Award-winning author, curator, and activist Lucy R. Lippard is one of America's most influential writers on contemporary art, a pioneer in the fields of cultural geography, conceptualism, and feminist art. Hailed for "the breadth of her reading and the comprehensiveness with which she considers the things that define place" ("The New York Times"), Lippard now turns her keen eye to the politics of land use and art in an evolving New West.
Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, Lippard weaves a number of fascinating themes--among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water--into a tapestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the "subterranean economy."
Featuring more than two hundred gorgeous color images, "Undermining" is a must-read for anyone eager to explore a new way of understanding the relationship between art and place in a rapidly shifting society.

A study of how prehistoric images get overlaid onto contemporary art by today's artists. It attempts to understand how art can be meaningfully reintegrated into the fabric of society as a whole, as in prehistoric times.

In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women’s movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of Lippard’s thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today’s fine and popular art. With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard’s leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.

Artist Kent Monkman's all-encompassing project, Shame and Prejudice: A Story of Resilience, takes viewers on a journey through Canada's history, starting in the present and going back to before Canadian confederation. Throughout the book there are clever, albeit controversial, commentaries told by Monkman's genderfluid, time-travelling, supernatural alter-ego Miss Chief Eagle Testickle. Her narratives take viewers through the history of New France and the fur trade, the nineteenth-century dispossession of First Nations lands through Canadian colonial policies, the horrors of the residential school system, and modern First Nations experiences in urban environments. Shame and Prejudice challenges predominant narratives of Canadian history and honours the resilience of First Nations peoples. This book accompanies Monkman's largest solo exhibition to date, which is currently travelling across Canada at venues including the Art Museum at the University of Toronto, the Winnipeg Art Gallery, the Glenbow Museum in Calgary, and the Museum of Anthropology in Vancouver. The exhibition includes the artist's own paintings, drawings, and sculptural works, which form a dialogue with historical artefacts and artworks borrowed from museums and private collections across Canada. The book is trilingual with all text in English, French and Cree.

Pop Art embodied the spirit of the 1960s. Despite its carnival aspects, its orgiastic colour and giant scale, it was based on a tough, no-nonsense, no-refinement standard appropriate to its time. Here several critics, each involved in Pop Art, but with different backgrounds, vividly bring the movement to life. Lucy Lippard examines Pop's precursors ranging from folk art, Surrealism and Dada, Stuart Davis and Leger, to the Reuben group, Assemblage, Rauschenberg and Jasper Johns, and discusses Pop Art in New York best known for Andy Warhol, Roy Lichtenstein, Tom Wesselmann, James Rosenquist and Claes Oldenburg.

Walt Cassidy (b. 1972) is a multimedia artist and designer based in Brooklyn, New York. Throughout the 1990s, as Waltpaper, he was at the center of the New York City Club Kids movement. In 2014, Walt Cassidy Studio was established as a jewelry brand and has expanded to include interiors-based murals. Cassidy's explorative and allegorical work incorporates photography, drawing, sculpture, painting, and jewelry, and has been exhibited at MASS MOCA, Paul Kasmin Gallery, Deitch Projects, 303 Gallery, Torrance Art Museum, Watermill Center, Miami Basel Art Fair, Leslie- Lohman Museum, and Invisible Exports. Publications include Vogue, Elle, Artforum, Wall Street Journal, The New York Times, and others.