Moving Still: Performative Photography in India explores themes of migration, gender, religion and national identity through the lens of modern and contemporary photography in India. While exploring the early beginnings of photography in India with works from Ram Singh II and Umrao Singh Sher-Gil, the primary focus of this publication is the lens-based practices of contemporary artists such as Naveen Kishore, Atul Bhalla, Tejal Shah, Vivan Sundaram, Sunil Gupta, Anita Dube and Pushpamala N. Artists rooted in the diversity of cultures and multiplicity within the country, while at the same time engaged in a global dialogue. The publication will include profiles on each of the participating artists, a timeline on the history of performative photography compiled by Critical Collective, as well as feature essays by Diana Freundl, Associate Curator, Asian Art at the Vancouver Art Gallery, and Gayatri Sinha, art critic and curator, that together expand on the historical importance and relevance of photography as an artistic medium in India as well as the development of performative photography.

With its concentration on geometrical forms, Islamic design offers a rich source of patterns. Many are taken Moorish Spain and the traditional sites of the Middle East and North Africa, but this book also includes patterns which have been used in mosques in Great Britain. This book provides a photographic exploration of the magnificent designs and analysis of the designs using clear drawings provides designers and artists with ideas and techniques for their own work.

Innovative artists in 1960s Japan who made art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support-with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of "international contemporaneity" (kokusaiteki dojisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of "vanishing of matter" and the practice of "meditative visualization" (kannen); The Play, a collective of "Happeners"; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of "formless emissions" organized by Matsuzwa; the launching of a huge fiberglass egg-"an image of liberation"-from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making "connections" and finding "resonances" between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally "similar yet dissimilar" characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.

In The Chinese Atlantic, Sean Metzger charts processes of global circulation across and beyond the Atlantic, exploring how seascapes generate new understandings of Chinese migration, financial networks and artistic production. Moving across film, painting, performance, and installation art, Metzger traces flows of money, culture, and aesthetics to reveal the ways in which routes of commerce stretching back to the Dutch Golden Age have molded and continue to influence the social reproduction of Chineseness. With a particular focus on the Caribbean, Metzger investigates the expressive culture of Chinese migrants and the communities that received these waves of people. He interrogates central issues in the study of similar case studies from South Africa and England to demonstrate how Chinese Atlantic seascapes frame globalization as we experience it today. Frequently focusing on art that interacts directly with the sites in which it is located, Metzger explores how Chinese migrant laborers and entrepreneurs did the same to shape-both physically and culturally-the new spaces in which they found themselves. In this manner, Metzger encourages us to see how artistic imagination and practice interact with migration to produce a new way of framing the global.

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.