Positioning Alice Neel as a champion of civil rights, this book explores how her paintings convey her humanist politics and capture the humanity, strength, and vulnerability of her subjects   “One of the most ambitious and thorough collections of Neel’s work to date.�—Allison Schaller, Vanity Fair   “For me, people come first,� Alice Neel (1900–1984) declared in 1950. “I have tried to assert the dignity and eternal importance of the human being.� This ambitious publication surveys Neel’s nearly 70-year career through the lens of her radical humanism. Remarkable portraits of victims of the Great Depression, fellow residents of Spanish Harlem, leaders of political organizations, queer artists, visibly pregnant women, and members of New York’s global diaspora reveal that Neel viewed humanism as both a political and philosophical ideal. In addition to these paintings of famous and unknown sitters, the more than 100 works highlighted include Neel’s emotionally charged cityscapes and still lifes as well as the artist’s erotic pastels and watercolors. Essays tackle Neel’s portrayal of LGBTQ subjects; her unique aesthetic language, which merged abstraction and figuration; and her commitment to progressive politics, civil rights, feminism, and racial diversity. The authors also explore Neel’s highly personal preoccupations with death, illness, and motherhood while reasserting her place in the broader cultural history of the 20th century. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (March 22–August 1, 2021)   Guggenheim, Bilbao (September 17, 2021–January 30, 2022)   de Young Museum, San Francisco (March 12–July 10, 2022)

Originally published in 1975, the essays in this book explore a particular level at which the concept of equality must be applied if educational equality is to be realised. Whilst each stands independently of the others, there are points of convergence and overlap in the perspectives of the writers, each of whom represents a different discipline: education, sociology, psychology, philosophy and politics. The relationship between equality and unity, uniformity and justice are discussed, and at every level false assumptions are revealed.

The first monograph on the influential contemporary Cuban–American interdisciplinary artist and writer Coco Fusco. Tomorrow, I will become an island is the first in-depth study of the performances, videos and social practice of the influential Cuban–American artist Coco Fusco. Featuring contributions by renowned scholars of art history, performance art and Cuban cultural politics as well as an essay by the artist herself, the book offers a comprehensive review of Fusco’s interdisciplinary art practice and her transnational perspective on race, gender and power. For more than three decades, Fusco has been a leader in conversations around the intersection of identity, feminism, culture, and politics in the Americas and beyond. Emerging during the 1980s as a pioneering advocate of multiculturalism in the arts, Fusco utilizes performance, video, exhibition making, archival research and writing to reflect upon the ways that intercultural relations and colonial histories shape the construction of the self and perceptions of cultural difference. Her work has critically examined society from a postcolonial perspective, engaging with debates about cultural politics throughout the Americas, Europe and elsewhere. This expansive approach is highlighted through a broad range of works that address themes including post-revolutionary Cuba, racial stereotypes, feminist politics, animal psychology, ethnographic displays, suppressed colonial records, military interrogation and sex tourism. The book will accompany an international touring retrospective of the artist’s work starting in 2023.

Delegation is the first comprehensive monograph by Apsaalooke/Crow artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective. Red Star centers Native American life and material culture through imaginative self-portraiture, vivid collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Including a dynamic array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems, Delegation is a spirited testament to an influential artist's singular vision. Copublished by Aperture and Documentary Arts

The first comprehensive publication to capture Hayes's unique blend of performance and social engagement which has been at the forefront of questions of feminist history, queer time, and protest culture for over a decade American artist Sharon Hayes uses photography, film, video, sound, performance, and text to interrogate the intersections between the personal and collective sphere. Her deeply affective and queer approach to history and politics draws particular attention to the language of twentieth-century activism as well as drama, anthropology, and journalism. This book is the first to feature all of Hayes's most significant projects, from the ten-hour performance My Fellow American 1981-1988 to her Monument Lab addressing the absence of monuments to women in Philadelphia. A professor of fine art at the University of Pennsylvania, Hayes's work has been shown at the 2010 Whitney Biennial, Documenta 12 in Kassel, and the 55th Venice Biennale, as well as in the most prestigious museums around the world. Her re-examination of protest, speech, and history is one of the most powerful reflections of the complexity and the urgency of our times. Sharon Hayes is the latest addition to the acclaimed Phaidon Contemporary Artists Series.

From the world of the best-selling trilogy of books and the hit Netflix show comes a new chapter in the ALTERED CARBON universe! In the future, bodies can be changed like clothes, giving life an entirely new meaning-or lack of meaning. Takeshi Kovacs-once a member of the Envoy Corps, the elite, deadly troops of the Interstellar Earth Protectorate-now finds himself imprisoned . . . both in a jail and in an extremely weak body. When he learns that Envoys he served with in a battle he somehow can't remember have been stolen and sold to one of the richest people in the universe, Kovacs vows to rescue them and get revenge. Leaving behind a staggering body count as he blazes across the galaxy, he wonders why he has a hole in his memory . . . and what secrets that gap holds for understanding his future and himself. ALTERED CARBON writer/creator RICHARD K. MORGAN is joined by writer SCOTT BRYAN WILSON (Batman Annual, Batman: Gotham Nights) and artist MAX FUCHS (Halcyon Days) to deliver the original graphic novel ALTERED CARBON: ONE LIFE, ONE DEATH, a violent, galaxy-spanning adventure of prison breaks, political intrigue, and sinister machinations.

Global Citizens is a study of the Soka Gakkai Buddhist movement, which was founded in 1930 in Japan, spread rapidly after WWII, and has since developed a world-wide following. The book provides an historical overview of the importance of the development of the movement as an educational reform society, its development into a sect of Nichiren Buddhism. The book also explains the success of Soka Gakkai Buddhism with reference to continuity between Soka Gakkai teachings and the experience of people living in urban, industrial environments and Soka Gakkai's response to the surrounding social and cultural environment.

New Religious Movements: Challenge & Response is the most comprehensive, wide-ranging study on the global impact of new religions.
* New religions discussed include Hare Krishna, Sikh Dharma, The Unification Church, The Church of Scientology, The Jesus People and Wicca.
* Focuses on the rise of new religious movements in Italy, Brazil, United States, Germany and Britain. * The contributors are among the most respected and reputable experts in the field.

A groundbreaking examination of the "double" in modern and contemporary art From ancient mythology to contemporary cinema, the motif of the double-which repeats, duplicates, mirrors, inverts, splits, and reenacts-has captured our imaginations, both attracting and repelling us. The Double examines this essential concept through the lens of art, from modernism to contemporary practice-from the paired paintings of Henri Matisse and Arshile Gorky, to the double line works of Piet Mondrian and Marlow Moss, to Eva Hesse's One More Than One, Lorna Simpson's Two Necklines, Roni Horn's Pair Objects, and Rashid Johnson's The New Negro Escapist Social and Athletic Club (Emmett). James Meyer's survey text explores four modes of doubling: Seeing Double through repetition; Reversal, the inversion or mirroring of an image or form; Dilemma, the staging of an absurd or impossible choice; and the Divided and Doubled Self (split and shadowed selves, personae, fraternal doubles, and pairs). Thought-provoking essays by leading scholars Julia Bryan-Wilson, Tom Gunning, W.J.T. Mitchell, Hillel Schwartz, Shawn Michelle Smith, and Andrew Solomon discuss a host of topics, including the ontology and ethics of the double, the double and psychoanalysis, double consciousness, the doppelganger in silent cinema, and the queer double. Richly illustrated throughout, The Double is a multifaceted exploration of an enduring theme in art, from painting and sculpture to photography, film, video, and performance. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC July 10-October 31, 2022

Today's artists have an unprecedented level of choice with regard to materials and methods available to them, yet the processes involved in making artworks are rarely addressed in books or exhibitions on art. Here, Glenn Adamson and Julia Bryan-Wilson argue that the materials and methods used to make artworks hold the key to artists' motivations, their attitudes to authorship, uniqueness and the value of objects, the economic and social contexts from which they emerge, and their approach to the perceived opposition between materiality and conceptualism in art. The book's introduction sets out a history of trends in artistic production and the possible catalysts for the proliferation of production strategies since the mid-twentieth century, followed by nine chapters that explore different methods and media. Detailed examples are interwoven with the discussion, including visuals that reveal the intricacies of each technique or material and its overall effect when presented as an artwork. Artists featured include Ai Weiwei, Ron Arad, Chris Burden, Katharina Fritsch, Isa Genzken, Jeff Koons, Los Carpinteros, Haroon Mirza, Takashi Murakami, Gerhard Richter, Doris Salcedo and Santiago Sierra

From her early rarely seen Riot Grrrl-influenced fanzines and performances to a career that has produced seminal films, fiction, sculptures, public art, and even a smartphone app, Miranda July has proven adept at articulating the poignancy and humour of the human plight while also achieving enormous acclaim along the way. This chronological retrospective includes July's performance and video projects, award- winning films, digital multimedia, and written pieces which make clear the multidimensionality of her work. The book includes photography, stills, and archival ephemera and is narrated by friends, collaborators, curators, assistants, and audience members including David Byrne, Spike Jonze, Lena Dunham, Carrie Brownstein, and Hans Ulrich Obrist, as well as July herself. This behind-the-scenes commentary reveals an intimate perspective on the process, struggles, and grit involved in forging one's own path. What emerges is just how singular her voice is-from a movie narrated by an injured cat to a performance that builds an intentional community; from sculpture that engages the public to an interfaith charity shop in a London department store. July may be impossible to categorise, but the importance of her work and her status as an essential cultural icon with wide-ranging appeal is irrefutable.

This volume offers a comprehensive look at the career of Mika Rottenberg (born 1976). Each chapter is devoted to one of the major videos/installations for which Rottenberg has become known, with an abundance of installation views, video stills, planning diagrams and source materials. Additional illumination is provided through texts by Rottenberg herself that accompany each project. The book also includes drawing and photography, significant bodies of work by Rottenberg not previously explored in book form. Also included is a major new text by award-winning poet, novelist, humorist and cultural critic Wayne Koestenbaum, as well as texts on the artist by Rose Art Museum director Christopher Bedford, and author and theorist Julia Bryan-Wilson. The book also contains a thorough biography and bibliography of the artist to date, making this a comprehensive resource on Rottenberg.

Fifty years ago Soka Gakkai was an organization of a few hundred people, all of them in Japan. Today it is one of the world's most rapidly expanding religious movements with members in virtually every country in Europe, the Americas, and Australasia, in most of Asia, and in several parts of Africa. Increasingly well publicized, the movement sponsors a variety of cultural and educational causes, is conspicuous in its work for world peace and the preservation of the environment, and has established for itself a high profile in world affairs. Soka Gakkai is also a significant social phenomenon in its own right, yet it has received surprisingly little attention from Western academics, despite considerable public controversy surrounding its development in Japan. Bryan Wilson and Karel Dobbelaere have undertaken a thorough survey of the UK membership to try to trace the source of the movement's appeal to its socially diverse constituency. The results of their questionnaire survey were augmented by interviews in which members were encouraged to tell their own story in their own way. Their responses are liberally quoted throughout the book and add illuminating detail to its sociological analysis. The decline in belief in an anthropomorphic deity; the sense that traditional religious institutions have become hollow; the emphasis on the private nature of belief and on personal autonomy are all characteristic features of contemporary Western society. The authors suggest that Soka Gakkai has found a ready resonance with these changing currents of modern thought, and conclude that Soka Gakkai's appeal to young people in particular makes it a faith well in tune with the times.

Countries throughout the world are faced with the problem of adjusting school mathematics curricula in an attempt to match rapid changes in society, technology and educational systems. The ICMI Study is intended to help those who wish to form a vision of what school mathematics might be in the 1990's and to work towards the fulfilment of goals. In doing this it will be guided by the experiences of the past thirty years, which have taught us that what is desirable might not be attainable, and that goals must be set which acknowledge the existence of constraints. The Study seeks to identify key issues and basic questions within mathematics education, to propose and comment upon alternative strategies, and to provide a stimulus for more detailed, less general discussions, within more limited geographical and social contexts. The text is based upon an international symposium held in Kuwait in February, 1986 and attended by selected mathematics educators drawn from all parts of the world.

A daring reassessment of Louise Nevelson, an icon of twentieth-century art whose innovative procedures relate to gendered, classed, and racialized forms of making In this radical rethinking of the art of Louise Nevelson (1899–1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction—in which she assembled found pieces of wood into elaborate structures, usually painted black—have been little studied. Organized around a series of key operations in Nevelson’s own process (dragging, coloring, joining, and facing), the book comprises four slipcased, individually bound volumes that can be read in any order. Both form and content thus echo Nevelson’s own modular sculptures, the gridded boxes of which the artist herself rearranged. Exploring how Nevelson’s making relates to domesticity, racialized matter, gendered labor, and the environment, Bryan-Wilson offers a sustained examination of the social and political implications of Nevelson’s art. The author also approaches Nevelson’s sculptures from her own embodied subjectivity as a queer feminist scholar. She forges an expansive art history that places Nevelson’s assemblages in dialogue with a wide array of marginalized worldmaking and underlines the artist’s proclamation of allegiance to blackness.

In this book, based on lectures that the author was invited to deliver in Japan, Bryan Wilson traces the dominant contours of religion as perceived by the sociologist. His themes range from the study of sectarianism, on which he is one of the relationship between religion and culture in modern societies of the West and the East.

A deep dive into the life and work of sculptor Louise Nevelson recontextualizes her art in light of social movements, travel, and her experiences in dance and theater   Known for her monumental wooden wall pieces and outdoor sculptures, Louise Nevelson (1899–1988) was a towering figure in twentieth-century American art. A more nuanced picture of Nevelson emerges in The World Outside: Louise Nevelson at Midcentury. Discussions about Nevelson’s early involvement with modern dance and subsequent immersion in avant-garde theater bring new understandings of her drawings and sculptures. A reframing of her travels to Mexico and Guatemala in the early 1950s demonstrates, for the first time, how colonial archaeology haunted her visual language for decades.   Other little-known facets of Nevelson’s life—her interest in folk art, architecture, and period furniture—open up a conversation about the artist’s approach to America’s past material culture. A pioneering examination of Nevelson’s printmaking experiences at Tamarind Lithography Workshop reveals how the artist created alternative modes of viewing through unconventional methods and materials. The book also reconsiders Nevelson’s work in the context of the environmental movement. Additionally, three contemporary artists relate Nevelson’s role in their careers and lives, a local expert describes her roots and relationship to Maine, and the artist’s granddaughter shares thoughts on Nevelson’s spirituality.   Distributed for the Amon Carter Museum of American Art Exhibition Schedule Amon Carter Museum of American Art, Fort Worth, TX (August 27, 2023–January 7, 2024) Colby College Museum of Art, Waterville, ME (February 6–June 9, 2024)

Wherever there have been nuclear weapons and nuclear fission, there have also been cameras. Camera Atomica explores the intimate relationship between photography and nuclear events, to uncover how the camera lens has shaped public perceptions of the atomic age and its anxieties. Photographs have a crucial place in the representation of the atomic age and its anxieties. Published in collaboration with the Art Gallery of Ontario to coincide with a major exhibition there in 2014. Camera Atomica examines narratives beyond the "technological sublime" that dominates much nuclear photography, suppressing representations of the human form in favour of representations of B-52 bombers and mushroom clouds. The book proposes that the body is the site where the social environment interacts with the so-called "atomic road": uranium mining and processing, radiation research, nuclear reactor construction and operation, and weapons testing. Cameras have both recorded and - in certain instances - provided motivation for the production of nuclear events. Their histories and technological development are intimately intertwined. All photographs, including nuclear photographs, have the capability to function affectively by working on the emotions and fascinating audiences. Through a wide range of visual documentation, Camera Atomica raises questions such as: what has the role of photography been in underwriting a public image of the bomb and nuclear energy? Has the circulation of photographic images heightened or lessened anxieties, or done both at the same time? How should the different visual protocols of photography be understood?

From the moment we enter into this world through the birth canal, life is filled with transitions. Some are imposed upon us naturally. Some we choose. Some we avoid, mainly because of our tendency to hold on to that which has become familiar to us. 9 + 9 EQUALS 9 encourages readers to identify what in their lives needs to end in order for new things to begin. With one of the author's most pivotal life transitions as the backdrop, this book expresses the principle that purpose, destiny and the experience of abundant living can only be attained when we are willing to bring closure to the relationships, behaviors, and attitudes that keep us from moving forward. 9 + 9 EQUALS 9 gives readers the confidence they need to face an ending regardless of the hurt and pain it may cause. This book illuminates the reality that our lives are largely governed by the power of choice. As we choose to prune that which no longer produces life, we can then give life to the new seeds that need to grow. At the point of finality, there is a new beginning. Every finish constitutes the start to something else. Allow 9 + 9 EQUALS 9 to help you identify what in your life needs to end, guide you in how to properly end it, and excite you to embrace the greater life that is ahead. FULL LIFE AHEAD...FOCUS ONLY ON THAT WHICH MATTERS MOST