This book is devoted to the concept of horizontal art history-a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952-2015)-that aims at undermining the hegemony of the discourse of art history created in the Western world. The concept of horizontal art history is one of many ideas on how to conduct nonhierarchical art historical analysis that have been developed in different geopolitical locations since at least the 1970s, parallel to the ongoing process of decolonization. This book is a critical examination of horizontal art history which provokes a discussion on the original concept of horizontal art history and possible methods to extend it. This is an edited volume written by international scholars who acknowledge the importance of the concept, share its basic assumptions and are aware both of its advantages and limitations. The book will be of interest to scholars working in art history, art historiography and postcolonial studies.

Zofia Kulik's rich artistic career has a dual nature. Between 1970 and 1987, she worked alongside Przemyslaw Kwiek as a member of the duo KwieKulik, after which she began to develop a successful individual career. While KwieKulik's work has been well established as central to the East European neo-avant-garde art lexicon of the 1970's and '80s, Kulik's solo work has yet to be examined in depth. The first publication devoted solely to her work, this monograph analyzes the themes of her rich and complex oeuvre, addressing the (post)communist condition, artistic labor, intermediality, and the conditions of working as a female artist. The book forms a portrait of Kulik as an artist whose work is both deeply focused and rich in variations that reflect the socio-political shifts in her native Poland. With contributions from leading art historians, including Edit Andras, Angela Dimitrakaki, Ewa Lajer-Burcharth, Suzana Milevska, and Tomasz Zaluski.

Although she is only now just coming into much deserved global renown as the woman behind "Awkward Objects," one of ArtForum's Best of 2012, the Polish sculptor Alina Szapocznikow has long been recognized in her country as one of the most accomplished female artists of the twentieth century. Collected in this volume for the first time are Szapocznikow's letters to and from the art critic and former director of the Lodz Museum of Art Ryszard Stanislawski, which span from the inception of their relationship through their marriage and divorce.

"Lovely, Human, True, Heartfelt" documents Szapocznikow's artistic process and inspirations and is a rare window through which to view the complex internal life of Szapocznikow as an artist, Holocaust survivor, and woman. For art historians and enthusiasts, this correspondence offers an important context for understanding Szapocznikow's often enigmatic work and id a fascinating look at the recovery of the artistic community in Europe after World War II. The volume includes comprehensive notes on the political and artistic climate surrounding each letter, as well as providing biographical information that creates an even more nuanced portrait of the two writers.

More than simply a historical resource, "Lovely, Human, True, Heartfelt "offers readers an intimate epistolary romance written with deep passion and remarkable literary flair.

Drawing on the work of prominent art historians, curators, critics, and collectors, this exhibition catalogue presents the most current research on the work of Alina Szapocznikow. Born in Kalisz, Poland, in 1926, Szapocznikow studied in Prague and Paris, spent the last decade of her life in France, and created an impressive number of sculptures and drawings that are now defined as post-surrealist and proto-feminist. Recent exhibitions of the artist's work in Germany and France, along with acquisitions by prominent collections worldwide, have bolstered Szapocznikow's international reputation and ignited discussions of her significance to twentieth-century art.