A beautifully illustrated look at the work of one of today’s most exciting artists
 
Bisa Butler (b. 1973) is an American artist who creates arresting and psychologically nuanced portraits composed entirely of vibrantly colored and patterned fabrics that she cuts, layers, and stitches together. Often depicting scenes from African American life and history, Butler invites viewers to invest in the lives of the people she represents while simultaneously expanding art-historical narratives about American quiltmaking. Situating her interdisciplinary work within the broader history of textiles, photography, and contemporary art, contributions by a group of scholars—and entries by the artist herself—illuminate Butler’s approach to color, use of African-print fabrics, and wide-ranging sources of inspiration. Offering an in-depth exploration of one of America’s most innovative contemporary artists, this volume will serve as a primary resource that both introduces Butler’s work and establishes a scholarly foundation for future research.
 
Distributed for the Art Institute of Chicago
 
Exhibition Schedule:
  Katonah Museum of Art, New York
(March 15–October 4, 2020)
 
Art Institute of Chicago
(November 14, 2020–September 6, 2021)

The Black Power movement represented a key turning point in American politics. Disenchanted by the hollow progress of federal desegregation during the 1960s, many black citizens and leaders across the United States demanded meaningful self-determination. The popular movement they created was marked by a vigorous artistic renaissance, militant political action, and fierce ideological debate.

Exploring the major political and intellectual currents from the Black Power era to the present, Cedric Johnson reveals how black political life gradually conformed to liberal democratic capitalism and how the movement’s most radical aims—the rejection of white aesthetic standards, redefinition of black identity, solidarity with the Third World, and anticapitalist revolution—were gradually eclipsed by more moderate aspirations. Although Black Power activists transformed the face of American government, Johnson contends that the evolution of the movement as a form of ethnic politics restricted the struggle for social justice to the world of formal politics.

Johnson offers a compelling and theoretically sophisticated critique of the rhetoric and strategies that emerged in this period. Drawing on extensive archival research, he reinterprets the place of key intellectual figures, such as Harold Cruse and Amiri Baraka, and influential organizations, including the African Liberation Support Committee, the National Black Political Assembly, and the National Black Independent Political Party in postsegregation black politics, while at the same time identifying the contradictions of Black Power radicalism itself.

Documenting the historical retreat from radical, democratic struggle, Revolutionaries to Race Leaders ultimately calls for the renewal of popular struggle and class-conscious politics.

Cedric Johnson is assistant professor of political science at Hobart and William Smith Colleges.

From an award-winning poet praised for his “rhapsodic, rigorous” work (The New Yorker) comes an immersive meditation on kindship, collectivity, and environmental thought

We (The People of The United States) is a book-length poem made to the measure of the modern world. Composed of 55 sections, it features a breathtaking range of characters and concerns: The Beach Boys, Gwendolyn Brooks, the invention of the typewriter, Zora Neale Hurston, Sun Ra, life on Mars, Robert Frost, experimental physics, The Jackson 5. Throughout the collection, Bennett summons Virgil’s Georgics as a lens through which to not only tell the story of his family, but a much larger one about the “form of the American mind,” our relationship to the natural world, and the pursuit of a dignified, abundant life. Published the year of the nation’s 250th anniversary, it is a collection that is right on time. One that calls us, as Langston Hughes once did, toward a future America that is not yet here, “and yet must be.”

Reconnect to the natural world through over 60 delicious recipes and practical tips for cooking outside from the founder of Camp Yoshi.

Nothing motivates, comforts, energizes, and brings people together like a delicious meal. For Rashad Frazier, founder of outdoor adventure company Camp Yoshi, the outdoors is a place for celebration, and a hot meal at the end of a long day is one of the best ways to celebrate.

If you've ever felt intimidated by or excluded from the world of outdoor recreation and don’t know where to begin, Cook Out is your first step to unlocking your next adventure. Frazier shares his wisdom and approach to embarking in the outdoors with step-by-step tips for formulating comprehensive packing lists to properly equip your camp kitchen, cooking both on an open flame and on a camping stove, and setting yourself up for success with recipes you often start at home. As you conquer each meal of the day—whether that's Fish and Grits to begin your morning, Banana Bread with Espresso Butter for a meal on the fly, or Fire-Roasted Curry Cauliflower and Tofu Donuts with Pear Compote to round out an epic day—you'll realize that you can survive in the outdoors and thrive through community building in the natural world.

A must-have guide for campers, explorers, and outdoor enthusiasts, Cook Out is a rallying cry for anyone who wants to diversify the outdoor space, one campfire-cooked meal at a time.

Available for the first time since 1978, The Harlem Book of the Dead showcases James Van Der Zee's unflinching creative vision

Originally published in 1978, The Harlem Book of the Dead is a haunting and beautiful document of Black funerary traditions in Harlem, capturing the community's mourning rituals through the lens of one of the Harlem Renaissance's most celebrated photographers. The publication is the most complete record of Van Der Zee's funerary photographs, featuring over three dozen portraits by the artist, who meticulously composed the setting and the subjects before using his renowned darkroom and retouching skills to superimpose celestial figures, poetry, biblical scenes or portraits onto the images to compensate for lack of adornments, such as flowers, or to fulfill the requests of his subjects or their families.
These portraits are complemented and captioned by poems from Owen Dodson and a wide-ranging interview with Van Der Zee by the sculptor and filmmaker Camille Billops, who conceptualized and edited the publication. This facsimile edition reproduces the printing and specifications of the 1978 publication. The original foreword by Toni Morrison is included, and accompanied by a newly commissioned afterword by Karla FC Holloway, author of the canonical Passed On (2001).
James Van Der Zee (1886–1983) began working as a photographer in 1915, and by the following year had opened his photography studio on West 135th Street in Harlem. His images of Black New Yorkers, together with celebrities such as Langston Hughes, Joe Louis and Marcus Garvey, form an indelible corpus of images of the Harlem Renaissance.

Pulitzer-Prize winning journalist Jose Antonio Vargas, called “the most famous undocumented immigrant in America,” tackles one of the defining issues of our time in this explosive and deeply personal call to arms.

“This is not a book about the politics of immigration. This book––at its core––is not about immigration at all. This book is about homelessness, not in a traditional sense, but in the unsettled, unmoored psychological state that undocumented immigrants like myself find ourselves in. This book is about lying and being forced to lie to get by; about passing as an American and as a contributing citizen; about families, keeping them together, and having to make new ones when you can’t. This book is about constantly hiding from the government and, in the process, hiding from ourselves. This book is about what it means to not have a home.

After 25 years of living illegally in a country that does not consider me one of its own, this book is the closest thing I have to freedom.”

―Jose Antonio Vargas, from Dear America

Celebrate the diverse cuisine of Palestine with more than 100 plant-based and vegetarian recipes for festive meals, breads, desserts, and more, from the award-winning co-author of Jerusalem, Falastin and co-founder of Ottolenghi.

“With recipes rooted in nostalgia and memory, Sami Tamimi brings his heritage to life, plate by plate.”—Andy Baraghani, James Beard award–winning author of The Cook You Want to Be

The first solo cookbook from Ottolenghi co-founder Sami Tamimi, Boustany is anhomage to Palestinian food and culture. "Boustany" translates from Arabic as "my garden," which reflects Sami's signature style and approach to food: colorful and simple vegetable- and grain-led dishes. Bold, inspiring and ever-evolving, Boustany picks up where Falastin left off, with flavor-packed vegetable-based dishes, including pantry items, midweek easy meals and special to-be-shared dishes. It’s an approach that’s strongly present in Palestinian cuisine, from building your mooneh, or pantry, by preserving seasonal vegetables and herbs to lining the dinner table with a variety of salads and condiments reflective of a love for fresh and vibrant food.

This is how Sami grew up eating—platters of eggplant and chickpeas with a spicy green lemon sauce and fragrant lentil fatteh that always tasted better the next day. These are the 100 vegan and vegetarian dishes he has known, loved, cooked, and shared with friends, including:

• Braised eggs with pita bread, tomatoes & za’atar
• Smoky chickpeas with cilantro tahini
• Crushed butter beans with orange, makdous & mint
• Fried halloumi with purslane salad
• Couscous fritters with preserved lemon yogurt
• Jerusalem sesame bread
• Fenugreek & onion buns
• Pan-baked tahini, halva & coffee brownie
• Labneh & pomegranate ice cream

Boustany is filled with vibrant and lively photographs of everyday meals that invite you into Sami's home. With recipes for breads, dinner parties, fermenting your own vegetables, and more, Sami shares the cultural fabric of Palestine through his eyes.

They killed her father for speaking out

For decades, the oil-rich Niger Delta—an important wetland and farming region—has seen its environment devastated by oil extraction that has brought little economic benefit to its people. After a nonviolent campaign for environmental and human rights, Ken Saro-Wiwa and eight colleagues were executed by the military dictatorship in 1995. Their deaths sparked an armed insurgency marked by sabotage and oil theft in a bid for “resource control.”

Thirty years after Ken Saro-Wiwa’s death, his daughter Noo traces the rise of this insurgency and how it became entangled with politics, further damaging the environment and upending social hierarchies. In The Burning Ground, she travels across the delta to examine its aftermath, speaking with former militants, highlighting the undervalued role of women, and meeting individuals working toward sustainable development. Along the way, her sharp, humane reporting brings to life a region where environmental damage, political conflict, human-rights pressures, and accelerating climate threats converge in ways the world cannot ignore.

The untold story of the Black patriots—from soldiers in combat to peace protesters—who ended the Vietnam War and defended the soul of American democracy, from a pre-eminent civil rights historian and the award-winning author of Half American

As the civil rights movement blazed through America, more than 300,000 Black troops were drafted and sent to fight in the Vietnam War. These soldiers, often from disadvantaged backgrounds and subjected to the brutalities of racism back home, found themselves thrust onto the frontlines of a war many saw as unjust. On the homefront, Black antiwar activists faced another battle: Opposition to the Vietnam War, vilified by key allies in the media and government as anti-American, jeopardized the fight for civil rights. For Black Americans, the Vietnam War forced a generation to question what it truly meant to fight for justice.

Award-winning civil rights historian Matthew F. Delmont weaves together the stories of two Black heroes of the Vietnam War era: Coretta Scott King, who bravely championed the antiwar cause—and eventually persuaded her husband to do the same—and Dwight “Skip” Johnson, a Medal of Honor recipient whose life ended tragically after returning from battle to his native Detroit. Together, these extraordinary accounts expose the contradictions of Black activism and military service during the Vietnam War. Through rich storytelling, Delmont offers a portrait of this period unlike any other, shedding light on a fractured civil rights movement, a generation of veterans failed by the country they served, and the valor of Black servicemen and peace advocates in the midst of it all.

Vivid, revelatory, and meticulously researched, Until the Last Gun Is Silent: How a Civil Rights Icon and Vietnam War Hero Changed America is essential reading for anyone looking to understand the enduring legacy of Black military service, protest, and patriotism in the United States.

From one of North America’s most influential public space experts comes a powerful treatise celebrating Black people’s audacious, complex, and universally embraced public joy expressions.

How much safety, belonging and delight do you feel when you walk through a park? Hang out in a coffee shop? Ride the subway to work? Explore a new neighbourhood? Now, how much do you know about how history, urban planning, culture and even your personal upbringing impact those feelings, and overall access, to public joy? For well over a decade, Jay Pitter has been thinking about public space and the ways it can be designed to not only contribute to social equity but also inspire joy for everyone. Her award-winning work helping cities navigate complex issues such as reimagining Confederate monument sites, the creation of cultural districts and the adoption of gender-responsive street design compels her to ask: “How can I ignite public joy?”

Pitter acknowledges egregious place-based violations faced by her community—historical and contemporary—while unapologetically bending the book’s narrative arc toward public joy. Declaring that Black public joy is so powerful that even the auction block could not extinguish it, Pitter guides the reader through an under-explored placemaking journey. In addition to unearthing historical rituals, the book builds on the current groundswell of Black-led initiatives highlighting hiking, dining, cycling, and frolicking punctuated by hashtags such as #BlackJoy and #BlackOutdoors. Pitter draws upon her practice expertise and research, delving more deeply to situate these moments and online conversations within the phenomenon that is Black public joy.

Along the way, she introduces us to beloved colleagues creating public joy in their communities, and also reveals vulnerable personal stories as ground for the book’s narrative. Black Public Joy’s themes—our collective desire for safely taking up space, feeling belonging, and freeing ourselves from fears of judgement—are universal. Pitter’s work calls on all of us to become better stewards of each other’s public joy, as well as to claim our own.

Uncovers a haunting yet vital record of bodies commodified, archived, and performed Currencies of Cruelty is a bold and incisive reconsideration of the relationship between enslavement, disability, and performance in 19th- and early 20th-century America. Danielle Bainbridge traces how the transition from slavery to legal freedom became entangled with the spectacle of the freak show stage, where disabled and racialized performers - often denied traditional labor opportunities - became highly lucrative attractions. At the heart of this powerful study are conjoined twins Millie Christine McKoy, born into slavery and later emancipated, and the so-called "original Siamese Twins," Chang and Eng Bunker, who navigated the freak show circuit not only as performers but also as enslavers. Their stories reveal how archival practices surrounding enslavement and performance labor worked in tandem, creating a system where unfree and newly freed bodies were simultaneously valued and devalued-exploited for their spectacle yet rendered abject within traditional labor economies. Blending historical analysis with innovative archival theory, Currencies of Cruelty challenges conventional narratives of labor, freedom, and human worth. Bainbridge introduces the concept of the "future perfect" archive-one that anticipates what will have been rather than merely recording the past-offering a radical new way to engage with histories of enslavement, disability, and performance. A gripping exploration of race, commerce, and bodily spectacle, this book sheds crucial light on how histories of subjugation continue to shape our understanding of value and visibility today.

Black women deserve a safe therapeutic space to process their experiences.

As the fastest growing population in education, economics, entrepreneurship, and international travel, Black women are forging a world of their own. They are breaking generational cycles, reinventing social norms, and developing new identities. However, as a double marginalized minority, Black women are also navigating socially constructed ideas of race, oppression, and privilege. Many well-intentioned clinicians lack the skills and knowledge to properly support, guide, and develop inquiries with these clients.

Clinicians will find foundational information on the types of experiences that cause many Black women to seek therapy as well as ways to support them on their therapeutic journey. Topics such as nontraditional lifestyles, work ethic and legacy, understanding friendships, embracing newfound freedoms and opportunities, moving beyond stereotypes, understanding and working with emotions, addressing trauma, and mental health disorders through a cultural lens are explored.

Throughout the book, therapist tips, catalyst questions (springboard questions on certain topics), examples, and journaling prompts are shared to help clinicians and clients work together to explore undiscovered depths, ways of healing, and improve mental health.

19 black-and-white tables

On its one-hundredth anniversary, a powerful and essential meditation on the origins, evolution, and future of Black History Month from one of America’s leading historians of Black education and the author of American Grammar.

In I’ll Make Me a World, acclaimed Harvard scholar Jarvis R. Givens takes us on a personal and political journey through the 100-year history of Black History Month—from its radical beginnings in 1926 as “Negro History Week” to its role today as a celebration and flashpoint in America’s cultural battles. Drawing on archival research, personal stories involving family and students, and especially the wisdom of Black educators, Givens recovers the legacy of Carter G. Woodson and many others who envisioned Black history as a liberatory force—knowledge that shapes who we are, how we resist, and what we dream.

With striking clarity, Givens challenges today’s myopic commemorations of iconic figures and urges us to expand our understanding of Black history to include the everyday lives of ordinary people—the “workadays” whose stories have long gone untold but form critical parts of Black history. Indeed, people who played important roles in passing on Black memories that helped disrupt oppressively narrow perspectives on human life. Givens also attends to the labor involved in preserving Black history, especially in intellectual environments where it is constantly denigrated and undervalued, and he insists that more transparency about such processes is necessary to ensure this worthy tradition is passed on to future generations.

I’ll Make Me A World is a call to remember, reimagine, and reclaim an intellectual tradition built by communities well before our time, and to take seriously what is politically at stake in its preservation. At a time when Black history is under attack, this book offers an inspiring vision for how it can still be a source of power, truth, and possibility.

This book is also freely available online as an open-access digital edition:

https://manifold.ecds.emory.edu/projects/finding-god-in-all-the-black-places

(https://dhjhkxawhe8q4.cloudfront.net/rup-wp-v2/wp-content/uploads/2025/01/28132142/9781978839809.pdf)

In Finding God in All the Black Places, Beretta E. Smith-Shomade contends that Black spirituality and Black church religiosity are the critical crux of Black popular culture. She argues that cultural, community, and social support live within the Black church and that spirit, art, and progress are deeply entwined and seal this connection. Including the work of artists such as Mary J. Blige, D’Angelo, Erykah Badu, Prince, Spike Lee, and Oprah Winfrey, the book examines contemporary Black television, film, music and digital culture to demonstrate the role, impact, and dominance of spirituality and religion in Black popular culture. Smith-Shomade believes that acknowledging and comprehending the foundations of Black spirituality and Black church religiosity within Black popular culture provide a way for viewers, listeners, and users not only to endure but also to revitalize.

The first in-depth analysis of the stunning designs of one of the world’s most captivating and prominent architects

Born in Tanzania, David Adjaye (b. 1966) is rapidly emerging as a major international figure in architecture and design—and this stunning catalogue serves only to cement his role as one of the most important architects of our time. His expanding portfolio of important civic architecture, public buildings, and urban planning commissions spans Europe, the United States, Africa, Asia, and the Middle East. He transforms complex ideas and concepts into approachable and innovative structures that respond to the geographical, ecological, technological, engineering, economic, and cultural systems that shape the practice of global architecture. The publication of this compendium of work and essays coincides with the scheduled opening of Adjaye’s National Museum of African American History and Culture on the National Mall in Washington, D.C. Adjaye’s completed work in the United States includes the Museum of Contemporary Art in Denver, a pair of public libraries in D.C., and several private residences. He is also known for his collaborations with artists, most recently with the British painter Chris Ofili (b. 1968).
 
Following an introduction by Zoë Ryan, Adjaye writes on his current and future work, with subsequent essays by an extraordinary cadre of architectural scholars on Adjaye’s master plans and urban planning, transnational architecture, monuments and memorials, and, finally, the forthcoming museum in D.C. Portfolios of Adjaye’s work thread throughout this comprehensive volume.

Distributed for the Art Institute of Chicago and Haus der Kunst

Exhibition Schedule:

Haus der Kunst, Munich
(01/30/15–06/28/15)

The Art Institute of Chicago
(09/19/15–01/03/16)

Pleasure refers to the freedom to pursue a desire, deliberately sought in order to satisfy the self. Putting pleasure first is liberating. During their extraordinary lives, Lena Horne, Moms Mabley, Yolande DuBois, and Memphis Minnie enjoyed pleasure as they gave pleasure to both those in their lives and to the public at large. They were Black women who, despite their public profiles, whether through Black society or through the world of entertainment, discovered ways to enjoy pleasure.They left home, undertook careers they loved, and did what they wanted, despite perhaps not meeting the standards for respectability in the interwar era. See Me Naked looks at these women as representative of other Black women of the time, who were watched, criticized, and judged by their families, peers, and, in some cases, the government, yet still managed to enjoy themselves. Among the voyeurs of Black women was Langston Hughes, whose novel Not Without Laughter was clearly a work of fiction inspired by women he observed in public and knew personally, including Black clubwomen, blues performers, and his mother. How did these complicated women wrest loose from the voyeurs to define their own sense of themselves? At very young ages, they found and celebrated aspects of themselves. Using examples from these women’s lives, Green explores their challenges and achievements.

World champion high jumper Chaunté Lowe pens the captivating story of her journey from an impoverished childhood full of big dreams and devastating hurdles, to becoming a bronze medal-winning US Olympian.

Scholastic Focus is the premier home of thoroughly researched, beautifully written, and thoughtfully designed works of narrative nonfiction aimed at middle-grade and young adult readers. These books help readers learn about the world in which they live and develop their critical thinking skills so that they may become dynamic citizens who are able to analyze and understand our past, participate in essential discussions about our present, and work to grow and build our future.

Everything seemed set against Chaunté Lowe. Growing up with a single mother in Paso Robles, California, where she experienced food insecurity, homelessness, and domestic abuse, Chaunté couldn't imagine a future that offered a different sort of life. But then, one day, she turned on the TV and there was Flo Jo, competing in the Olympics and shattering records in track and field. Almost immediately, Chaunté knew what she wanted to do. She started running.

With the help of a small community of friends, family, and coaches, Chaunté worked as hard as she could - both in the classroom and out on the sports field - and through her own fierce determination and grit, she overcame every imaginable obstacle, eventually propelling herself to the place she always dreamed about: the Olympic medal podium.

Boundless is a story that will move anyone who's ever had a big dream, ever dared to hope for a better future, and ever believed that nothing was impossible. In her own words, Chaunté presents her remarkable and inspiring story of loss and survival, perseverance and hope.

A galvanizing history of abortion recentering people of color to put forth a timely argument that we must liberate abortion for all.

People of color have been having abortions since the dawn of time, yet our access is continuously under attack. In Liberating Abortion, award-winning abortion activist Renee Bracey Sherman and journalist Regina Mahone illustrate the long racist history that brought us to this moment, uncover the hidden figures who set the foundation that activists and storytellers are building on today, and explain how abortion has been and remains essential to the health of our communities.

Liberating Abortion will take you back to the basics of sex education, detailing the traditions of abortion over centuries while examining how society makes us feel about our experiences. You’ll find rigorous research, never-before-heard stories, and eye-opening interviews with more than fifty people of color who’ve had abortions, including activists, actresses, television writers, politicians, and two Black members of Jane, the Chicago feminist service that provided abortions before Roe.

With poignant storytelling and precise analysis, Liberating Abortion will change how you think about abortion forever.

In The Militant South, 1800-1861, John Hope Franklin identifies the factors and causes of the South's festering propensity for aggression that contributed to the outbreak of the Civil War in 1861.
 
Franklin asserts that the South was dominated by militant white men who resorted to violence in the face of social, personal, or political conflict. Fueled by their defense of slavery and a persistent desire to keep the North out of their affairs, Southerners adopted a vicious bellicosity that intensified as war drew nearer.
 
Drawing from Southern newspapers, government archives, memoirs, letters, and firsthand accounts, Franklin masterfully details the sources and consequences of antebellum aggression in the South.  First published in 1956, this classic volume is an enduring and impeccably researched contribution to Southern history. This paperback edition features a new preface in which the author discusses controversial responses to the book.

Christina N. Baker’s Contemporary Black Women Filmmakers and the Art of Resistance is the first book-length analysis of representations of Black femaleness in the feature films of Black women filmmakers. These filmmakers resist dominant ideologies about Black womanhood, deliberately and creatively reconstructing meanings of Blackness that draw from their personal experiences and create new symbolic meaning of Black femaleness within mainstream culture. Addressing social issues such as the exploitation of Black women in the entertainment industry, the impact of mass incarceration on Black women, political activism, and violence, these films also engage with personal issues as complex as love, motherhood, and sexual identity. Baker argues that their counter-hegemonic representations have the potential to transform the narratives surrounding Black femaleness. At the intersection of Black feminism and womanism, Baker develops a “womanist artistic standpoint” theory, drawing from the work of Alice Walker, Patricia Hill Collins, bell hooks, Audre Lorde, and Kimberlé Crenshaw.
Analyzing the cultural texts of filmmakers such as Ava DuVernay, Tanya Hamilton, Kasi Lemmons, Gina Prince-Bythewood, and Dee Rees—and including interviews she conducted with three of the filmmakers—Baker emphasizes the importance of applying an intersectional perspective that centers on the shared experiences of Black women and the role of film as a form of artistic expression and a tool of social resistance.

The politics and music of the sixties and early seventies have been the subject of scholarship for many years, but it is only very recently that attention has turned to the cultural production of African American poets. 

In "After Mecca," Cheryl Clarke explores the relationship between the Black Arts Movement and black women writers of the period. Poems by Gwendolyn Brooks, Ntozake Shange, Audre Lorde, Nikki Giovanni, Sonia Sanchez, Jayne Cortez, Alice Walker, and others chart the emergence of a new and distinct black poetry and its relationship to the black community's struggle for rights and liberation. Clarke also traces the contributions of these poets to the development of feminism and lesbian-feminism, and the legacy they left for others to build on. 

She argues that whether black women poets of the time were writing from within the movement or writing against it, virtually all were responding to it. Using the trope of "Mecca," she explores the ways in which these writers were turning away from white, western society to create a new literacy of blackness.
 

Provocatively written, this book is an important contribution to the fields of African American literary studies and feminist theory.

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.

Examines John Coltrane's "late period" and Miles Davis's "Lost Quintet" through the prisms of digital architecture and experimental photography

Living Space: John Coltrane, Miles Davis, and Free Jazz, from Analog to Digital fuses biography and style history in order to illuminate the music of two jazz icons, while drawing on the discourses of photography and digital architecture to fashion musical insights that may not be available through the traditional language of jazz analysis. The book follows the controversial trajectories of two jazz legends, emerging from the 1959 album Kind of Blue. Coltrane's odyssey through what became known as "free jazz" brought stylistic (r)evolution and chaos in equal measure. Davis's spearheading of "jazz-rock fusion" opened a door through which jazz's ongoing dialogue with the popular tradition could be regenerated, engaging both high and low ideas of creativity, community, and commerce. Includes 42 illustrations.

Winner: Native American and Indigenous Studies Association's Best Subsequent Book 2017
Honorable Mention: Labriola Center American Indian National Book Award 2017

Across North America, Indigenous acts of resistance have in recent years opposed the removal of federal protections for forests and waterways in Indigenous lands, halted the expansion of tar sands extraction and the pipeline construction at Standing Rock, and demanded justice for murdered and missing Indigenous women. In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.

Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.

An acclaimed historian narrates the stories of newly emancipated children who were re-enslaved by white masters through apprenticeships and their parents fights to free them

While the Thirteenth Amendment abolished slavery, white southerners established a system of apprenticeship after the Civil War that entrapped Black children and their families, leading to undue hardships for generations to come. In Slavery After Slavery, historian Mary Frances Berry traces the stories behind individual cases from southern supreme courts to demonstrate how formerly enslaved families and their descendants were systemically injured through white supremacist practices, perpetuated by the legal system.

By filling in the family trees of formerly enslaved people to their descendants, Berry documents the intergenerational harm they experienced. The resulting damage of trafficking Black children through apprenticeship laws has been a largely overlooked source of inequality, yet these cases provide specific examples of the kind of economic and physical harm Black families have endured.

Slavery After Slavery tells individual stories, but the fates of their descendants tell our collective American story—contributing powerfully to a case for reparations and restorative justice.

A bold manifesto arguing that there is a clear precedent for paying reparations to atone for America’s original sin of slavery, offering a compelling legal strategy to achieve this goal—from the acclaimed author of The Whiteness of Wealth.

The idea of reparations is not a new or original one; it is one that is baked into American history.

When the District of Columbia Emancipation Act of 1862 went into effect, wealthy slaveowners like Margaret Barber were compensated for the loss of their enslaved workers. Barber received $9,000—an equivalent to $250,000 today. When a group of Italian immigrants were lynched in 1892, President Harrison compensated Italy a total of $25,000 for their deaths—an equivalent to almost $766,000 today. The Indian Claims Commission, an arm of the federal government, paid Indigenous Americans $818 million for underhandedly stealing their land in the eighteenth and nineteenth centuries—an equivalent to almost $350 billion today.

Dorothy A. Brown addresses the glaring question: if reparations can be achieved for others, why not for Black Americans? If lynching can be remedied for Italian immigrants, and slaveholders compensated for losses associated with abolition and emancipation, then the government’s failure to provide such remedies to Black communities harmed by similar violence, loss, and destruction is long overdue. The fight for reparations is truly a fight for the soul of America, to produce the country our founding fathers idealized but never achieved.

Getting to Reparations makes a logical and necessary case for reparations for Black Americans. It lays out a path as to how we might achieve this, built on the frameworks used throughout U.S. history by the government to pay restitution. It is now time to do the same for America's Black population.

A bold call to rethink authenticity at work

Workplace dynamics in recent years have been a dizzying storm of broken promises. Companies that once encouraged employees to “come as you are” and bring your full, authentic self to work are now shutting down initiatives, part of an ongoing cycle of trading on our identities when it’s convenient and profitable.

Jodi-Ann Burey, writer and critic known for her TED talk “The Myth of Bringing Your Full, Authentic Self to Work,” delves into the dangers of disclosure in environments that aren’t built for our well-being. With insights from pop culture, academic research, and interviews with other professionals of color, Burey argues that we deserve better than shallow ploys for representation.

Our physical and emotional health are at risk, and too much is sacrificed―for ourselves and for collective progress―when our full potential is blocked by racism, sexism, homophobia, transphobia, and ableism. Authentic is a powerful reckoning―and now is the time to reclaim our agency. Even at work.

By the late 1810s, a global revolution in cotton had remade the U.S.-Mexico border, bringing wealth and waves of Americans to the Gulf Coast while also devastating the lives and villages of Mexicans in Texas. In response, Mexico threw open its northern territories to American farmers in hopes that cotton could bring prosperity to the region. Thousands of Anglo-Americans poured into Texas, but their insistence that slavery accompany them sparked pitched battles across Mexico. An extraordinary alliance of Anglos and Mexicans in Texas came together to defend slavery against abolitionists in the Mexican government, beginning a series of fights that culminated in the Texas Revolution. In the aftermath, Anglo-Americans rebuilt the Texas borderlands into the most unlikely the first fully committed slaveholders' republic in North America.

Seeds of Empire tells the remarkable story of how the cotton revolution of the early nineteenth century transformed northeastern Mexico into the western edge of the United States, and how the rise and spectacular collapse of the Republic of Texas as a nation built on cotton and slavery proved to be a blueprint for the Confederacy of the 1860s.

Africans to Spanish America expands the Diaspora framework that has shaped much of the recent scholarship on Africans in the Americas to include Mexico, Peru, Ecuador, and Cuba, exploring the connections and disjunctures between colonial Latin America and the African Diaspora in the Spanish empires. While a majority of the research on the colonial Diaspora focuses on the Caribbean and Brazil, analysis of the regions of Mexico and the Andes opens up new questions of community formation that incorporated Spanish legal strategies in secular and ecclesiastical institutions as well as articulations of multiple African identities. Editors Sherwin K. Bryant, Rachel Sarah O'Toole, and Ben Vinson III arrange the volume around three themes: identity construction in the Americas; the struggle by enslaved and free people to present themselves as civilized, Christian, and resistant to slavery; and issues of cultural exclusion and inclusion. Across these broad themes, contributors offer probing and detailed studies of the place and roles of people of African descent in the complex realities of colonial Spanish America.

Contributors are Joan C. Bristol, Nancy E. van Deusen, Leo J. Garofalo, Herbert S. Klein, Charles Beatty-Medina, Karen Y. Morrison, Rachel Sarah O'Toole, Frank "Trey" Proctor III, and Michele Reid-Vazquez.

Opening up the cosmos of an entire continent - New perspectives on Africa

This lavishly illustrated volume explores Africa from multiple points of view as it progresses beyond prejudice and stereotypes. Combining cultural history with contemporary art, it presents a diverse range of artistic voices and shifting viewpoints. Human history intersects with the colonial past and the omnipresent influence of Africa across the world.

A fresh lens capturing the cosmos of Africa and its everlasting presence in our global societies.

This lavishly illustrated volume approaches the vast continent of Africa from a variety of viewpoints; beyond prejudice and stereotypes, via cultural history and contemporary art: by means of permanent changes of perspective and a diversity of artistic voices. The history of humankind meets the colonial past and the omnipresence of aspects of Africa in many regions of the world.
 
On the one hand, surprising views of Africa are focused on from Europe. And on the other, works and installations by Africans or protagonists from the diaspora present ideas, impulses and identities which all signify Africa. The texts illustrate the broad time frame from the first humans to Pan-Africanism and Afro-Futurism, as well as present literary and philosophical narratives.

ARTISTS:
DELE ADEYEMO, JOHN AKOMFRAH, JAMES GREGORY ATKINSON, SAMMY BALOJI, ARÉBÉNOR BASSÉNE, MEMORY BIWA, MARÍA MAGDALENA CAMPOS-PONS, CATPC, OMAR VICTOR DIOP, SOKARI DOUGLAS CAMP, WILLIAM KENTRIDGE, KONGO ASTRONAUTS, SUSANA PILAR DELAHANTA MANTIENZO, ROMÉO MIVEKANNIN, ZANELE MUHOLI, JOSÈFA NTJAM, KALOKI NYAMAI, EMEKA, OGBOH, ZINEB SEDIRA, SANDRA SEGHIR, YINKA SHONIBARE, THE SINGH TWINS, GÉRALDINE TOBE, KARA WALKER, CARRIE MAE WEEMS

A master chronicler of the African-American experience, Richard Wright brilliantly expanded his literary horizons with Pagan Spain, originally published in 1957. An amalgam of expert travel reportage, dramatic monologue, and arresting sociological critique, Pagan Spain serves as a pointed and still-relevant commentary on the grave human dangers of oppression and governmental corruption.

The Spain Richard Wright visited in the mid-twentieth century was not the romantic locale of song and story, but a place of tragic beauty and dangerous contradictions. The portrait he offers in Pagan Spain is a blistering, powerful, yet scrupulously honest depiction of a land and people in turmoil, caught in the strangling dual grip of cruel dictatorship and what Wright saw as an undercurrent of primitive faith.

It is Paris, 1815. An extraordinarily shaped South African girl known as the Hottentot Venus, dressed only in feathers and beads, swings from a crystal chandelier in the duchess of Berry’s ballroom. Below her, the audience shouts insults and pornographic obscenities. Among these spectators is Napoleon’s physician and the most famous naturalist in Europe, the Baron George Cuvier, whose encounter with her will inspire a theory of race that will change European science forever.

Evoking the grand tradition of such “monster” tales as Frankensteinand The Hunchback of Notre Dame, Barbara Chase Riboud, prize-winning author of the classic Sally Hemings, again gives voice to an “invisible” of history. In this powerful saga, Sarah Baartman, for more than 200 years known only as the mysterious lady in the glass cage, comes vividly and unforgettably to life.