José Esteban Muñoz (1967–2013) was Professor of Performance Studies at New York University. Joshua Chambers-Letson is Professor of Performance Studies at Northwestern University. Tavia Nyong’o is Professor of American Studies, African American Studies, and Theater and Performance Studies at Yale University.
Queer theory/Critical ethnic studies/Performance studies
October 2020
List: $25.95 Discount: $15.57
Tropical Aesthetics of Black Modernism SAMANTHA A. NOËL
In Tropical Aesthetics of Black Modernism, Samantha A. Noël investigates how Black Caribbean and American artists of the early twentieth century responded to and challenged colonial and other white-dominant regimes through tropicalist representation. With depictions of tropical scenery and landscapes situated throughout the African diaspora, performances staged in tropical settings, and bodily expressions of tropicality during Carnival, artists such as Aaron Douglas, Wifredo Lam, Josephine Baker, and Maya Angelou developed what Noël calls “tropical aesthetics”—using art to name and reclaim spaces of Black sovereignty. As a unifying element in the Caribbean modern art movement and the Harlem Renaissance, tropical aesthetics became a way for visual artists and performers to express their sense of belonging to and rootedness in a place. Tropical aesthetics, Noël contends, became central to these artists’ identities and creative processes while enabling them to craft alternative Black diasporic histories. In outlining the centrality of tropical aesthetics in the artistic and cultural practices of Black modernist art, Noël recasts understandings of African diasporic art. Samantha A. Noël is Assistant Professor in Art History at Wayne State University.
Art history/Black Diaspora/ Modernism
February 2021
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Writing in Space, 1973–2019 LORRAINE O’GRADY
Edited and with an Introduction by ARUNA D'SOUZA
Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O’Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O’Grady’s wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic “Olympia’s Maid”; and interviews in which O’Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O’Grady’s writings—introduced in this collection by critic and curator Aruna D’Souza—offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art. Lorraine O’Grady is an artist whose work has been shown in solo and group exhibitions in museums and galleries throughout the world, including the Brooklyn Museum, the Museum of Fine Arts, Boston, The Studio Museum in Harlem, the Whitney Museum of American Art, Tate Modern, and the Palais de Tokyo. Her art can be seen in numerous public collections throughout the United States and Europe. Aruna D’Souza is an art critic, curator, and author, most recently of Whitewalling: Art, Race, and Protest in 3 Acts.
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Art and Visual Culture/African American studies and Black Diaspora/Performance Art
November 2020
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15
Atmospheric Noise The Indefinite Urbanism of Los Angeles MARINA PETERSON
Anthropology/Sound studies/ Urban studies
February 2021
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In Atmospheric Noise, Marina Peterson traces entanglements of environmental noise, atmosphere, sense, and matter that cohere in and through encounters with airport noise since the 1960s. Exploring spaces shaped by noise around Los Angeles International Airport (LAX), she shows how noise is a way of attuning toward the atmospheric: through noise we learn to listen to the sky and imagine the permeability of bodies and matter, sensing and conceiving that which is diffuse, indefinite, vague, and unformed. In her account, the “atmospheric” encompasses the physicality of the ephemeral, dynamic assemblages of matter as well as a logic of indeterminacy. It is audible as well as visible, heard as much as breathed. Peterson develops a theory of “indefinite urbanism” to refer to marginalized spaces of the city where concrete meets sky, windows resonate with the whine of departing planes, and endangered butterflies live under flight paths. Offering a conceptualization of sound as immanent and non-objectified, she demonstrates ways in which noise is central to how we know, feel, and think atmospherically. Marina Peterson is Associate Professor of Anthropology at the University of Texas at Austin.
The Small Book of Hip Checks On Queer Gender, Race, and Writing ERICA R and
Queer and Trans studies/Writing
January 2021
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In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check—including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender—to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked. Erica Rand is Professor of Art and Visual Culture and of Gender and Sexuality Studies at Bates College.
Putting the Humanities PhD to Work Thriving in and beyond the Classroom KATINA L. ROGERS
Higher education/Careers
August 2020
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In Putting the Humanities PhD to Work Katina L. Rogers grounds practical career advice in a nuanced consideration of the current landscape of the academic workforce. Drawing on surveys, interviews, and personal experience, Rogers explores the evolving rhetoric and practices regarding career preparation and how those changes intersect with admissions practices, scholarly reward structures, and academic labor practices—especially the increasing reliance on contingent labor. Rogers invites readers to consider how graduate training can lead to meaningful and significant careers beyond the academy. She provides graduate students with context and analysis to inform the ways they discern their own potential career paths while taking an activist perspective that moves toward individual success and systemic change. For those in positions to make decisions in humanities departments or programs, Rogers outlines the circumstances and pressures that students face and gives examples of programmatic reform that address career matters in structural ways. Throughout, Rogers highlights the important possibility that different kinds of careers offer engaging, fulfilling, and even unexpected pathways for students who seek them out. Katina L. Rogers is Co-Director of the Futures Initiative and Director of Programs and Administration of HASTAC at The Graduate Center, City University of New York.
16
Art and Art History | new books
Building Socialism The Afterlife of East German Architecture in Urban Vietnam CHRISTINA SCHWENKEL Following a decade of U.S. bombing campaigns that obliterated northern Vietnam, East Germany helped Vietnam rebuild in an act of socialist solidarity. In Building Socialism Christina Schwenkel examines the utopian visions of an expert group of Vietnamese and East German urban planners who sought to transform the devastated industrial town of Vinh into a model socialist city. Drawing on archival and ethnographic research in Vietnam and Germany with architects, engineers, construction workers, and tenants in Vinh’s mass housing complex, Schwenkel explores the material and affective dimensions of urban possibility and the quick fall of Vinh’s new built environment into unplanned obsolescence. She analyzes the tensions between aspirational infrastructure and postwar uncertainty to show how design models and practices that circulated between the socialist North and the decolonizing South underwent significant modification to accommodate alternative cultural logics and ideas about urban futurity. By documenting the building of Vietnam’s first planned city and its aftermath of decay and repurposing, Schwenkel argues that underlying the ambivalent and often unpredictable responses to modernist architectural forms were anxieties about modernity and the future of socialism itself.
Anthropology/Southeast Asian studies/Architecture
November 2020
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Christina Schwenkel is Professor of Anthropology at the University of California, Riverside.
The Process Genre Cinema and the Aesthetic of Labor SALOMÉ AGUILERA SKVIRSKY From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers’s classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society’s level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory. Salomé Aguilera Skvirsky is Assistant Professor of Cinema and Media Studies at the University of Chicago.
Film theory/Cultural studies
March 2020
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Liquor Store Theatre MAYA STOVALL
With a foreword by CHRISTOPHER Y. LEW
For six years Maya Stovall staged Liquor Store Theatre, a conceptual art and anthropology video project—included in the Whitney Biennial in 2017—in which she danced near the liquor stores in her Detroit neighborhood as a way to start conversations with her neighbors. In this book of the same name, Stovall uses the project as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. Her conversations with her neighbors—which touch on everything from economics, aesthetics, and sex to the political and economic racism that undergirds Detroit’s history—bring to light rarely acknowledged experiences of longtime Detroiters. In these exchanges, Stovall enacts an innovative form of ethnographic engagement that offers new modes of integrating the social sciences with the arts in ways that exceed what either approach can achieve alone. Maya Stovall is Assistant Professor of Liberal Studies at California State Polytechnic University, Pomona, and an artist whose work has been exhibited and performed at institutions and events throughout the world.
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Contemporary Art/ Anthropology/American studies
November 2020
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17
Demanding Images Democracy, Mediation, and the Image-Event in Indonesia KAREN STRASSLER
Anthropology/Southeast Asia/ Visual culture
March 2020
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The end of authoritarian rule in 1998 ushered in an exhilarating but unsettled period of democratization in Indonesia. A more open political climate converged with a rapidly changing media landscape, yielding a vibrant and volatile public sphere within which Indonesians grappled with the possibilities and limits of democracy amid entrenched corruption, state violence, and rising forms of intolerance. In Demanding Images Karen Strassler theorizes imageevents as political processes in which publicly circulating images become the material ground of struggles over the nation’s past, present, and future. Considering photographs, posters, contemporary art, graffiti, selfies, memes, and other visual media, she argues that people increasingly engage with politics through acts of making, circulating, manipulating, and scrutinizing images. Demanding Images is both a closely observed account of Indonesia’s turbulent democratic transition and a globally salient analysis of the work of images in the era of digital media and neoliberal democracy. Strassler reveals politics today to be an unruly enterprise profoundly shaped by the affective and evidentiary force of images. Karen Strassler is Associate Professor of Anthropology at Queens College and The Graduate Center, City University of New York.
Space Is the Place The Lives and Times of Sun Ra JOHN SZWED With a new preface
Music/Biography/African American studies
May 2020
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Considered by many to be a founder of Afrofuturism, Sun Ra—aka Herman Blount—was a composer, keyboardist, bandleader, philosopher, entrepreneur, poet, and self-proclaimed extraterrestrial from Saturn. He recorded over 200 albums with his Arkestra, which, dressed in Egypto-space costumes, played everything from boogie-woogie and swing to fusion and free jazz. John Szwed’s Space is the Place is the definitive biography of this musical polymath, who was one of the twentieth century’s greatest avant-garde artists and intellectuals. Charting the whole of Sun Ra’s life and career, Szwed outlines how after years in Chicago as a blues and swing band pianist, Sun Ra set out in the 1950s to impart his views about the galaxy, black people, and spiritual matters by performing music with the Arkestra that was as vital and innovative as it was mercurial and confounding. Szwed’s readers—whether they are just discovering Sun Ra or are among the legion of poets, artists, intellectuals, and musicians who consider him a spiritual godfather—will find that, indeed, space is the place. John Szwed is Adjunct Senior Research Scholar in the Center for Jazz Studies at Columbia University.
¡Presente! The Politics of Presence DIANA TAYLOR In ¡Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps ¡presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. ¡Presente!—present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition—requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles. Performance studies / Hemispheric/Latin American studies / Decolonial theory
August 2020
Diana Taylor is University Professor and Professor of Performance Studies and Spanish at New York University. Taylor was founding director of the Hemispheric Institute of Performance and Politics from 1998 to 2020. In 2018 she was inducted into the American Academy of Arts and Sciences.
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18
Art and Art History | new books
Visualizing Fascism The Twentieth-Century Rise of the Global Right JULIA ADENEY THOMAS and GEOFF ELEY, editors Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism’s populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today. Julia Adeney Thomas is Associate Professor of History at the University of Notre Dame. Geoff Eley is Karl Pohrt
History/Visual culture
February 2020
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Distinguished University Professor of Contemporary History at the University of Michigan.
The Wombs of Women Race, Capital, Feminism FRANÇOISE VERGÈS Translated and with an introduction by KAIAMA L. GLOVER
In the 1960s thousands of poor women of color on the (post)colonial French island of Reunion had their pregnancies forcefully terminated by white doctors; the doctors operated under the pretext of performing benign surgeries, for which they sought government compensation. When the scandal broke in 1970, the doctors claimed to have been encouraged to perform these abortions by French politicians who sought to curtail reproduction on the island, even though abortion was illegal in France. In The Wombs of Women—first published in French and appearing here in English for the first time—Françoise Vergès traces the long history of colonial state intervention in black women’s wombs during the slave trade and postslavery imperialism as well as in current birth control politics. She examines the women’s liberation movement in France in the 1960s and 1970s, showing that by choosing to ignore the history of the racialization of women’s wombs, French feminists inevitably ended up defending the rights of white women at the expense of women of color. Ultimately, Vergès demonstrates how the forced abortions on Reunion were manifestations of the legacies of the racialized violence of slavery and colonialism.
Feminist theory/Postcolonial studies
August 2020
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Françoise Vergès is an antiracist feminist activist, a public educator, an independent curator, and the cofounder of the collective Decolonize the Arts and of the free and open university Decolonizing the Arts. Kaiama L. Glover is Ann Whitney Olin Professor of French and Africana Studies at Barnard College.
Afterlives of Affect Science, Religion, and an Edgewalker’s Spirit MATTHEW C. WATSON In Afterlives of Affect Matthew C. Watson considers the life and work of artist and Mayanist scholar Linda Schele (1942–98) as a point of departure for what he calls an excitable anthropology. As part of a small collective of scholars who devised the first compelling arguments that Maya hieroglyphs were a fully grammatical writing system, Schele popularized the decipherment of hieroglyphs by developing narratives of Maya politics and religion in popular books and public workshops. In this experimental, person-centered ethnography, Watson shows how Schele’s sense of joyous discovery and affective engagement with research led her to traverse and disrupt borders between religion, science, art, life, death, and history. While acknowledging critiques of Schele’s work and the idea of discovery more generally, Watson contends that affect and wonder should lie at the heart of any reflexive anthropology. With this singular examination of Schele and the community she built around herself and her work, Watson furthers debates on more-than-human worlds, spiritualism, modernity, science studies, affect theory, and the social conditions of knowledge production. Matthew C. Watson is Assistant Professor of Anthropology at Mount Holyoke College.
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Anthropology/Cultural studies/ Affect theory
August 2020
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19
The Aesthetics of Resistance, Volume II A Novel PETER WEISS Translated from the German by JOEL SCOTT, with an afterword by JÜRGEN SCHUTTE.
A major literary event, the publication of the second volume of Peter Weiss’s three-volume novel The Aesthetics of Resistance makes one of the towering works of twentieth-century German literature available to English-speaking readers for the first time. The crowning achievement of Peter Weiss, the internationally renowned writer best known for his play Marat/Sade, The Aesthetics of Resistance spans the period from the late 1930s to World War II, dramatizing antifascist resistance and the rise and fall of proletarian political parties in Europe.
Fiction/German literature
February 2020
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Volume II, initially published in 1978, opens with the unnamed narrator in Paris after having retreated from the front lines of the Spanish Civil War. From there, he moves on to Stockholm, where he works in a factory, becomes involved with the Communist Party, and meets Bertolt Brecht. Featuring the narrator’s extended meditations on paintings, sculpture, and literature, the novel teems with characters, almost all of whom are based on historical figures. Throughout, the narrator explores the affinity between political resistance and art—the connection at the heart of Weiss’s novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history. Peter Weiss (1916–1982) was a German playwright, novelist, filmmaker, and painter. He received West Germany’s most important literary award, the Georg Büchner Prize, posthumously in 1982. Joel Scott is a freelance translator, editor, and writer.
Disordering the Establishment Participatory Art and Institutional Critique in France, 1958–1981 LILY WOODRUFF
Art history
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In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In Disordering the Establishment Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals’ modeling of society. Artists and collectives such as Daniel Buren, André Cadere, the Groupe de Recherche d’Art Visuel, and the Collectif d’Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment. Lily Woodruff is Associate Professor of Art History and Visual Culture at Michigan State University.
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Two issues annually | view online
Camera Obscura Feminism, Culture, and Media Studies
LALITHA GOPALAN, LYNNE JOYRICH, HOMAY KING, BLISS CUA LIM, CONSTANCE PENLEY, TESS TAKAHASHI, PATRICIA WHITE, and SHARON WILLIS, editors Three issues annually | view online
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Three issues annually | view online
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JOHN ARMITAGE, RYAN BISHOP, MARK FEATHERSTONE, and DOUGLAS KELLNER, editors Three issues annually | view online
differences A Journal of Feminist Cultural Studies ELIZABETH WEED and ELLEN ROONEY, editors
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GLQ
positions
A Journal of Lesbian and Gay Studies
asia critique
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Quarterly | view online
Journal of Chinese Literature and Culture XINGPEI YUAN and ZONG-QI CAI, editors
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liquid blackness journal of aesthetics and black studies ALESSANDRA RAENGO and LAUREN CRAMER, editors
TANI BARLOW, editor Quarterly | view online
Public Culture
ARJUN APPADURAI and ERICA ROBLES-ANDERSON, editors Three issues annually | view online
Radical History Review Edited by RHR EDITORIAL
COLLECTIVE Three issues annually | view online
Small Axe
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A Caribbean Journal of Criticism
Nka
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Journal of Contemporary African Art
SALAH M. HASSAN and CHIKA OKEKE-AGULU, editors
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Poetics Today International Journal for Theory and Analysis of Literature and Communication
DAVID SCOTT, editor
Social Text
JAYNA BROWN and DAVID SARTORIUS, editors Quarterly | view online
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TOM SELLAR, editor Three issues annually | view online
MILETTE SHAMIR and IRENE TUCKER, editors
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