First Americans Museum Celebrates Native Artists, Hosts Annual Holiday Art Market

By in Art World News

First Americans Museum Celebrates Native Artists, Hosts Annual Holiday Art Market

The First Americans Museum is hosting its annual Winter Holiday Art Market this weekend in Oklahoma City.

Tom Farris, with the museum, joined News 9 in the studio to talk about what to expect.

Farris said they have curated a selection of some of the best First American artists in the country, with over 50 artists and vendors throughout the museum.

There will also be performances, a children’s story time, a book signing, and a visit from Indigenous Santa.

For more information on the event, visit their website.

Celebrated US photographer Elliott Erwitt dead at 95

By in Photography

Celebrated US photographer Elliott Erwitt dead at 95
NEW YORK

Celebrated US photographer Elliott Erwitt dead at 95

U.S. photographer Elliott Erwitt, renowned for capturing the lighter side of his subjects, their canine companions and celebrities, has died aged 95, the Magnum agency where he was a mainstay said on Nov. 30.

“He died peacefully at home surrounded by family,” the storied agency, founded in 1947, wrote on X, formerly Twitter.

The New York Times reported that he passed away in New York on Nov. 29.

“His images have helped build our general understanding of who we are as a society and as humans and have inspired generations of photographers despite the changes in the industry and trends,” said Magnum Photos president Cristina de Middel.

Erwitt was widely recognized for capturing unique moments in his images, including historic events such as the famous 1959 encounter between then-Soviet leader Nikita Khrushchev and Richard Nixon, then the U.S. vice president.

Alongside such milestone images, Erwitt had a keen eye for the quirky and offbeat, giving dogs and their owners parity.

“It was Erwitt’s firm belief that photography should speak to the senses and emotions rather than intellect,” Magnum added.

[HH] Pillar of Magnum agency

Born on July 26, 1928, in Paris to Russian parents, Erwitt grew up in Milan before emigrating in 1939 to the U.S. with his family just before World War II broke out.

After 10 years in New York he moved to Los Angeles, where he started to learn photography. He was taken on as a printer in a laboratory specializing in portraits of stars.

Erwitt was conscripted to the army in 1951 as an assistant photographer and continued working for several publications while stationed in New Jersey, Germany and France.

After his military service in 1953 one of his mentors, renowned photojournalist Robert Capa, recruited him to Magnum.

Erwitt would combine the abilities of its two founders — French humanist photographer Henri Cartier-Bresson and his “decisive moment”, and Capa’s sense of history.

“Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum,” the agency said on its website.

He toured the world several times. It was the golden age of illustrated magazines and he contributed to Collier’s, Look, LIFE and Holiday.

Some of his many legendary snapshots also include Cuba’s Fidel Castro and Che Guevara in 1964, a GI sticking out his tongue at the height of the Korean War.

Erwitt will also be remembered for a snapshot of a veiled Jackie Kennedy at her husband’s JFK’s funeral, a tender private conversation between Erwitt’s wife and baby girl and an old Russian woman in curlers.

But arguably his best known is “California Kiss” in which in one click in 1955 he sums up the optimism offered by the U.S. West Coast.

In the 1970s, he turned to video, making documentaries on subjects ranging widely from Japan and country music to Afghan glassmakers.

In the 1980s he made 18 comedy and satirical television programs for the U.S. channel HBO.

Aged 90 in 2018 he published a book on Scotland.

Married four times and father to six children, Erwitt also owned eight dogs.

“Taking pictures of celebrities is exactly like taking pictures of non-celebrities”, he said in “Elliott Erwitt’s Personal Best” in 2006.

“Above all do not be intimidated. Remember that even the most exalted celebrities brush their teeth at night before going to bed.”

dies,

Indigenous students showcase resiliency, creativity in Haskell art show

By in Native

Indigenous students showcase resiliency, creativity in Haskell art show
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Art from more than 100 Indigenous students was showcased Friday during the first in-person art show Haskell Indian Nations University has held since 2019.

David Titterington teaches art at Haskell. In his classes, he introduces students to Native American artists and situates their work within the context of their time.

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For their final projects, students create artwork inspired by, or informed by, the artists who came before them, and use art to make a statement.

Molly Adams / Lawrence Times David Titterington

A unifying theme in modern Native American art is the expression of messages the artists find important. The art is intended to teach a lesson or share a message.

Common themes in Friday’s art show ranged from MMIW (Missing and Murdered Indigenous Women), refuting stereotypes, environmental issues, depression and personal identity.

Molly Adams / Lawrence Times Mona Cliff, a local Indigenous artist, views Haskell student paintings while wearing a hoodie from the Institute of American Indian Arts.

Remixing and reclaiming

There is a tradition of Indigenous artists “remixing” the work of Edward Curtis, whose infamous photography — intended to document the “vanishing Indian” — left a stereotypical and limiting legacy that Indian Country is still dealing with today.

Molly Adams / Lawrence Times “The Little Injun That Could” by Rasheed Shorty

Rasheed Shorty, Navajo, made a digital collage that invokes satire to show the absurdity of the stereotypes still applied to Native Americans today.

The work features the engine (a play on the slur “Injun”) of a Jeep Cherokee, overlayed on an Edward Curtis photo. The engine is wearing a stock photo image of a Plains-style headdress. This piece uses humor to transmit a message and was inspired by Cannupa Hanska.

Molly Adams / Lawrence Times “A Rebel in the Badlands” by Morgan Noisey

Morgan Noisey, Cherokee Nation, was inspired by Steven Paul Judd’s work where he added pop culture icons to old photos. In this image, Noisey added elements of Star Wars to an Edward Curtis photo.

Molly Adams / Lawrence Times “The Truth Is Out There” by Lawrence Aguilar

Lawrence Aguilar, San Ildefonso Pueblo, added an interactive element to an Edward Curtis photo, encouraging the audience to engage with the environmental horrors afflicted upon the people of San Ildefonso Pueblo by the Los Alamos National Laboratory.

“To this day no justice is being served for the Pueblo people suffering from the Lab’s detrimental actions against their ancestral land and its people,” Aguilar wrote in the artist’s statement.

There are hidden truths painted with UV-reactive paint to be revealed with flashlights which are available to anyone who chooses to look. The piece was inspired by Steven Paul Judd and T. Cannon.

Molly Adams / Lawrence Times “American ‘Democracy’” by Bradley Billy

Bradley Billy, Choctaw/Muscogee Creek, remixed Jeff Widener’s infamous Tiananmen Square photo by situating the faceoff in the context of Manifest Destiny. In the artist’s statement, Billy states that he hopes his “ancestors are proud of the fact that I will not let their sacrifice be forgotten. They will be remembered for their fight against American ‘democracy’.”

Ledger art

Ledger art is a distinctly Native American genre of art. It originated in boarding schools during the assimilation era of Federal Indian Policy. Indigenous children were prohibited from making art while detained in the forceful assimilation work camps, but that didn’t stop them. The resourceful children made art in ledger books because that’s what was available to them. 

Many Haskell students continue this tradition, as shown in some works displayed Friday.

Molly Adams / Lawrence Times Untitled ledger art by Taneille Lewis, Hunkpapa Lakota of the Standing Rock Sioux Tribe
Molly Adams / Lawrence Times “Indigenous America” by Megan McCain, Diné
Molly Adams / Lawrence Times “Bdewanantuwan” by Esmarie Cariaga-Whiteman, Isanti Dakota
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Missing and Murdered Indigenous Women

Violence against Indigenous women, girls, and Two Spirit people is an issue that some students expressed in their art.

Molly Adams / Lawrence Times “Conformity” by Megan McCain

Megan McCain, Diné, paid homage to Cara Romero’s “symbolically rich photographs of strong Indigenous women” with this piece on domestic violence.

McCain wrote that many people “feel trapped in their situation, like a ghost, and they try to process all the emotions and invalidate their feelings. … Under that ghostly shell of conformity is a strong Indigenous person waiting to be freed.”

Molly Adams / Lawrence Times “The Things They Carried” by Tanay McKinney, Citizen Potawatomi, is a time capsule of the items they carry in their pockets. It is a way for them to connect with MMIW.
Molly Adams / Lawrence Times

Personal meanings

Molly Adams / Lawrence Times “Indigenous Sovereignty” by Taneille Lewis

Taneille Lewis, Hunkpapa Lakota of the Standing Rock Sioux Tribe, was impacted by the Dakota Access Pipeline and the ensuing assault on Water Protectors and Indigenous sovereignty.

With this piece, she wanted to focus on the river that her people would “spend endless summer days and nights in.” About the river, she said, “if we did not protest, those memories would be swimming oil, genocide, and the dehumanization of our Native relatives, forever tainted for future generations.”

Molly Adams / Lawrence Times Detail of “Indigenous Sovereignty” by Taneille Lewis
Molly Adams / Lawrence Times “Littler Girl Jr.” by Isabelle “Jojo” Blackwood

Isabelle “Jojo” Blackwood, Kickapoo, Potawatomi, and Cherokee, displayed an interactive piece. Her art is “just a little compact, and that’s okay.”

The travel-sized version of Stan Herd’s “Little Girl in the Wind” is a portrait of Blackwood. Herd takes lifesize images and makes them larger than life, and in this piece, Blackwood reversed that process by making a Herd piece “smaller and cheaper” to express how she feels compared to her mother — the “little girl” in Herd’s earthwork piece, Carole Cadue-Blackwood.

Molly Adams / Lawrence Times A visitor to the gallery views “I will never forget my ancestors” by Tea Murray.

Tea Murray, Diné, was inspired by Damian DineYazhi. Murray grew up in the middle of the Navajo Nation reservation and would drive hours with their mother to get essentials. While driving through boarder towns they’d see American flags on the homes of non-Natives. Despite being citizens of the United States, Murray knows they live under white supremacy. 

“Living in a colonized country, Indigenous peoples are forced to relive atrocities that are being perpetuated even today,” Murray wrote.

Molly Adams / Lawrence Times “It Landed Here!” by Payton Littlecook, Navajo. Littlecook made this helmet in the Gundam style. The helmet is “graffitied by Natives, because it landed on the Rez.”
Molly Adams / Lawrence Times “For My Grandpa” by Hannah Jacquemart, Sisseton Wahpeton Oyate. Jacquemart explained that her grandpa used a stone head war club while dancing at powwows and she wanted to make one of her own in remembrance of him. The materials used for this piece represent aspects of the artist.
Molly Adams / Lawrence Times “Appreciation” by Ulysses LaMotte, Yankton Sioux Tribe. LaMotte was inspired by Edgar Heap of Birds’ text-based art and explains that the haiku “is a warning to appreciate the little things we take for granted, like a nice, sunny day.”
Molly Adams / Lawrence Times “Me vs Myself,” a “double-sided” piece by Heather Lynn Brown, Cheyenne and Arapaho, addresses depression.
Molly Adams / Lawrence Times Heather Lynn Brown
Molly Adams / Lawrence Times Mia Cadue, Kickapoo
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Molly Adams (she/her), photojournalist and news operations coordinator for The Lawrence Times, can be reached at molly (at) lawrencekstimes (dot) com. Check out more of her work for the Times here. Check out her staff bio here.

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by Molly Adams
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About 20 vendors gathered to sell art, jewelry, baked goods, holiday decorations and even muktuk Saturday at Haskell’s fifth annual Holiday Bazaar.


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by August Rudisell
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The all-horse Old-Fashioned Christmas Parade returned to downtown Lawrence Saturday, drawing spectators who lined Massachusetts Street and beyond to see all the sights.


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Teen leaders of the Lawrence nonprofit Honor Moon invite community members to drop off a donation and shop awhile during their holiday fundraiser.

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HCD Conference 2023: The Importance Of Trust In Clinic Design

By in Native

HCD Conference 2023: The Importance Of Trust In Clinic Design

Trust plays an important role in developing design solutions that meet the needs of a community and specifically underrepresented and underserved communities of color, according to presenters of the session “Relationship-Based Design—The Role of Trust in Healing” at the 2023 Healthcare Design Conference + Expo, held in early November in New Orleans.

Throughout the nation, many underserved communities of color face the challenge of access to quality, comprehensive healthcare, which can lead to numerous health disparities within these communities, according to speakers Christina Yates, designer, senior associate at NBBJ (Seattle) and Antwanette Lyons, manager, community health program and development, at Seattle Children’s Hospital, Odessa Brown Children’s Clinic (OBCC; Seattle).

“Health systems are generally built around driving throughput and efficiency,” Lyons said. “Additionally, many health organizations that serve communities of color are often federally funded and have specific requirements and associated limitations to how care can be delivered and by whom.”

Community-led design process

To help illustrate their point, the speakers shared how gentrification and rising costs Of living in Seattle’s Central District displaced many residents near OBCC’s Yesler Way clinic. In response, OBCC sought to develop a new pediatric clinic in Southeast Seattle’s Othello neighborhood to move closer to displaced community members.

Key to delivering the project and creating a clinic that met the specific community’s needs was developing a trusting relationship among the provider, residents, and the project team.

“The mission of the OBCC is to provide quality care with dignity to those in need, regardless of ability to pay,” Lyons said. “OBCC has always been a part of the community and has always valued the partnership within the community and families. The clinic was specifically created to serve the Black community within Seattle’s Central District neighborhood and to provide quality care with dignity.”

During the project, OBCC and NBBJ intentionally invited families and community members to be an active part of the design process. “A truly trusting relationship allows for vulnerability and sharing of true needs and innovative design solutions are born out of a connection to solving specific problems,” Lyons said. “They are the experts about what the challenges and barriers are and what needs are priorities for their community.”

The design process began with listening to what programs families want and need. OBCC also developed a governance council comprised of community and staff members and patient families to “act as a checks and balances system for OBCC to make sure we are engaged,” Lyons said.

Community clinic design features

Opened in 2022, the Othello clinic is located in an urban space that includes a charter elementary school and mixed-income housing, helping to address health disparities and build a relationship of trust in the care the clinic provides to pediatric patients and their families.

“The new clinic is easy to access as it is located next to light rail, it has ample and free parking,” Lyons said.

Inside the clinic, several design features were chosen to also help foster community relationships, including local artwork. Specifically, the speakers said the new OBCC Othello location includes more than 20 commissioned art installations and more than 20 portable art pieces from local artists of color, including for the exam rooms and public spaces.

“[The] artwork is created by native indigenous artists to honor and reflect the history of the place and their role in the community,” Yates said. (For more on OBCC Othello artwork, read “Using Artwork To Alleviate Patient Anxiety.”)

Another clinic design feature meant to build trust with locals is the use of larger exam rooms for families and multiple care providers and waiting spaces outside of exam rooms for siblings and parents to wait when privacy is needed during a clinical visit.

An open work space for providers in the front of house portion of the clinic (called the Town Square) allows patients and families to connect and see their care provider in real time when they come in for an appointment. Additionally, the OBCC Othello clinic provides a recreation center and community kitchen that helps support groups and community-based learning to address key health challenges.

“There are different models of delivering care that make sense for different communities,” Yates said. “Take risks and challenge assumptions and be okay with some unknowns. A good trusting relationship between the client, community and the design team can facilitate a process that leads to a successful outcome.”

For more session reviews from the 2023 HCD Conference + Expo in New Orleans, visit hcdmagazine.com/news/awards-events.

Sculptural 3D-Printed Sneakers

By in Sculpture

Sculptural 3D-Printed Sneakers
LV Cobra – Louis Vuitton presented Creative Director Pharrell Williams’ Men’s Pre-Fall 2024 Collection in Hong Kong and with it, the fully 3D-prin…

Spring 2024 Adult Announcements: Art, Architecture & Photography

By in Photography

Spring 2024 Adult Announcements: Art, Architecture & Photography

Spring’s highlights explore gender, sexuality, activism, performance, self-expression, and the legacy of colonialism on the art world.

Top 10

Adrian Piper: Funk Lessons

Elvan Zabunyan. Afterall, Feb. 6 ($19.95 trade paper, ISBN 978-1-84638-264-2)

Zabunyan draws on conceptual artist Adrian Piper’s interactive performances from 1982 to 1984 to trace the history of funk and soul music, from its radical beginnings as the soundtrack to the civil rights movement to its modernized form marked by performative whitewashing.

The Art of Dying: Writings, 2019–2022

Peter Schjeldahl. Abrams Press, May 14 ($30, ISBN 978-1-4197-7324-2)

New Yorker art critic Schjeldahl (1942–2022) reflects on art, life, politics, and his battle against lung cancer in this posthumous collection.

Atlas of Never Built Architecture

Sam Lubell and Greg Goldin. Phaidon, May 22 ($150, ISBN 978-1-83866-653-8)

Comprising paintings, sketches, and digital renderings of unbuilt projects by Frank Lloyd Wright, Le Corbusier, and others, this survey highlights architecture at its most visionary.

Giant Robot: Thirty Years of Defining Asian-American Pop Culture

Edited by Eric Nakamura. Drawn & Quarterly, May 7 ($42.95, ISBN 978-1-77046-713-2)

This compendium traces the history of Giant Robot, which began as a punk-rock zine in 1994 and expanded to galleries and retail stores on the east and west coasts in the 2000s.

The Heirloomist: 100 Treasures and the Stories They Tell

Shana Novak. Chronicle, Apr. 30 ($27.95, ISBN 978-1-7972-2440-4)

Still life photographer Novak pairs photographs of 100 objects, including an ordinary dinner fork and a Vietnam War–era fighter pilot’s helmet, with the stories of why their owners hold them dear.

Jay Matternes: Paleoartist and Wildlife Painter

Richard Milner, with Ian Tattersall. Abbeville, Apr. 23 ($45, ISBN 978-0-7892-1480-5)

This retrospective surveys the career of a pioneer in the field of natural history illustration, from his murals of extinct mammals to his drawings of birds found in America’s backyards.

The New Television: Video After Television

Edited by Rachel Churner, Rebecca Cleman, and Tyler Maxin. No Place, Apr. 23 ($45, ISBN 978-1-949484-11-3)

The impact of the groundbreaking 1974 Open Circuits conference on video art at MoMA is examined in this scholarly account.

A Programme of Absolute Disorder: Decolonising the Museum

Françoise Vergès. Pluto, June 20 ($27, ISBN 978-0-7453-4961-9)

It is time for a complete overhaul of the Western museum tradition, which was designed to showcase work stolen from other cultures, argues French political scientist and curator Vergès.

Reframing the Black Figure: An Introduction to Contemporary Black Figuration

Ekow Eshun. National Portrait Gallery, Apr. 2 ($19.95, ISBN 978-1-85514-548-1)

Drawn from an exhibition at London’s National Portrait Gallery, this collection gathers representations of the Black figure from more than 20 Black artists working in the U.K. and the U.S., including Lorna Simpson and Henry Taylor.

Tears of Gold: Portraits of Yazidi, Rohingya, and Nigerian Women

Hannah Rose Thomas. Plough, Feb. 6 ($49.95, ISBN 978-1-63608-080-2)

Spotlighting marginalized women from three continents and three religions, Thomas’s photographs and her subjects’ corresponding self-portraits reflect their struggles to reclaim their femininity and personhood after the traumas of ethnic displacement and sexual violence.

Art, Architecture & Photography longlist

ABRAMS

A Great Gay Book: Stories of Growth, Belonging, and Other Queer Possibilities by Ryan Fitzgibbon (May 21, $45, ISBN 978-1-4197-6678-7). The founder of Hello Mr. gathers selections from the magazine’s archive, including art, photography, essays, poetry, and interviews with the likes of Lady Bunny, John Waters, Ocean Vuong, and Hanya Yanagihara.

Watching New York: Street Style
A to Z by Johnny Cirillo (Apr. 16, $29.99, ISBN 978-1-4197-6994-8). Instagrammer Cirillo, aka “The People’s Paparazzo,” presents a compendium of New York City street style from pandemic fashion to the latest trends seen on the sidewalks of SoHo.

Cernunnos

Mark Ryden’s Yakalina Secrets by Mark Ryden (Apr. 16, $50, ISBN 978-1-4197-7190-3) collects more of the artist’s paintings and sketches of half-animal, half-plush mythical creatures and the lands they inhabit.

Figure 1

Bertram Brooker: When We Awake! by Michael Parke-Taylor (Mar. 5, $50, ISBN 978-1-77327-243-6) profiles a prominent figure in the Canadian modernist scene and curator of one of the first abstract painting exhibitions in Canada.

Fordham Univ.

Aeffect: The Affect and Effect of Artistic Activism by Stephen Duncombe (May 7, $29.95 trade paper, ISBN 978-1-5315-0651-3) examines what the trend of combining art and activism means for the future of socially impactful yet creative expression.

Breaking the Bronze Ceiling: Women, Memory, and Public Space by Valentina Rozas-Krause, edited by Andrew M. Shanken (May 7, $29.95 trade paper, ISBN 978-1-5315-0639-1), reassesses the role of women in public art, with a particular focus on the lack of female memorials around the world.

David R. GODINE

In the Company of Art: A Museum Director’s Private Journals by Perry T. Rathbone (May 21, $28.95, ISBN 978-1-56792-803-7) recounts the author’s career, from the 1950s through the ’70s, at the St. Louis Art Museum and Boston’s Museum of Fine Arts, including his encounters with such artists as Willem de Kooning and Andrew Wyeth.

Frances Lincoln

The Elements of Art: Ten Ways to Decode the Masterpieces by Susie Hodge (Apr. 30, $19.99, ISBN 978-0-7112-8665-8) shares insights into the techniques used to create 30 classic artworks to teach readers how to dissect art.

METROPOLITAN MUSEUM OF ART

The Art of the Literary Poster by Allison Rudnick (Mar. 26, $50, ISBN 978-1-58839-774-4) surveys the history of late 19th–century posters promoting books and magazines and the influence they had on U.S. visual culture and advertising.

The Harlem Renaissance and Transatlantic Modernism, edited by Denise Murrell (Feb. 27, $65, ISBN 978-1-58839-773-7), examines how the movement expanded beyond its New York City origins to help shape 20th-century modernism and foster a global shift in Black creativity and artistic influence.

MIT

Art as Demonstration: A Revolutionary Recasting of Knowledge by Sven Spieker (Feb. 6, $35, ISBN 978-0-262-04871-2) analyzes how the perception of art as a mode of protest, activism, and resistance has shifted with post–WWII and Cold War politics.

Mortevivum: Photography and the Politics of the Visual by Kimberly Juanita Brown (Feb. 6, $18.95 trade paper, ISBN 978-0-262-54764-2) studies images from the first Black republic in early 19th-century Haiti to the 1994 Rwandan genocide to probe the colonial roots of global photography and the ethics of sensationalizing Black suffering.

Wolkenbügel: El Lissitzsky as Architect by Richard Anderson (Apr. 9, $65, ISBN 978-0-262-04878-1) spotlights Russian painter and designer El Lissitzsky (1890–1941) and his proposal for a series of eight “horizontal skyscrapers” to stand at the intersections of Moscow’s Boulevard Ring.

Monacelli

STILL: The Art of Noticing by Mary Jo Hoffman (May 1, $60, ISBN 978-1-58093-633-0) selects 275 of the best images from Hoffman’s project of taking a photograph every day for more than a decade.

Museyon

Kominka: The Beauty and Wisdom of the Japanese Traditional House by Kazuo Hasegawa (Feb. 1, $28.95, ISBN 978-1-940842-70-7). Drawing inspiration from the legacy of premodern Japanese architecture, craftsmanship, and determination, Hasegawa offers a guide to Japan’s 101 most attractive kominka.

Penguin Press

The Work of Art: How Something Comes from Nothing by Adam Moss (Apr. 16, $45, ISBN 978-0-593-29758-2). A former editor of New York magazine interviews artists, writers, and musicians, including Rostam Batmanglij, Sofia Coppola, and Marc Jacobs, to shed light on how their notable works got made.

Phaidon

Tattoo You: A New Generation of Artists (Apr. 3, $59.95, ISBN 978-1-83866-756-6) gathers 700 images featuring the work of 75 tattoo artists to highlight the artistry of tattooing and the innovations being made with this ancient form of self-expression.

Princeton Univ.

Contact: Art and the Pull of Print by Jennifer L. Roberts (May 14, $39.95 trade paper, ISBN 978-0-691-25585-9) highlights the physical aspects of engraving, lithography, and other forms of printmaking to show what it takes to create an often one-of-a-kind artwork, and surveys pieces by David Hammons, Edgar Heap of Birds, Jasper Johns, and other artists.

Reaktion

Symbolism, Dada, Surrealisms: Selected Writing of Mary Ann Caws by Mary Ann Caws (May 13, $40, ISBN 978-1-78914-857-2) gathers the literary critic and art historian’s writings on such artistic movements as symbolism, dadaism, and surrealism, including insights into works by Emily Dickinson, Stéphane Mallarmé, and Marcel Duchamp.

Rizzoli

Housing the Nation: Affordability and Social Equity, edited by Alexander Gorlin and Victoria Newhouse (Mar. 26, $35, ISBN 978-0-8478-7398-2), reframes America’s housing crisis as more than just a failure of the market but an ongoing and ever-growing byproduct of climate change, multigenerational poverty, and racial injustice.

Ride: Antoine Predock: 65 Years of Architecture by Antoine Predock (Apr. 23, $125, ISBN 978-0-8478-9951-7) brings together 3,500 photographs surveying the career of trailblazer Predock, from the La Luz townhouse development in 1960s Albuquerque, N.Mex., to the 2009 construction of the Canadian Museum for Human Rights.

Running Press

This Is a Book for People Who Love Tattoos by Verena Hutter, illus. by Eric Hinkley (May 7, $17, ISBN 978-0-7624-8595-6), traces the history of the American traditional style and delves into the meaning and origins of designs from across the world.

Scribner

Cities in the Sky: The Quest to Build the World’s Tallest Skyscrapers by Jason Barr (May 14, $32.50, ISBN 978-1-9821-7421-7) details the economics, controversial designs, and histories of the world’s skyscrapers, including Dubai’s 2,717-
feet-tall Burj Khalifa.

Sternberg

Burn & Gloom! Glow & Moon! Thousand Years of Troubled Genders by Katrina Daschner (Feb. 6, $24, ISBN 978-1-915609-31-1) presents the Vienna-based artist and filmmaker’s work from the 1990s to today.

The Complex Answer: On Art as a Non-binary Intelligence by Chus Martinez (Feb. 13, $25.95 trade paper, ISBN 978-1-915609-17-5) probes how contemporary art has helped break down the barriers between culture and nature.

Martine Syms: She Mad by Martine Syms (Apr. 2, $35 trade paper, ISBN 978-1-915609-33-5) discusses the five episodes filmed by installation artist Syms between 2015 and 2020 for her TV series She Mad, and how their references to sitcoms, silent films, and other narrative forms comment on representations of Black
identity in mass media.

Tate

A World in Common: Contemporary African Photography, edited by Osei Bonsu (Mar. 26, $45 trade paper, ISBN 978-1-84976-851-1), gathers images from Africa’s leading photographers and corresponding essays touching on such subjects as spirituality, urbanism, and climate change to challenge Western perceptions of the continent.

Thames & Hudson

Claude Cahun by François Leperlier (Feb. 13, $16.95 trade paper, ISBN 978-0-500-29749-0). Born Lucy Schwob, French surrealist Cahun (1894–1954) pushed against the boundaries of gender and identity in her art and writing. The latest entry in the publisher’s Photofile series gathers her striking self-portraits and other photographs.

Collaboration: A Potential History of Photography by Ariella Aïsha Azoulay et al. (Feb. 6, $85, ISBN 978-0-500-54533-1), challenges the notion of photographers as the sole creators of their work by surveying Susan Meiseaes’s photos of her neighbors, Endia Beales’s images of Black women about to enter the workforce, and other collaborative projects.

Project UrbEx by Ikumi Nakamura (Mar. 5, $50, ISBN 978-0-500-02694-6). The video game creator presents her photographs of abandoned and secret locations, from a derelict high school in New Jersey to the Petrova Gora monument in Croatia.

The Art of Ukraine by Alisa Lozhkina (Apr. 16, $24.95 trade paper, ISBN 978-0-500-29778-0). The latest entry in the World of Art series chronicles Ukrainian art from the 19th century to the beginning of the 2022 Russian invasion.

Univ. of Minnesota

Good Pictures Are a Strong Weapon: Laura Gilpin, Queerness, and Navajo Sovereignty by Louise Siddons (July 30, $34.95 trade paper, ISBN 978-1-5179-1073-0) analyzes 20th-century lesbian photographer Gilpin’s depictions of the Navajo community, the problematic legacy of white photographers depicting Native cultures, and the limits of allyship.

Viking

Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See by Bianca Bosker (Feb. 6, $29, ISBN 978-0-525-56220-7). The author of Cork Dork returns with a report on how obsession drives the art community and what it means to see the world as artists and collectors do.

Yale Univ.

How to Enjoy Architecture: A Guide for Everyone by Charles Holland (Apr. 23, $25, ISBN 978-0-300-26393-0) invites readers to examine buildings through the eyes of an architect and contends that doing so can bring joy.

The Performer: Art, Life, Politics by Richard Sennett (Apr. 23, $30, ISBN 978-0-300-27290-1) dissects artists’ uncanny abilities to perform, not just on the stage or canvas but in life and politics.

Return to the main feature.

A version of this article appeared in the 12/04/2023 issue of Publishers Weekly under the headline: Art, Architecture & Photography

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