New Books in Art

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context.Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century.In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance.Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Frames That Speak: Cartouches on Early Modern Maps (Brill, 2023) is the first systematic exploration of cartographic cartouches, the decorated frames that surround the title, or other text or imagery, on historic maps. It addresses the history of their development, the sources cartographers used in creating them, and the political, economic, historical, and philosophical messages their symbols convey. Cartouches are the most visually appealing parts of maps, and also spaces where the cartographer uses decoration to express his or her interests--so they are key to interpreting maps. The book discusses thirty-three cartouches in detail, which range from 1569 to 1821, and were chosen for the richness of their imagery. The book will open your eyes to a new way of looking at maps.Open Access link to the book.Chet Van Duzer is an historian and project manager for the Lazarus Project at the University of Rochester.Caleb Zakarin is the Assistant Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Why study the arts in school? In Schools and Cultural Citizenship: Arts Education for Life (Routledge, 2023), Pat Thomson, Professor of Education at the University of Nottingham and Christine Hall, Emeritus Professor and former Head of Education at the University of Nottingham, examine this question by introducing findings from the Tracking Arts Learning and Engagement (TALE) Project. The book reflects on perspectives of teachers, students, school managers, and arts organisations as to how “arts rich” schools are constituted and what is needed for them to survive and thrive. The book is offers deep theoretical and empirical insights, and will be accessible and essential reading across the arts and humanities, the social sciences, and for anyone interested in the value of arts education.Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Manchester. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Simon Grennan's book A Theory of Narrative Drawing (Palgrave MacMillan, 2017) offers an original new conception of visual storytelling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form. The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice with two original visual demonstrations to clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book's originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in these two visual demonstrations.In this Interview Dr. Grennan discusses different strategies for reading this book, explains the graphiotactic array, and talks about how one can draw in drag.Dr. Simon Grennan is a Professor of Art and Design, at the University of Chester and has been practicing internationally as an artist since 1990. As part the collaborative team Grennan & Sperandio (Kartoonkings.com), he is well known as a pioneer of interventionist, New Genre and post-relational practice, through publishing, television and social action projects. Dr. Grennan is also an educator and an awarded scholar of narrative drawing, with particular expertise in the histories of drawing, comics, remediation and inter-media. He is a recognised theorist of the pedagogic relationship between practice and research and is an experienced, public facing practitioner.Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Thieves (Fence Books, 2023) is an autofictional account of a gallery girl named Valerie – an art worker in the big city, a product of an American childhood in a small place where she learned to value objects and their promise. The magic of being, thinking, speaking, and writing is all bound up for Valerie, a self-conscious creature, in the ways she can acquire and be acquired. She lives and works in a storm of things, many of which are commodities, including herself. In whip-smart, sharply humorous prose, the consumption and reflectivity of a white American young-womanhood lived in a phenomenological endzone comes delicately to life out of the sharp particulars thefted and loved in this urbane, semi-psychedelic bildungsroman.Valerie Werder is an art writer, a fiction author, and a doctoral candidate in film and visual studies at Harvard University. Her critical, creative, and scholarly work has been published in Public Culture, BOMB, Flash Art, and various exhibition catalogues, and has been performed at Participant Inc in New York City, and Artspace in New Haven. Werder is a 2023-23 PEN America Prison and Justice Writing Program Mentor, and was previously a 2021 Art & Law Fellow. Her debut novel, Thieves (2023), was winner of the Fence Modern Prize in Prose.Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans.Liz Bradtke is a writer, editor, and communications specialist who works for the Australian Library and Information Association. Liz has studied and taught in the English departments of the University of Melbourne and New York University. Her poetry has been featured in The Age, Voiceworks magazine and Gutcult. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Debates over the undocumented migration of Latin Americans invariably focus on the southern US border, but most migrants never cross that arbitrary line. Instead, many travel, via water, among the Caribbean islands. The first study to examine literary and artistic representations of undocumented migration within the Hispanophone Caribbean, Crossing Waters: Undocumented Migration in Hispanophone Caribbean and Latinx Literature and Art (U Texas Press, 2022) relates a journey that remains silenced and largely unknown.Analyzing works by novelists, short-story writers, poets, and visual artists replete with references to drowning and echoes of the Middle Passage, Marisel Moreno shines a spotlight on the plight that these migrants face. In some cases, Puerto Rico takes on a new role as a stepping-stone to the continental United States and the society migrants will join there. Meanwhile the land border between Haiti and the Dominican Republic, the only terrestrial border in the Hispanophone Caribbean, emerges as a complex space within this cartography of borders. And while the Border Patrol occupies US headlines, the Coast Guard occupies the nightmares of refugees.An untold story filled with beauty, possibility, and sorrow, Crossing Waters encourages us to rethink the geography and experience of undocumented migration and the role that the Caribbean archipelago plays as a border zone.Marisel C. Moreno is the Rev. John O'Brien Associate Professor in the Department of Romance Languages and Literatures at the University of Notre Dame. She is the author of Family Matters: Puerto Rican Women Authors on the Island and the Mainland. Reighan Gillam is an Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How the image collection, organized and made available for public consumption, came to define a key feature of contemporary visual culture. The origins of today’s kaleidoscopic digital visual culture are many. In Picture-Work: How Libraries, Museums, and Stock Agencies Launched a New Image Economy (MIT Press, 2023), Diana Kamin traces the sharing of photographs to an image economy developed throughout the twentieth century by major institutions. Picture-Work examines how three of these institutions—the New York Public Library, the Museum of Modern Art, and the stock agency H. Armstrong Roberts Inc.—defined the public’s understanding of what the photographic image is, while building vast collections with universalizing ambitions. Highlighting underexplored figures, such as the first rights and reproduction manager at MoMA Pearl Moeller and visionary NYPL librarian Romana Javitz, and underexplored professional practices, Diana Kamin demonstrates how bureaucratic work communicates ideas about images to the public. Kamin artfully shows how the public interfaces with these image collections through systems of classification and protocols of search and retrieval. These interactions, in turn, shape contemporary image culture, including concepts of authorship, art, property, and value, as well as logics of indexing, tagging, and hyperlinking. Together, these interactions have forged a concept of the image as alienable content, which has intensified with the advent of digital techniques for managing image collections. To survey the complicated process of digitization in the nineties and early aughts, Kamin also includes interviews with photographers, digital asset management system designers, librarians, and artists on their working practices.Links Mentioned in the Episode "Working With the Whitney's Replication Committee," Ben Lerner, The New Yorker, 2016 Invocation of Beauty: The Life and Photography of Soichi Sunami, Cascadia Art Museum, 2018 Soichi Sunami's manuscript autobiography, Museum of Modern Art Library The New York Public Library: A Universe of Knowledge, Phyllis Dain (Scala Books and The New York Public Library, 2000) What Photographs Do: The Making and Remaking of Museum Cultures, eds. Elizabeth Edwards and Ella Ravilious (UCL Press, 2022). Hallel Yadin is an archivist and special projects manager at the YIVO Institute for Jewish Research. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the eighth century, the Byzantine Empire began a campaign to remove or suppress sacred images that depicted Christ, the Virgin, or other holy figures, whether in paintings, mosaics, murals, or other media. In some cases, the campaign extended to breaking or wrecking images through what became known as iconoclasm. Over the following years, the emperors' zealous movement involved other acts that closely foreshadowed the Reformation movement that would sweep Western Europe in the sixteenth century. Like that later Reformation, iconoclasm marked an authentic revolution in religious sensibility, with all that implied for theology, culture, and visual perceptions of holiness. This was a pivotal moment in the definition of Christianity and its relationship to the material creation. It was also a time of critical encounters with the other Abrahamic religions of Judaism and Islam.With A Storm of Images: Iconoclasm and Religious Reformation in the Byzantine World (Baylor UP, 2023), Philip Jenkins offers a compelling retelling of the saga of how the iconoclastic movement detonated ferocious controversy within the church and secular society as icon supporters challenged the image breakers. Decades of internal struggle followed, marked by rebellions and civil wars, purges and persecutions, plotting and coups d'état. After their cause triumphed, image supporters made the cult of icons ever more central to the faith of Orthodox Christianity. Iconoclasm marked a watershed in the history of Late Antiquity and the Early Middle Ages, and it contributed to Western attempts to establish new empires.The questions raised during these struggles are all the more relevant at a time when such controversy rages over public depictions of history and the removal of statues, monuments, and names associated with hated figures. As in those earlier times, debates over images serve as vehicles for authentic cultural revolutions.Crawford Gribben is a professor of history at Queen’s University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends.Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Upon their independence, Moroccan, Algerian, and Tunisian governments turned to the Global South and offered military and financial aid to Black liberation struggles. Tangier and Algiers attracted Black American and Caribbean artists eager to escape American white supremacy; Tunis hosted African filmmakers for the Journées Cinématographiques de Carthage; and young freedom fighters from across the African continent established military training camps in Morocco. North Africa became a haven for militant-artists, and the region reshaped postcolonial cultural discourse through the 1960s and 1970s.Paraska Tolan-Szkilnik's book Maghreb Noir: The Militant-Artists of North Africa and the Struggle for a Pan-African, Postcolonial Future (Stanford UP, 2023) dives into the personal and political lives of these militant-artists, who collectively challenged the neo-colonialist structures and the authoritarianism of African states. Drawing on Arabic, Spanish, Portuguese, French, and English sources, as well as interviews with the artists themselves, Paraska Tolan-Szkilnik expands our understanding of Pan-Africanism geographically, linguistically, and temporally. This network of militant-artists departed from the racial solidarity extolled by many of their nationalist forefathers, instead following in the footsteps of their intellectual mentor, Frantz Fanon. They argued for the creation of a new ideology of continued revolution—one that was transnational, trans-racial, and in defiance of the emerging nation-states. Maghreb Noir establishes the importance of North Africa in nurturing these global connections—and uncovers a lost history of grassroots collaboration among militant-artists from across the globe.Paraska Tolan-Szkilnik is Assistant Professor of History at Suffolk University.Tugrul Mende holds an M.A in Arabic Studies. He is based in Berlin as a project coordinator and independent researcher. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art