Some Kind of Duty features all new handmade weavings by Chicago-based artist Karolina Gnatowski, known as kg. In monumental and small-scale tapestries, kg, anAmerican artist who was born in Poland incorporates references ranging from Polish immigration, badminton, Jim Morrison, and feminist fiber artists to addiction, mourning, and their pet. The artist's keen attention to the details of life's coincidences and moments of intersection finds a fitting form in their reverence for the history of tapestry weaving, and the evidence of everyday life incorporated into the artist's work makes their weavings an offering to those both living and dead. This catalog accompanies an exhibition at the DePaul Art Museum, and it features full-color plates of the works on view, an interview between the artist and DPAM Director and Chief Curator Julie Rodrigues Widholm, an essay by K. L. H. Wells, assistant professor in the Department of Art History at the University of Wisconsin-Milwaukee, and poems written by the artist to accompany each work.

This exhibition catalog, Julia Fish: bound by spectrum, presents a fully-illustrated survey of the last decade of Fish's paintings and works on paper. It offers new scholarship around Fish's ongoing project that brings together the disciplines of painting, drawing, and architecture. For three decades, Fish has used her house and its vernacular architecture--a Chicago storefront workspace designed by Theodore Steuben in 1922--as the basis for a system of mapping color, form, and light in paintings and works on paper. Working from close observation, she renders architectural details at actual size and creates a dialog between objective information and subjective response. These works are informed by effects of light in space, time of day, the seasons, cardinal direction, and the artist's own physical vantage point. Accompanying the images of Fish's works are essays by Julie Rodrigues Widholm, Kate Nesin, and Colm T ib n, images and text by architect Dan Wheeler, and a selection of the artist's studio notations.

A mountain of chairs piled between buildings. Shoes sewn behind animal membranes into a wall. A massive crack running through the floor of Tate Modern. Powerful works like these by sculptor Doris Salcedo evoke the significance of bearing witness and processes of collective healing. Salcedo, who lives and works in Bogota, roots her art in Colombia's social and political landscape - including its long history of civil wars - with an elegance and poetic sensibility that balances the gravitas of her subjects. Her work is undergirded by intense fieldwork, including interviews with people who have suffered loss and endured trauma from political violence. In recent years, Salcedo has become increasingly interested in the universality of these experiences and expanded her research to Turkey, Italy, Great Britain, and the United States. Published to accompany Salcedo's first retrospective exhibition and the American debut of her major work Plegaria muda, Doris Salcedo is the most comprehensive survey of her sculptures and installations to date. In addition to featuring new contributions by respected scholars and curators, the book includes over one hundred color illustrations highlighting many pieces from Salcedo's twenty-five-year career. Offering fresh perspectives on a vital body of work, Doris Salcedo is a testament to the power of one of today's most important international artists.

Academic libraries and museums foster many outstanding collaborations supporting teaching, learning, and research within their respective institutions. These collaborations, like other progressive activities, require significant invisible labor, caretaking, and resources that have not always been documented.   Cultural Heritage and the Campus Community collects examples of successful academic library-museum collaborations and serves as critical knowledge for the cultural heritage sector. Authors from libraries and museums across the United States demonstrate how to develop and execute partnerships and bring forth new dimensions of transdisciplinary objects-based pedagogy, research, and learning centered on inclusive educational practices. Chapters explore visual thinking strategies and the Framework for Information Literacy in Higher Education in the undergraduate classroom; restoring Indigenous heritage through tribal partnerships; using object-based teaching to motivate student research; and much more.   The collaborative approaches highlighted here demonstrate the power of possibility when two collections-centric entities unite to enrich our collective understanding of materiality, instructional approaches, and the importance of provenance. Cultural Heritage and the Campus Community also illustrates why interrogating past practices and value assignments within academic library and museum collections is essential to advancing culturally relevant approaches to knowledge sharing in physical and digital spaces.

Mexico City has emerged as a thriving center of contemporary art. Escultura Social features recent work by a group of artists whose influence has already extended far beyond Mexico and focuses on how they have contributed to an international dialogue through their use of nontraditional materials, new media, and critical perspectives.This book takes Joseph Beuys's idea of "social sculpture," or escultura social, as a multivalent reference point for understanding how these socially engaged works draw connections between people and nature and promote a demystified and democratic concept of art-making. Featuring the work of twenty artists, this bilingual volume includes several artists' writings by pioneers of artist-run exhibition spaces: Stefan Bruggemann, Abraham Cruzvillegas, Yoshua Okon, and Pedro Reyes. Critical essays on the contemporary Mexican scene and relevance of Beuys's ideas are accompanied by illustrated texts on each artist in this unique and important book.Bilingual (English/Spanish) Published in association with the Museum of Contemporary Art, Chicago Exhibition Schedule: Museum of Contemporary Art, Chicago (June 23 - September 2, 2007) Nasher Museum of Art at Duke University, Durham (January 15 - May 31, 2009)