Gendered Bodies introduces readers to women's visual art in contemporary China by examining how the visual process of gendering reshapes understandings of historiography, sexuality, pain, and space. When artists take the body as the subject of female experience and the medium of aesthetic experiment, they reveal a wealth of noncanonical approaches to art. The insertion of women's narratives into Chinese art history rewrites a historiography that has denied legitimacy to the woman artist. The gendering of sexuality reveals that the female body incites pleasure in women themselves, reversing the dynamic from woman as desired object to woman as desiring subject. The gendering of pain demonstrates that for those haunted by the sociopolitical past, the body can articulate traumatic memories and psychological torment. The gendering of space transforms the female body into an emblem of landscape devastation, remaps ruin aesthetics, and extends the politics of gender identity into cyberspace and virtual reality. The work presents a critical review of women's art in contemporary China in relation to art traditions, classical and contemporary. Inscribing the female body into art generates not only visual experimentation, but also interaction between local art/cultural production and global perception. While artists may seek inspiration and exhibition space abroad, they often reject the (Western) label ""feminist artist."" An extensive analysis of artworks and artists-both well- and little-known-provides readers with discursively persuasive and visually provocative evidence. Gendered Bodies follows an interdisciplinary approach that general readers as well as scholars will find inspired and inspiring.

Colonized through Art explores how the federal government used art education for American Indian children as an instrument for the "colonization of consciousness," hoping to instill the values and ideals of Western society while simultaneously maintaining a political, social, economic, and racial hierarchy. Focusing on the Albuquerque Indian School in New Mexico, the Sherman Institute in Riverside, California, and the world's fairs and local community exhibitions, Marinella Lentis examines how the U.S. government's solution to the "Indian problem" at the end of the nineteenth century emphasized education and assimilation. Educational theories at the time viewed art as the foundation of morality and as a way to promote virtues and personal improvement. These theories made the subject of art a natural tool for policy makers and educators to use in achieving their assimilationist goals of turning student "savages" into civilized men and women. Despite such educational regimes for students, however, indigenous ideas about art oftentimes emerged "from below," particularly from well-known art teachers such as Arizona Swayney and Angel DeCora. Colonized through Art explores how American Indian schools taught children to abandon their cultural heritage and produce artificially "native" crafts that were exhibited at local and international fairs. The purchase of these crafts by the general public turned students' work into commodities and schools into factories.

In the late nineteenth century Tahiti embodied Western ideas of an earthly Paradise, a primitive utopia distant geographically and culturally from the Gilded Age or Belle Epoque. Stimulated by fin de siecle longings for the exotic, a few adventurous artists sought out this Eden on the South Seas - but what they found did not always live up to the Eden of their imagination. Bringing three of these figures together in comparative perspective for the first time, "Vanishing Paradise" offers a fresh take on the modernist primitivism of the French painter Paul Gauguin, the nostalgic exoticism of the American John LaFarge, and the elite tourism of the American writer Henry Adams. Drawing on archives throughout Europe, America, and the South Pacific, Childs explores how these artists, lured by romantic ideas about travel and exploration, wrestled with the elusiveness of paradise and portrayed colonial Tahiti in ways both mythic and modern.

This memoir of fictional Chinese artist, Little Winter, is written for her American daughter. It takes the story of Communist China beyond the death of Mao and for the first time in fiction shows the birth of the radical art movement, The Stars, in 1979. Her haunting love story connects us to this time of hope for freedom of expression in China, and to a man frustrated by 'being kept in small shoes'. Superbly researched and beautifully told, this story brings to life recent Chinese history and explains Chinese politics.

Sulat ng Kaluluwa (Writing of the Soul) is the 2nd book by Ancient Philippine Calligraphy (Baybayin) Artist, Kristian Kabuay. The book features over 50 images of artwork and accompanying stories written by people from around the world. The concept was for each person to provide a word or name and write what it means to them. From the word and story, Kristian created the art. Baybayin is a writing system from the Philippines that's no longer in regular use. There are only 3 remaining tribes that still use it.

Queering Contemporary Asian American Art takes Asian American differences as its point of departure, and brings together artists and scholars to challenge normative assumptions, essentialisms, and methodologies within Asian American art and visual culture. Taken together, these nine original artist interviews, cutting-edge visual artworks, and seven critical essays explore contemporary currents and experiences within Asian American art, including the multiple axes of race and identity, queer bodies and forms, kinship and affect, and digital identities and performances. Using the verb and critical lens of "queering" to capture transgressive cultural, social, and political engagement and practice, the contributors to this volume explore the connection points in Asian American experience and cultural production of surveillance states, decolonization and diaspora, transnational adoption, and transgender bodies and forms, as well as heteronormative respectability, the military, and war. The interdisciplinary and theoretically informed frameworks in the volume engage readers to understand global and historical processes through contemporary Asian American artistic production.

An essential guide for anyone interested in contemporary Japanese art, "Melting Standard: New Shift in Japanese Art" is a publication series designed to showcase works by new and emerging Japanese artists living and working both in Japan and abroad. featured artists: Satoshi Hoshi, Kei Imazu, Keiko Kamata, Teppei Kaneuji, Kengo Kito, Kazuma Koike, Jiro Konami, Taisuke Morohoshi, Goro Murayama, Shutaro Nagano, Yoko Naito, Ryuta Nakajima, Maki Ohkojima, Takako Okumura, Soichiro Uchiyama, Daisuke Yokota.

Kachinas are supernatural beings from Indian religion and this selected bibliography lists over 100 references to magazine articles and books with information about them. Kachinas are often represented in carved and painted Indian dolls. The book contains an essay that explains the various aspects and meanings of the Kachina in Indian life and gives historical and philosophical background information. Eight full-page black and white drawings by New Mexico artist, Glen Strock, illustrate the text. Collectors will find this book invaluable and for the general reader it offers an introduction to a popular Indian art form and mythological figure.

Retrace the steps it took for the most famous potter in the Southwest, Maria Martinez, to produce one of her prized pieces of black on black pottery. The history of Maria, her husband Julian, and son Popovia Da, is noted. The book is a tribute to this family, renowned for its contributions to classic pottery.

This book contains a selection of research, spanning two decades, from 1994 (the Wits conference on the San and their rock art, organised by David Lewis-Williams) to August 2011 with Pippa Skotnes and Jeanette Deacon’s 'The courage of //Kabbo' conference (University of Cape Town), celebrating the centenary of the publication of Bleek and Lloyd’s Specimens of Bushman Folklore in 1911.