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Designed as a companion to the hugely successful monograph Noah Davis, this volume offers further insight into the impact and legacy of the revolutionary Los Angeles artist and activist.

“Embedding his dreams on canvas and in the community, visionary American artist Noah Davis created a mighty legacy.” — Rachel Willcock, ArtReview (2022)
 
Looking to literature, film, architecture, and art history, Noah Davis imbued his ethereal paintings with emotion and imagination. Muted colors, fantastic scenes, and blurred subjects create an intoxicating vision. Attuned to the power of his medium, Davis layered his paintings—figuratively and literally—using a unique dry paint application to depict quotidian life at an enigmatic, almost magical remove. Featuring sumptuous close-ups throughout, this important new book brings into focus the rich, painterly variety and luminous detail of Davis’s canvases. 
 
With a special focus on the groundbreaking Underground Museum, which Noah Davis co-founded with his wife, Karon Davis, Noah Davis: In Detail includes a special conversation, moderated by Helen Molesworth, between Fred Moten, Glenn Ligon, Thomas Lax, and Julie Mehretu. This renowned group of artists and thinkers share personal experiences of the powerful and emotional impact of The Underground Museum and its connection to the larger artistic environs of Los Angeles. Franklin Sirmans contributes a new essay and Lindsay Charlwood, a lifelong friend of Noah’s, authors a chronology of his life, contextualizing his artistic and social achievements.

OPRAH BOOK CLUB PICK 2022

Finding Me is Viola Davis’ story, in her own words, and spans her incredible, inspiring life, from her coming-of-age in Rhode Island to her present day. Hers is a story of overcoming, a true hero’s journey. Deeply personal, brutally honest, and riveting, Finding Me is a timeless and spellbinding memoir that will capture hearts and minds around the globe.  

A vital path home. Employing African epistemologies and an embodied African beingness, this book embraces the revelation and miracle of Blackness.

Creating a world worthy of our children requires recalling the dignity and distinction of the African way of life.

This book is not written for settler consumption. Kindred Creation is a call and response to dream and design better worlds rooted in African lifeways: a path to Black freedom, a love letter to Black futures, and a blueprint to intergenerational Black joy and dignity—all (and always) on Black terms.

Author, organizer, and designer Aida Mariam Davis explores the historical and ongoing impacts of settler colonialism, making explicit the ways that extraction, oppression, and enslavement serve the goals of empire—not least by severing ancestral connections and disrupting profound and ancient relationships to self, nature, and community.

Structured in three parts—Remember, Refuse, and Reclaim—Kindred Creation is a philosophical guidebook and a vital invitation to power and reconnection. Davis employs parable, poetry, theory, memory, narrative, and prophecy to help readers:

* Remember: By unforgetting the unending and cascading violence of settler colonialism and other forms of domination and exploring the ways that African land, language, lifestyle, and labor are stolen, distorted, and repackaged for colonial consumption to extract capital and sever ties to ancestral knowledge, lifeways, and dignity

* Refuse: By rejecting and interrupting death-making institutions and relationships and choosing kinship and self-determination in the face of settler colonial violence

* Reclaim: By revealing that freedom is within us—and within reach. Davis shares how the reader can birth new worlds and relationships and offers strategies for reclaiming land, language, lifestyle, and labor.

The colonial violence and dispossession of African land, language, and labor is inflicted intentionally—and by design. Reclaiming African lifeways and remembering what was forcibly forgotten must be by creation: a re-membering of our interconnectedness and kinship.

What’s new, now and next from contemporary Black artists

This book surveys the work of a new generation of Black artists, and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art. As mission-driven collectors, Bernard I. Lumpkin and Carmine D. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. But there has never been an opportunity to consider their acclaimed collection as a whole until now.

Edited by writer Antwaun Sargent (author of The New Black Vanguard: Photography Between Art and Fashion), Young, Gifted and Black draws from this collection to shed new light on works by contemporary artists of African descent. At a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the New York Times are declaring that “it has become undeniable that African American artists are making much of the best American art today,” Young, Gifted and Black takes stock of how these new voices are impacting the way we think about identity, politics and art history itself.

Young, Gifted and Black contextualizes artworks with contributions from artists, curators and other experts. It features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem; and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons. A landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art.

Artists include: Mark Bradford, David Hammons, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Adam Pendleton, Pope.L, LaToya Ruby Frazier, Henry Taylor, Mickalene Thomas, Lynette Yiadom-Boakye, Tunji Adeniyi-Jones, Sadie Barnette, Kevin Beasley, Jordan Casteel, Jonathan Lyndon Chase, Bethany Collins, Noah Davis, Cy Gavin, Allison Janae Hamilton, Tomashi Jackson, Samuel Levi Jones, Deana Lawson, Norman Lewis, Eric N. Mack, Arcmanoro Niles, Jennifer Packer, Christina Quarles, Jacolby Satterwhite, Paul Mpagi Sepuya, Sable Elyse Smith, Chanel Thomas, Stacy Lynn Waddell, D’Angelo Lovell Williams, Brenna Youngblood, and more.

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Black figuration and portraiture as realized in the works of Amy Sherald, Jordan Casteel and other contemporary artists

“There is never a time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now,” wrote James Baldwin. Published in conjunction with the eponymous exhibition at the National Portrait Gallery, London, The Time is Always Now is edited by curator Ekow Eshun, former director of the Institute of Contemporary Arts in London. The book brings together 22 contemporary African diasporic artists working primarily in the United Kingdom and the United States, whose practices―whether through painting, drawing or sculpture―foreground the Black figure. Acknowledging the paradox of race as both a “socially constructed fiction” and a “lived reality,” as Eshun writes, The Time is Always Now celebrates these Black figurative artworks against a background of heightened cultural visibility. Through a three-part structure, this book examines Black figuration as a means to address the absence and distortion of Black presence within Western art history. Each artist receives a detailed biographical profile alongside reproductions of their included works. The catalog is also supplemented by three original essays from Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at the Courtauld Institute of Art; Bernardine Evaristo, Booker Prize–winning author of Girl, Woman, Other; and Esi Edugyan, two-time Giller Prize winner for her novels Half-Blood Blues and Washington Black.

Artists include: Njideka Akunyili Crosby, Hurvin Anderson, Michael Armitage, Jordan Casteel, Noah Davis, Godfried Donkor, Kimathi Donkor, Denzil Forrester, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry James Marshall, Wangechi Mutu, Chris Ofili, Toyin Ojih Odutola, Jennifer Packer, Thomas J. Price, Nathaniel Mary Quinn, Lorna Simpson, Amy Sherald, Henry Taylor, Barbara Walker.

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The latest work from the veteran novelist called “one hell of a writer” by James Baldwin and “wonderfully wry” by Donald Barthelme: a timely meditation on the psychological impact of police brutality, through the lens of a day in the life of Miles Davis

Written by playwright and novelist Wesley Brown, Blue in Green narrates one evening in August 1959, when, mere weeks after the release of his landmark album Kind of Blue, Miles Davis is assaulted by a member of the New York City Police Department outside of the Birdland jazz club. In the aftermath, we enter the strained relationship between Davis and his wife, Frances Taylor, whom he has recently cajoled into ending her run as a performer on Broadway and retiring from modern dance and ballet altogether. Frances, who is increasingly subject to Davis’ temper—fueled by both his professional envy and substance abuse—reckons with her upbringing in Christian Science and, through a fateful meeting with Lena Horne, the conflicting demands of motherhood and artistic vocation. Meanwhile, blowing off steam from his beating, Miles speeds across Manhattan in his sports car. Racing alongside him are recollections of a stony, young John Coltrane, a combative Charlie Parker and the stilted world of the Black middle class he’s left behind.