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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.”

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Through paintings, sculptures, drawings and more, John Wilson's work foregrounds the human experience and refuses invisibility

American artist John Wilson was not only a master draftsman, printmaker, painter and sculptor active for over seven decades, but he was also a keen observer and social activist. In his representations of Black Americans in particular, he sought to pay homage to the beauty and truths of ordinary Black people in such a way that all viewers, across race and culture, might see themselves reflected. His multidisciplinary works include unflinching representations of racial violence and war, tender family portraits, monumental bronze heads and landmark commissions such as the bust of Martin Luther King, Jr., which stands in the United States Capitol.
The first major retrospective of the artist’s work, Witnessing Humanity sheds light on Wilson’s life and artistic evolution. Reproductions of artworks and photographs accompany critical essays and personal reflections, including analyses by art historians, interviews with Wilson’s peers, remembrances from fellow Black creatives and a full chronology by the late artist’s gallerist. The varied voices which resonate through this catalog illustrate that it is long past time to recognize Wilson’s art―to celebrate his lifelong dedication to depicting what he described as the "reality of being Black in this impossible world."
John Woodrow Wilson (1922–2015) was born in Roxbury, Massachusetts, and studied at the School of the Museum of Fine Arts, Boston, and Tufts University. He lived in Mexico for five years and became a friend and colleague of artist Elizabeth Catlett. Wilson taught fine art at Boston University from 1964 until 1986.

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A richly illustrated account tracing the full arc of contemporary painter Suzanne Jackson’s life and multifaceted artistic vision

First and foremost a painter, Suzanne Jackson has worked for six decades in a dizzying array of genres, including drawing, printmaking, poetry, dance, and theater design. Suzanne Jackson: What Is Love reveals Jackson’s achievements as a leading and influential artist who has been in dialogue with her contemporaries, from Betye Saar and Emory Douglas to Senga Nengudi and Mary Lovelace O’Neal.

This wide-ranging book illuminates Jackson’s work and its connections to nature, environmentalism, performance, feminism, and Black and Native traditions. It explores the way her innovative hanging acrylic works break the canvas; the role of dance and set design in Jackson’s practice; and her trailblazing Los Angeles art space Gallery 32, which she ran from 1968 to 1970, and which became a focus for a circle of fellow emerging artists. The book also features artist dialogues between Jackson and Nengudi, Saar, Fred Eversley, and Richard Mayhew, as well as a conversation between Jackson and SFMOMA painting conservator Jennifer Hickey.

Exhibition Schedule
SFMOMA, San Francisco
September 27, 2025–March 1, 2026

Walker Art Center, Minneapolis
May 14, 2026–August 23, 2026

Museum of Fine Arts, Boston
September 26, 2026–February 7, 2027

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Mature young man in your life? He's sure to see himself and enjoy this colorful notebook made with him in mind. Perfect for any gift! -- 7" L × 9" W Soft touch cover 70 lb, paper 0-ring binding 100 sheets / 200 pages

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A brutal homicide sets an ex-cop and his former partner on the hunt for an enigmatic killer in a gripping thriller by the author of Under Color of Law.

When former detective Trevor “Finn” Finnegan became a PI, he adopted a new mandate: catch the LAPD’s worst in the act. While on surveillance in Venice Beach, Finn tails two potentially dirty cops: Detective Martin Riley and Finn’s ex-partner, Detective Sally Munoz. Things take a deadly turn when an unknown assailant executes Riley and wounds Munoz. In an instant, Finn goes from private eye to eyewitness.

Munoz needs Finn to help find Riley’s killer, but doing so could blow his cover. She’s an officer shaded by rumors. Maybe she’s still a good cop―but maybe she’s not. Finn’s reluctance ends when his dear “uncle,” an ex-LAPD detective, is murdered, and it might be connected to Riley’s death.

To prevent more bloodshed and avoid becoming the next targets on the killer’s list, Finn and Munoz will have to bury their complicated past, trust each other, and come face-to-face with painful secrets that could destroy them both.

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After a devastating breakup leaves her questioning everything, Farrah Darby trades her flailing life in San Francisco for a fresh start in Hollywood as a movie set stylist. Her fashion expertise should be her ticket to success, but there's one problem: Director Errol Davis seems determined to make her life hell. Every costume choice becomes a battle, every interaction a test of wills.

Farrah gives as good as she gets - if Davis wants war, she'll show him exactly what she's made of. But between their heated arguments, she can't help noticing other things too: his intense focus when he's directing, the rare smile that transforms his face, and yes, that irritatingly perfect ass. When a crisis on set forces them to work closely together, Farrah glimpses a different man beneath the harsh exterior - one who might be worth the risk of letting her guards down again.

Now she's facing a dilemma bigger than any wardrobe decision: trust her head, which warns her to keep her distance, or her heart, which whispers that their rivalry might be disguising something much more intriguing.

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"Do You Take This Man has one of the steamiest, most addictive, most satisfyingly hard-earned happily-ever-after I’ve read in ages!"—Ali Hazelwood, New York Times bestselling author of Love on the Brain

A wedding officiant who doesn't believe in love and an event planner who's been burned agree to say "I do" to being enemies with benefits.

Divorce attorney RJ would never describe herself as romantic. But when she ends up officiating an unplanned wedding for a newly engaged couple in a park, her life is turned upside down. The video of the ceremony goes viral, and she finds herself in the unlikely position of being a sought-after local wedding officiant. Spending her free time overseeing “I dos” isn’t her most strategic career move, but she enjoys it, except for the type A dude-bro wedding planner she’s forced to work with.
 
Former pro-football event manager Lear is a people person, but after his longtime girlfriend betrayed him, he isn’t looking for love. He knows how to execute events and likes being in control, so working with an opinionated and inflexible officiant who can’t stand him is not high on his list. He’s never had trouble winning people over, but RJ seems immune to his charms.
 
Surrounded by love at every turn, their physical attraction pulls them together despite their best efforts to stay an arm’s length apart. Lear refuses to get hurt again. RJ refuses to let herself be vulnerable to anyone. But when it comes to happily ever after, their clients might not be the only ones saying “I do.”

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As featured in The Wall Street Journal’s 2024 Holiday Gift Books: Fine Art

The definitive monograph of Sam Gilliam one of the great innovators in post-war American painting

An African American artist in the nation’s capital at the height of the Civil Rights movement, Sam Gilliam blazed a trail with his singular artistic vision. Gilliam emerged from the Washington, DC art scene in the mid 1960s with works that disrupted established artistic norms and styles.

Relentlessly experimental and inspired by the improvisatory ethos of jazz, Gilliam’s lyrical abstractions took on an increasing variety of forms, moods, and materials.

This book, made in close collaboration with the Sam Gilliam Foundation, is the first to comprehensively survey the breadth of his extraordinary career, and features never-before-seen archival materials an insightful newly commissioned texts that shine light on the artist, his life, and his work, together with examples of Gilliam's work spanning five decades.

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For fellow book lovers and stationary enthusiasts! Bookmark is made of thick and durable white cardstock paper and measures 2'' X 6'' 5% of proceeds are donated to Courage MKE to support unhoused LGBTQ+ youth in Milwaukee, Wisconsin.

Celebrate the power of sisterhood with Dr. Joy Braden Bradford & Wale Okerayi!

TICKETS SOLD ON EVENTBRITE

EVENT DEETS

When: Wednesday, July 19 at 7PM CST

Where: ELDORADO BALLROOM at Project Row Houses

How: Get Your Ticket on Eventbrite. 

ABOUT BOOK

ABOUT AUTHOR

Dr. Joy Harden Bradford is a licensed psychologist and the host of the award-winning mental health podcast Therapy for Black Girls. Her work focuses on making mental health topics and support more relevant and accessible for Black women. She received a bachelor’s degree in psychology from Xavier University of Louisiana, a master’s degree in vocational rehabilitation counseling from Arkansas State University, and a Ph.D. in counseling psychology from the University of Georgia. Her work has been featured in Essence, Oprah Daily, The New York Times, HuffPost, Black Enterprise, and Women’s Health. Dr. Joy lives in Atlanta, Georgia, with her husband and two sons.

ABOUT MODERATOR

Wale is a Licensed Mental Health Counselor working with folks in New York and Texas. She has a double masters degree in mental health counseling from Teachers College Columbia University. After practicing in New York for a few years, Wale moved back to her hometown Houston and started her own therapy practice in 2020. Wale currently works with individuals and couples on a weekly basis.

From an MSNBC Political Analyst, a riveting account of the legendary party hosted by Diahann Carroll for Shirley Chisholm's 1972 presidential campaign, which changed the playing field for Black women in politics.

In 1972, New York Representative Shirley Chisholm broke the ice in American politics when she became the first Black woman to run for president of the United States. Chisholm left behind a coalition-building model personified by a once-in-an-era Hollywood party hosted by legendary actress and singer Diahann Carroll, and attended by the likes of Huey P. Newton, Barbara Lee, Berry Gordy, David Frost, Flip Wilson, Goldie Hawn and others. In A More Perfect Party, MSNBC political analyst Juanita Tolliver presents a path to people-centered politics through the lens of this soiree, with surprising parallels to our current electoral reality.

Chisholm worked the crowd of movie stars, media moguls, music executives and activists gathered at Carroll's opulent Beverly Hills home, forging relationships with laughter as she urged guests to unify behind her campaign. With the feminist movement on the rise and eighteen- to twenty-year-olds voting for the first time in American history, the Democratic Party and the nation were on the cusp of long-overdue change.

Zooming in on one party attendee per chapter, A More Perfect Party brings this whimsical event out of the margins of history to demonstrate that there is an opportunity for all of us to fight for a better nation and return power to the people.

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The first major publication on Baltimore-based painter Jerrell Gibbs, whose contemplative portraits of Black sitters thrum with a vivid sense of place and reflect the complexity and emotional depth of everyday Black life.

This book captures a prolific period of self-examination and observation for contemporary artist Jerrell Gibbs (b. 1988). Known for his luminously rendered, expressionistic oil paintings, Gibbs uses the figure as a dynamic and recurring motif to explore themes of Black masculinity, fatherhood, legacy, and remembrance.

Drawing from archival family photographs, Gibbs emphasizes placement, size, and proportion, blending intimate mark-making with bold painterly gestures. By complicating and subverting visual stereotypes, Gibbs engages deeply with the materiality of painting, offering tender, emotionally evocative portrayals of Black men as husbands, fathers, brothers, and sons. These allegorical and autobiographical works underscore quiet moments of joy, sorrow, and beauty as vital components of Black life. Additionally, commissioned portraits of such figures as Elijah Cummings and August Wilson are juxtaposed with allegorical figures from Gibbs’s dreams, reflecting his growth as an artist and individual. Gibbs’s work offers a fresh approach to painting the human form, following in the footsteps of other Black figurative painters Kerry James Marshall, Henry Taylor, and Amy Sherald.