The extraordinary life of a captivating American artist, beautifully illustrated with his dreamlike drawings Much of Joseph Elmer Yoakum's story comes from the artist himself-and is almost too fantastic to believe. At a young age, Yoakum (1891-1972) traveled the globe with numerous circuses; he later served in a segregated noncombat regiment during World War I before settling in Chicago. There, inspired by a dream, he began his artistic career at age seventy-one, producing some two thousand drawings over a decade. How did Yoakum gain representation in major museum collections in Chicago and New York? What fueled his process, which he described as a "spiritual unfoldment"? This volume delves into the friendships Yoakum forged with the Chicago Imagists that secured his place in art history, explores the religious outlook that may have helped him cope with a racially fractured city, and examines his complicated relationship to African American and Native American identities. With hundreds of beautiful color reproductions of his dreamlike drawings, it offers the most comprehensive study of the artist's work, illuminating his vivid and imaginative creativity and giving definition and dimension to his remarkable biography. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (June 12-October 18, 2021) Museum of Modern Art, New York (November 28, 2021-March 18, 2022) Menil Collection, Houston (April 22-August 7, 2022)

Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives. Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image-based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video's deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document. Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.