A profound and unparalleled literary voice, Zadie Smith returns with a resounding collection of essays

In the past two decades, few writers have mastered the craft and art of the essay in the way that Zadie Smith has. Her writing, at once an occasion for personal reckoning and communal reflection, studies the fault lines that divide us and consistently finds grounds for solidarity and compassion.

This eagerly awaited new collection brings Smith’s dexterity as an essayist to bear on a range of subjects that have captured her attention in recent years. Organized in five thematic sections—eyeballing, considering, reconsidering, mourning, and confessing—she unspools intimate dialogues with various sources of inspiration. She takes an exhilaratingly close look at artists Toyin Ojih Odutola and Kara Walker. She invites us along to the movies in her review of Tár, a Pulitzer Prize finalist, and to her desk while researching the Tichborne trial and writing her New York Times bestselling novel The Fraud. She asks us to take another look at Flannery O'Connor and to mourn with her the passing of writers Joan Didion, Martin Amis, Hilary Mantel, Philip Roth, and Toni Morrison. And she shows us once again in Dead and Alive her unrivaled ability to think through, critically and humanely, some of the most urgent preoccupations of our troubled times.

With an eye toward the past and the present, Smith examines what it means to identify with our contemporary world and the history that frames it.

Featuring more than 100 artists, this landmark book charts the intricate connections between photography and the Black Arts Movement
 
The Black Arts Movement brought together writers, filmmakers, and visual artists who were exploring ways of using art to advance civil rights and Black self-determination. This book examines the vital role of photography in the evolution of the Black Arts Movement, revealing how photographs operated across art, community building, journalism, and political messaging to contribute to the development of a distinctly Black art and culture.
 
Works by Romare Bearden, Dawoud Bey, Kwame Brathwaite, Samuel Fosso, Jeanne Moutoussamy-Ashe, Gordon Parks, Juan Sánchez, Robert A. Sengstacke, Lorna Simpson, Ming Smith, and Carrie Mae Weems, among dozens of other celebrated and underappreciated artists, span documentary and fashion photography, portraiture, collage, installation, performance, and video. Pictured luminaries include Miles Davis, Mahalia Jackson, Martin Luther King, Jr., Bob Marley, Nina Simone, Malcolm X, and many more. The book’s essays by distinguished scholars focus on topics such as women and the movement, community, activism, and Black photojournalism. Taking an expansive approach, the authors consider the complex connections between American artists and the African diaspora and the dynamic interchange of pan-African ideas that propelled the movement. Authoritative and beautifully illustrated, this is the definitive volume on photography and the Black Arts Movement.
 
Published in association with the National Gallery of Art, Washington
 
Exhibition Schedule:
 
National Gallery of Art, Washington, DC
(September 21, 2025–January 4, 2026)
 
J. Paul Getty Museum, Los Angeles, CA
(February 24–May 24, 2026)
 
Mississippi Museum of Art, Jackson, MS
(July 25–November 1, 2026)

A poignant, unflinching study of black grief as a form of elegy found in visual art, music, literature—everywhere, if you know how to see it.

In Black Elegies, Kimberly Juanita Brown examines the form of the elegy and its unique capacity to convey the elongated grief borne of sustained racial violence. Structured around the sensorial, the book moves through sight, sound, and touch to reveal what Okwui Enwezor calls the “national emergency of black grief.” With her characteristic literary skill, Brown analyzes the work of major figures including Toni Morrison, Carrie Mae Weems, Audre Lorde, and Marvin Gaye, among others.

Brown contemplates recognizable sites of mourning: forced migration and enslavement, bodily violations, imprisonment and death. And she examines sites that do not register immediately as archives of grief: the landscape of southern U.S. slave plantations, a spontaneous street party, a quilt constructed out of the clothing worn by a loved one, a dance performance to hold the memory of history, and an aeolian harp installed at an institute of European art, among others. In this, the book offers a framework of mourning while black, within the parameters of contemporary artistic production. Brown asks: How do you mourn those you are not supposed to see? And where does the grief go? She shows us that grief is everywhere: “It spills out of photographs and modulates music. It hovers in the tenor and tone of cinematic performances. It resides in the body like an inspired concept, waiting for its articulation.”

Travel with Ugandan American designer Nasozi Kakembo as she explores iconic home goods—from Malian mudcloth to Moroccan rugs—at the source and offers thoughtful guidance on collecting and decorating with traditional African treasures

In The African Decor Edit, author Nasozi Kakembo shares her deep knowledge of ethically sourced and aesthetically elevated heritage wares. Through xN Studio, her interior design and product design practice, Nasozi collaborates with artisans throughout Africa, and hers is the rare design book that delves into the origin and meaning behind the furnishings and accessories shown. Each chapter presents artisans in their home countries, telling their stories in their own words. The book also demonstrates the beauty of African decor, with a collection of inspiring, layered interiors from all over the world. The African Decor Edit is a must-have for all who admire African wares and wish to decorate with them in a thoughtful and ethical way.

The long-awaited monograph on Barkley L. Hendricks’ powerful portraits of contemporary Black subjects

Barkley L. Hendricks is rightly known as one of the foremost American painters of the late 20th century. His six-decade artistic oeuvre encompasses not only portraits but also includes evocative landscapes, hard-edged geometric abstractions, lush watercolors on paper and singular photographs informed by his studies with Walker Evans. This final publication of a five-volume set dedicated to the artist is a 300-page monograph that captures his full evolution as a portraitist.
Solid! is a compilation of Hendricks’ acclaimed figurative paintings: large-scale canvases of distinctively dressed (or undressed) individuals, including several self-portraits, against solid-color backgrounds. Critical essays from curators and fellow artists provide further, often personal, insight into all aspects of Hendricks’ practice: probing his photographic experimentation as a forbear to contemporary street photography; celebrating his sensitivity as a colorist whose unique expertise seamlessly combines oil-based and water-based pigments; and highlighting the observational genuineness in his provocative and personal interpretations of women, of unapologetically visible queer identities and of his own beloved Black communities across the African Diaspora. The book closes with a conversation between Trevor Schoonmaker and Barkley’s widow, Susan Hendricks, in which she recounts their trips to Jamaica and Barkley’s process for creating landscape and fruit paintings outdoors.
Barkley L. Hendricks (1945–2017) was born in Philadelphia and trained at the Pennsylvania Academy of Fine Arts and Yale. His life-size paintings of everyday Black Americans have inspired generations of artists. Hendricks gave up painting in favor of photography, but returned to oil portraits later in life. He taught at Connecticut College from 1972 until 2010.

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The Nameplate is a vibrant photographic celebration of nameplate jewelry featuring deeply personal stories and rich cultural contexts, collected by the creators of the Documenting the Nameplate project.

Nameplate jewelry comes in many shapes, styles, and sizes—from simple scripted pendants to bejeweled rings, belts, and bracelets with a first, last, and/or nickname. Like so many individuals who proudly wear nameplates, Marcel Rosa-Salas and Isabel Attyah Flower were first introduced to this storied jewelry during childhood. Their love of the style gradually blossomed into a wide-reaching research project, Documenting the Nameplate, through which they've spent years collecting photographs and testimonials from nameplate-wearers across the country and world.

Featuring essays and interviews from scholars and cultural figures, portraits by contemporary photographers, archival imagery, and a historical exploration into the multifaceted and often overlooked significance of nameplate jewelry, The Nameplate is a tribute to the people who make, wear, and cherish it.

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‘Pieces of a Man’ brings together 25 years of street photographs by noted American photographer Jamel Shabazz.“Beginning in Brooklyn’s tight-knit neighborhoods, including his own, Jamel Shabazz captured a true reflection of people of color now revered as a form of social commentary.

His work resonates around the world because it is authentic. He has the authority to speak for us and yet he maintains genuine humility and respect for his people. From the streets of Brooklyn to Europe to Africa, Jamel’s work is inclusive and compassionate without imposing his views on how people should represent themselves. He gives his subjects control over their own image, and in that you see the dignity that he sees in them; turning everyday people into icons. While some celebrate an era or style, Jamel reminds us to celebrate the people, not just the image.”

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This landmark publication accompanies an international touring exhibition devoted to Black figuration in painting from the 1920s to now, featuring artists from Africa and the African diaspora.

Published to accompany a major exhibition at Zeitz MOCAA, CapeTown, When We See Us presents a comprehensive exploration of Black representation through portraiture and figuration, celebrating Black subjectivity and Black consciousness from Pan-African and Pan-Diasporic perspectives.

In the past decade, figurative painting by Black artists has risento a new prominence in the field of contemporary art. This timely and revelatory book highlights the many ways in which artists critically engage with notions of blackness, contributing to the critical discourse on topics such as Pan-Africanism, the Civil Rights Movement, African Liberation and Independence movements, the Anti-Apartheid and Black Consciousness mobilizations, Decoloniality, and Black Lives Matter.

With a primary focus on figurative painting, When We See Us explores how Black artists have imagined, positioned, memorialized, and asserted African and African diasporic experiences from the early 20th century to the present day. Featuring more than 200 works of art—and contributions from well-known writers such as Ken Bugul, Maaza Mengiste, Robin Coste Lewis, and Bill Kouelany—When We See Us is a major contribution to our understanding of Black art that will appeal to anyone interested in modern and contemporary figurative art and Black cultural history.

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Dubbed the "LeBron James of plant styling..." by "Good Morning America," Hilton Carter now shows how you can make, style, decorate, and care for your own stunning plant-inspired interior with his 25 step-by-step DIY projects and plant hacks.

In plant and interior stylist Hilton Carter’s previous books he has given us glimpses into stunning plant-filled homes where ivy and creeping figs hang miraculously from ceilings, mosses grow effortlessly to create living walls, and succulents flourish planted in terrariums. Now in Wild Creations, Hilton will show you how you can actually create these amazing fixtures for your own home. There are step-by-step instructions for Wild Ideas—making projects such as a wall mounted plant and a leather hanging plant stand, genius Wild Hacks for all of your plant worries from how to water your plants while you are away to repelling bugs, thought-provoking Wild Rants looking at the transformative power of plants, and finally a detailed look at ten key Wild Plants and how to care for them. Design and learn about your very own wild interior, get creative, and get WILD!

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With a poet's precision and an intellectually adventurous spirit, Elizabeth Alexander explores a wide spectrum of contemporary African American artistic life through literature, paintings, popular media, and films, and discusses its place in current culture. In The Black Interior, she examines the vital roles of such heavyweight literary figures as Gwendolyn Brooks, Langston Hughes, and Rita Dove, as well as lesser known, yet vibrant, new creative voices. She offers a reconsideration of "afro-outré" painter Jean-Michel Basquiat, the concept of "race-pride" in Jet magazine, and her take on Denzel Washington's career as a complex black male icon in a post-affirmative action era. Also available is Alexander's much heralded essay on Rodney King, Emmett Till, and the collective memory of racial violence.

Alexander, who has been a professor at the University of Chicago and Smith College, and recently at Yale University, has taught and lectured on African American art and culture across the country and abroad for nearly two decades. In The Black Interior, she directs her scrupulous poet's eye to the urgent cultural issues of the day. This lively collection is a crucial volume for understanding current thinking on race, art, and culture in America.

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African American art in the era of Malcolm X and the Black Panthers

In the period of radical change that was 1963–83, young black artists at the beginning of their careers confronted difficult questions about art, politics and racial identity. How to make art that would stand as innovative, original, formally and materially complex, while also making work that reflected their concerns and experience as black Americans?

Soul of a Nation surveys this crucial period in American art history, bringing to light previously neglected histories of 20th-century black artists, including Sam Gilliam, Melvin Edwards, Jack Whitten, William T. Williams, Howardina Pindell, Romare Bearden, David Hammons, Barkley L. Hendricks, Senga Nengudi, Noah Purifoy, Faith Ringgold, Betye Saar, Charles White and Frank Bowling.

The book features substantial essays from Mark Godfrey and Zoe Whitley, writing on abstraction and figuration, respectively. It also explores the art-historical and social contexts with subjects ranging from black feminism, AfriCOBRA and other artist-run groups to the role of museums in the debates of the period and visual art’s relation to the Black Arts Movement. Over 170 artworks by these and many other artists of the era are illustrated in full color.

2017 marks the 50th anniversary of the first use of the term “black power” by student activist Stokely Carmichael; it will also be 50 years since the US Supreme Court overturned the prohibition of interracial marriage. At this turning point in the reassessment of African American art history, Soul of a Nation is a vital contribution to this timely subject.

Shot Ready is a powerful distillation of Stephen Curry’s transformative philosophy of success—centered on preparation, constant improvement, creativity, connection, mindfulness, and joy—delivered in his incomparable voice and style. Stunningly designed and illustrated with more than 100 gorgeous photographs, Shot Ready is an intimate narrative and a practical blueprint for any reader who wants to unlock their own potential.

The first monograph on Jordan Casteel, one of the most critically acclaimed artists working today

Jordan Casteel is a New York-based artist known for her larger-than-life paintings, which highlight the humanity of her subjects while affirming ideas of social justice.

At once tender and powerful, Casteel’s intimate portraits include friends, family members, and classmates as well as diverse subjects whom she meets and photographs on the streets of her neighborhood, thus effectively transforming strangers into close friends and collaborators. This near-anthropological pursuit puts viewers into a position where they are asked to contend with their preconceived notions of masculinity and race.

Casteel’s debut monograph features nearly 150 beautifully reproduced images, with sections specially conceived and designed by the artist herself.

The highly anticipated first monograph on one of the most celebrated American contemporary artists

Through portraits, social scenes, photographs, sculptures, and immersive installations, Derrick Adams has developed an artistic practice that jocundly visualizes modern Black American life. 

Equally informed by popular culture as he is by the history of modern art, Adams’s work brings the everyday experiences of Black Americans to the forefront, capturing fashionable moments of joy, resilience, and celebration. His artworks are filled with color, energy, and complexity, whether they depict intimate, everyday moments or grand, sweeping statements.

Adams’s first-ever monograph includes 150 of the most significant works from his thirty-year career, along with four newly commissioned texts from cultural luminaries. Filled with beautifully reproduced images and presented in a cloth case with a painting tipped onto the front cover, this stunning book establishes Derrick Adams as one of the most important figurative artists working today.

A rich and layered photographic exploration of the people and places that influenced Raven Jackson’s directorial debut film, Stories From a Place Where All Dirt Roads Taste of Salt, the companion book features lyrical writing, evocative photos, and contributions from voices that speak to the film’s quiet yet powerful themes and the rural Southern setting. Also includes the full script and incredible photography captured during the production. Includes a foreword by Kasi Lemmons; poetry by Alice Walker, Tracy K. Smith, Lucille Clifton, and Reginald Helms Jr.; essays and words by Sheila Atim, Kiese Laymon, Charleen McClure, Pamela Shepard, and many others; and an afterword by Marwa Helal.

Celebrating the storied career of a beloved letterpress printer whose posters spread messages of racial justice

Detroit-based letterpress printer Amos Paul Kennedy, Jr. is celebrated for his type-driven messages of social justice and Black power, emblazoned in rhythmically layered and boldly inked posters made for the masses. Citizen Printer tells Kennedy’s inspiring story and contextualizes his important work―and offers readers tools for lifting their voices, too. A vital monograph on a trailblazing contemporary Black artist, Citizen Printer features 800 reproductions representing the breadth of Kennedy’s posters and prints, plus original portraiture of the artist at work, a powerful artist statement and a foreword by New York Times bestselling author Austin Kleon, all presented in a dynamic type-forward design from American Institute of Graphic Arts medalist Gail Anderson and Joe Newton.
Amos Paul Kennedy, Jr. (born 1948) was working a corporate job for AT&T when, at the age of 40, he discovered the art of letterpress printing on a tour of Colonial Williamsburg. Kennedy then devoted himself to the craft, earning an MFA at the University of Wisconsin–Madison and teaching at Indiana University. He now operates Kennedy Prints!, a communal letterpress center in Detroit. Borrowing words from social justice heroes Rosa Parks, Fannie Lou Hamer, Frederick Douglass, Sojourner Truth and others, Kennedy layers bold statements on race, capitalism, history and politics in exuberant, colorful and one-of-a-kind posters. Kennedy has been featured in the New York Times, the New York Times Magazine and the Economist, and his work has been exhibited by the Library of Congress, the Museum of Modern Art, New York and other institutions through the US. He was the subject of a 2012 feature-length documentary, Proceed and Be Bold!

Rawles’ transcendent, hyperrealistic paintings of Black bodies in water reckon with the legacy of racial injustice

Merging hyperrealism, poetic abstraction and the cultural and historical symbolisms of water, Los Angeles–based artist Calida Rawles (born 1976) creates unique portraits of Black bodies submerged in and interacting with bright, mysterious bodies of water. The water, itself a sort of character within the paintings, functions as an element that signifies both physical and spiritual healing, as well as historical trauma and racial exclusion.
For her first solo museum show at the Pérez Art Museum Miami, Rawles creates a bridge between her signature style and a story within Miami’s history that is often ignored and obscured. She takes as her subject the residents of Overtown, a once prosperous Miami neighborhood dismantled by systemic racism and gentrification. For the first time, Rawles photographed her subjects submerged in water at the formerly segregated Virginia Key Beach. By taking photographs in situ, Rawles directly engages with the legacy of the Atlantic slave trade, the Jim Crow–era south and Miami’s own ecological history.

A comprehensive look at the early career of a rising star in contemporary Black portraiture

This is the first monograph on the practice of young American painter Khalif Tahir Thompson (born 1995), who will receive an MFA from the Yale School of Art in the spring of 2024. With several solo exhibitions and artwork in museum permanent collections, Thompson is already prolific. His paintings are populated by Black figures set in colorful, shimmering environments that sometimes resemble patchworks verging on abstraction. They incorporate multiple materials apart from oil and acrylic, including handmade paper, pearls, fabric, velvet, newspaper and leather. Whether isolated or in a group, candid or posed, each figure is imbued with an innate identity. Says Thompson of his work: "I believe painting can be a tool in considering the emotional, psychological complexity of an individual's story and identity ... I alter perception and invoke empathy towards my subjects, depicting their reality across a visceral lens."

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A fascinating history of the art form that has transformed the cultural landscape, by one of its influential practitioners, an award-winning poet, professor, and slam champion

In 2009, when he was twenty years old, Joshua Bennett was invited to perform a spoken word poem for Barack and Michelle Obama, at the same White House "Poetry Jam" where Lin-Manuel Miranda declaimed the opening bars of a work-in-progress that would soon revolutionize American theater. That meeting is but one among many in the trajectory of Bennett's young life, as he rode the cresting wave of spoken word through the 2010s. In this book, he goes back to its roots, considering the Black Arts movement and the prominence of poetry and song in Black education; the origins of the famed Nuyorican Poets Cafe in the Lower East Side living room of the visionary Miguel Algarín, who hosted verse gatherings with legendary figures like Ntozake Shange and Miguel Piñero; the rapid growth of the "slam" format that was pioneered at the Get Me High Lounge in Chicago; the perfect storm of spoken word's rise during the explosion of social media; and Bennett's own journey alongside his older sister, whose work to promote the form helped shape spaces online and elsewhere dedicated to literature and the pursuit of human freedom.    

A celebration of voices outside the dominant cultural narrative, who boldly embraced an array of styles and forms and redefined what—and whom—the mainstream would include, Bennett's book illuminates the profound influence spoken word has had everywhere melodious words are heard, from Broadway to academia, from the podiums of political protest to cafés, schools, and rooms full of strangers all across the world.

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Replete with complexities, abjection, beauty and joy, Women Painting Women offers new ways to imagine the portrayal of women, from Alice Neel to Jordan Casteel

A thematic exploration of nearly 50 female artists who choose women as subject matter in their works, Women Painting Women includes nearly 50 portraits that span the 1960s to the present. International in scope, the book recognizes female perspectives that have been underrepresented in the history of postwar figuration. Painting is the focus, as traditionally it has been a privileged medium for portraiture, particularly for white male artists. The artists here use painting and women as subject matter and as vehicles for change. They range from early trailblazers such as Emma Amos and Alice Neel to emerging artists such as Jordan Casteel, Somaya Critchlow and Apolonia Sokol. All place women—their bodies, gestures and individuality—at the forefront.
The pivotal narrative in Women Painting Women is how the artists included use the conventional portrait of a woman as a catalyst to tell another story outside of male interpretations of the female body. They conceive new ways to activate and elaborate on the portrayal of women by exploring themes of the Body, Nature Personified, Selfhood and Color as Portrait. Replete with complexities, realness, abjection, beauty, complications, everydayness and joy, the portraits in this volume make way for women artists to share the stage with their male counterparts in defining the image of woman and how it has evolved.
Artists include: Rita Ackermann, Njideka Akunyili Crosby, Emma Amos, María Berrío, Louise Bonnet, Lisa Brice, Joan Brown, Jordan Casteel, Somaya Critchlow, Kim Dingle, Marlene Dumas, Celeste Dupuy-Spencer, Nicole Eisenman, Tracey Emin, Natalie Frank, Hope Gangloff, Eunice Golden, Jenna Gribbon, Alex Heilbron, Ania Hobson, Luchita Hurtado, Chantal Joffe, Hayv Kahraman, Maria Lassnig, Christiane Lyons, Danielle Mckinney, Marilyn Minter, Alice Neel, Elizabeth Peyton, Paula Rego, Faith Ringgold, Deborah Roberts, Susan Rothenberg, Jenny Saville, Dana Schutz, Joan Semmel, Amy Sherald, Lorna Simpson, Arpita Singh, Sylvia Sleigh, Apolonia Sokol, May Stevens, Claire Tabouret, Mickalene Thomas, Nicola Tyson and Lisa Yuskavage.

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With African artists attracting sizable audience numbers to museums, setting sky-high auction records, and appearing in mainstream press, it has become impossible to overlook the cultural significance of contemporary African art today. Author and curator Osei Bonsu's engaging profiles of leading African artists—along with gorgeous full-color reproductions of their work—introduce readers to a generation of movers and shakers whose innovative artwork reflects on Africa as both an idea and an experience. Using diverse forms, languages, and expressions to articulate what it means to be a part of the world, these artists generate alternate histories and imaginative futures—work that is both personal and political, universal and incredibly specific. Their work helps define contemporary African art as a vast artistic and cultural movement.

STELLAR ROSTER OF ARTISTS: Amoako Boafo, Njideka Akunyili Crosby, Tunji Adeniyi-Jones, Bronwyn Katz—from household names to up-and-coming artists, African Art Now features some of the most exciting artists working today.
IMPORTANT AND TIMELY: Over the past two decades, contemporary African art has become part of the global mainstream, inspiring countless exhibitions, fairs, and auctions around the world. And yet, African art remains overlooked as an area of dedicated study due to continued academic and cultural bias. This book shines a spotlight on the artists whose wide-ranging accomplishments represent the shifting dynamics and boundless possibilities of African art today.

Perfect for:

• Artists, art collectors, art lovers, and museumgoers
• Educators and students
• Anyone interested in learning about contemporary African art

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The Joyner/Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by artists of the African diaspora and from the continent of Africa itself. Four Generations: The Joyner/Giuffrida Collection of Abstract Art draws upon the collection's unparalleled holdings to explore the critical contributions made by Black artists to the evolution of visual art in the 20th and 21st centuries.

This revised and expanded edition updates Four Generations with several new texts and nearly 100 images of works that have been added to the collection since the initial publication of this influential and widely praised book. Lavishly illustrated and featuring important contributions by leading art historians, critics, and curators, Four Generations gives an essential overview of some of the most notable Black artists and movements of the past century, and their approaches to abstraction in its various forms. Filled with countless insights and visual treasures, Four Generations is a journey through the momentous legacy of postwar art of the African diaspora.

Artists include: Firelei Báez, Romare Bearden, Kevin Beasley, Zander Blom, Mark Bradford, Leonardo Drew, Sam Gilliam, David Hammons, Isaac Julien, Jacob Lawrence, Norman Lewis, Glenn Ligon, Julie Mehretu, Oscar Murillo, Christina Quarles, Robin Rhode, Lorna Simpson, Shinique Smith, Alma Thomas, Kara Walker, Jack Whitten, Lynette Yiadom-Boakye and many others.

Rarely is a monograph on a private collection as revelatory as this—what an extraordinary, rich body of work is packed into these pages. The achievements of the artists, as well as their conceptual and formal daring, leave no doubt that a new page on American art is about to be opened." –Okwui Enwezor

The first book to center Black artists' voices on Black aesthetics, revealing a century of evolving relationships to race, identity, and art.
 
What is Black art? No one has thought harder about that question than Black artists, yet their perspectives have been largely ignored. Instead, their stories have been told by intellectuals like W. E. B. Du Bois and Alain Locke, who defined "a school" of Black art in the early twentieth century. For the first time, Black Artists in Their Own Words offers an insightful corrective.
 
Esteemed art historian Lisa Farrington gathers writing spanning a century across the United States, the Caribbean, and the African continent—including from renowned artists Henry Tanner, Nancy Elizabeth Prophet, Romare Bearden, Wifredo Lam, Renee Cox, and many more—that reveals both evolutions and equivocations. Many artists, especially during the civil rights era, have embraced Black aesthetics as a source of empowerment. Others prefer to be artists first and Black second, while some have rejected racial identification entirely. Here, Black artists reclaim their work from reductive critical narratives, sharing the motivations underlying their struggles to create in a white-dominated art world.

Admire stunning Christian imagery of Ethiopian Orthodox Church art in this lavishly illustrated volume with informative essays and more than 100 images

Ethiopia is one of the world’s oldest Christian civilizations, and its rich artistic history often centers on religious themes and practices. Ranging from the fourteenth to the twentieth centuries, Ethiopian Devotions celebrates an incredible collection of work, from a free-standing basilica carved from living rock, to the tradition of Ethiopic hagiography describing the lives of saints, to diptych and triptych icons of veneration — miniature paintings distinctive for their vibrant colors and soulful eyes.

Insightful essays present Ethiopia’s devotional arts, and place in context the images of illustrated manuscripts, panel paintings, inscribed portraits, murals, crosses, garments, devotional images, prayer staffs, church and monastery architecture, and more, while exploring their connection to liturgical music and literature.

Written by distinguished scholars in the field, the book’s exploration of Ethiopia’s cultural, artistic, and religious traditions is authoritative, and its more than 100 images reveal the depth, beauty and detail embodied in the artwork. Ethiopian Devotions offers readers the opportunity to understand and admire radiant art and learn about its long and remarkable history.

This third and final volume in the Black Artists in America series features work from the transitional moment of the late 1970s to the dawn of the twenty-first century
 
In the 1980s and 1990s, Black artists in the United States who came of age during the civil rights activity of the preceding decades began experimenting with new media and innovative approaches to artmaking, often as a way of questioning long-held inequities in the art world and in American society. Artists such as Jean-Michel Basquiat, Romare Bearden, Elizabeth Catlett, Sam Gilliam, Glenn Ligon, Faith Ringgold, Kara Walker, Carrie Mae Weems, and many others created works that celebrated their racial identity and fought exclusion and prejudices in the establishment. This book considers the ways that the artists of this generation challenged cultural, environmental, political, racial, and social issues of the last decades of the twentieth century.
 
Black Artists in America: From the Bicentennial to September 11 is the final volume in the three-volume series that traces how Black artists have responded to the social issues of their time. Beautifully illustrated with 150 paintings, sculptures, and works on paper, this volume completes the story of a century of artmaking.
 
Published in association with the Dixon Gallery and Gardens
 
Exhibition Schedule:
 
Crocker Art Museum, Sacramento, CA
(October 5, 2025–January 11, 2026)
 
Dixon Gallery and Gardens, Memphis, TN
(January 25–March 29, 2026)

A chromatic celebration of LGBTQIA+ artists, queer and trans activisms and the "queering" of history, with works by Andrea Geyer, Claude Cahun, Félix González-Torres, Martin Wong, Peter Hujar, Roberto Burle Marx and many more

Since 2016, the Museu de Arte de São Paulo Assis Chateaubriand (MASP) has centered its exhibition program on exploring different histories, with each year featuring a large-scale, international and transhistorical group exhibition, paired with an exquisitely produced catalog. Following the bestselling titles Afro-Atlantic Histories and Indigenous Histories, Queer Histories is the next chapter in this cross-cultural, cross-disciplinary survey series exploring underrepresented or marginalized narratives.
Gathering more than 200 artworks from public and private collections in Brazil and abroad, Queer Histories is organized into seven sections: "Love, family and communities," "The sacred and the profane," "Signs and spaces," "Activism and archives," "Survival," "Queer Abstraction" and "Visibility." While many of the artists featured in Queer Histories are working in the wake of the HIV/AIDS pandemic and its profound impact on queer and trans communities, the exhibition goes beyond artists who identify as LGBTQIA+, approaching queerness as a lens through which to reinterpret the world, to queer history and to reclaim erased narratives. This compendium is a critical resource for understanding how art and history continue to function as sites of resistance and transformation in LGBTQIA+ lives.
Artists include: Andrea Geyer, Andy Warhol, Beverly Buchanan, Catherine Opie, Claude Cahun, David Wojnarowicz, Etel Adnan, Félix González-Torres, Glenn Ligon, Kia LaBeija, Leonilson, Martin Wong, Miguel Ángel Rojas, Peter Hujar, Roberto Burle Marx, Rotimi Fani-Kayode, Salman Toor, Tseng Kwong Chi, Tuesday Smillie, Yuki Kihara, Zanele Muholi.

Richly illustrated catalogue of the works of one of the most significant contemporary artists practicing today. In his both powerful and lyrical works, Jafa consistently reflects on the ontology of race and of blackness. Over several decades, Arthur Jafa has constructed a compelling body of work that defies categorization. Both powerful and lyrical, his practice combines a profoundly unsettling blend of images and histories. Bringing together affective memories that touch on the history of the United States of America, violence, repression, modalities of survival, and how these exist in the production and dissemination of images, music, sound, and time-based media, Jafa reflects on the ontology of race and of blackness. The catalogue explores the philosophical, historical, and artistic implications of Jafa’s work, featuring essays and a series of conversations between Jafa and key practitioners working in the fields of cinema, arts, and theory. Text: Norman Ajari, Tina M. Campt, Liam Gillick, Ernest Hardy, Saidiya Hartman, R.A. Judy, Nathaniel Mackey, Fred Moten, Julian Myers, Vassilis Oikonomopoulos, Peter Saville, James A. Snead, Greg Tate, and Peter Watts.

Accompanying the largest UK survey to date of work by the legendary Chicago-based figurative painter

This volume is the most extensive publication on Kerry James Marshall to date, celebrating half a century of his work. It reveals the complex ways in which Marshall has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks and beauty salons. It charts his use of portraiture to memorialize individuals such as Nat Turner, Harriet Tubman and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, the book also includes chapters on Marshall's Rythm Mastr project and his various public commissions, including his stained-glass windows for the cathedral in Washington, DC. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English and others, plus an interview between Kerry James Marshall and Benjamin H. D. Buchloh.
Kerry James Marshall was born in Birmingham, Alabama, in 1955, and later moved to Los Angeles. He taught painting for many years at the School of Art and Design at the University of Illinois at Chicago. In 2013, he was named for the Committee on the Arts and the Humanities by President Barack Obama. In 2017, Marshall was included in the annual Time 100 list of the most influential people in the world. The National Cathedral in Washington, DC, is currently working with Marshall to create two new stained-glass windows. Marshall lives and works in Chicago.

A landmark survey of Black American photojournalism spanning 1945 to 1984, chronicling a critical period in the civil rights movements in the United States

This volume presents work by 57 Black photographers and contributions from scholars such as Joy Bivins, Tina M. Campt and Gerald Horne, chronicling historic events and daily life in the United States from the conclusion of World War II in 1945 to the presidential campaigns of 1984, including the civil rights movements through the 1950s, '60s and '70s. Drawn from archives and collections in the care of journalists, libraries, museums, newspapers, photographers and universities, the photographs in the catalog were circulated and reviewed in publishing offices across the country.
Responding to a dearth of stories about Black lives told from the perspectives of Black people, Black publishers and their staff created groundbreaking editorial and photojournalistic methods and news networks. During a period of urgent social change and civil rights advocacy, newspapers and magazines, including the Afro American News, Atlanta Daily World, Pittsburgh Courier, Chicago Defender and Ebony, transformed how people were able to access seeing themselves and their communities. Their impact on the media landscape continues into the digital present.
The catalog is published on the occasion of the exhibition of the same name at Carnegie Museum of Art. The exhibition and catalog are both designed by artist David Hartt, and organized and edited by Charlene Foggie-Barnett, Charles ""Teenie"" Harris, community archivist, and Dan Leers, curator of photography, in dialogue with an expanded network of archivists, curators, historians and scholars.
Photographers include: Harry Adams, Anthony Barboza, Kwame Brathwaite, Don Hogan Charles, Adger Cowans, Guy Crowder, Roy DeCarava, Doris Derby, Bob Douglas, Louis Draper, Theodore Gaffney, Charles "Teenie" Harris, Chester Higgins, Kojo Kamau, Jeanne Moutoussamy-Ashe, Marilyn Nance, Gordon Parks, Ming Smith, Bruce Talamon, Deborah Willis-Ryan.

Drawing on new research, centring Black voices and perspectives, and celebrating Black Cambridge history, Rise Up focuses on the period from 1750 to 1850, when Britain became the world's first industrialised nation and one of history's largest empires. At the same time, Britain played a central role in the Atlantic slave trade, trafficking more captive African people than any other European power. Millions were forcibly abducted and transported to work on British-owned plantations in the Caribbean and Americas.

In Britain, Black and white anti-slaverygroups and individuals campaigned for abolition. Despite opposition, laws were gradually enacted to abolish the slave trade in 1807, and enslavement in 1833. However, other exploitative systems including apprenticeship and indentured labour took their place. Financial compensation was awarded to former enslavers while the formerly enslaved received nothing.

This is the story of the fight to end Atlantic slavery, its aftermath and ongoing legacies. It is told through the stories of individuals from across the Black Atlantic - many silenced or pushed to the margins. It interrogates historic objects and artworks from collections across the University of Cambridge and beyond, in conversation with responses from contemporary artists. Despite the passing of almost two centuries since Britain outlawed slavery, the struggles for autonomy, equality and social justice continue today.