New Books in Art

Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, often for performing ‘morality’ or ‘authenticity’. In Against Decolonization: Taking African Agency Seriously (Hurst, 2022), Olúfẹ́mi Táíwò fiercely rejects the indiscriminate application of ‘decolonisation’ to everything from literature, language and philosophy to sociology, psychology and medicine.Olúfẹ́mi Táíwò speaks to Pierre d’Alancaisez about the project of ‘decolonisation’ as intellectually unsound and unrealistic. Táíwò rejects decolonisation’s conflation of modernity with coloniality and takes to task the decolonisers’ confused attempts at undoing of global society’s foundations.He argues that the decolonisation industry, obsessed with cataloguing wrongs, is seriously harming scholarship on and in Africa. Worst of all, today’s movement attacks its own cause: ‘decolonisers’ themselves are disregarding, infantilising and imposing values on contemporary African thinkers.This much-needed intervention questions whether today’s ‘decolonisation’ truly serves African empowerment. Táíwò’s is a bold challenge to respect African intellectuals as innovative adaptors, appropriators and synthesisers of ideas they have always seen as universally relevant.Olúfẹ́mi Táíwò is Professor of African Political Thought and Chair at the Africana Studies and Research Center, Cornell University. His writings have been translated into French, Italian, German and Portuguese. His book How Colonialism Preempted Modernity in Africa won the Frantz Fanon Award in 2015.NBN interview with Olúfẹ́mi on Africa Must Be ModernPierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Pilgrimage to the Museum: Man's Search for God through Art and Time (Sophia Institute Press, 2022), Stephen Auth takes you on a provocative and colorful journey through the history of Western art, interpreted through a lens of Christian spirituality -- appropriately so since, in Auth's view, much of Western art expresses humanity's search for God, the Divine Artist-Creator. Leaving all the art-history jargon behind, Auth will transport you in his spiritual time machine from Egypt's Old Kingdom, through Greece and Rome, to medieval Europe; from the age of the Renaissance, through the Ages of Exploration and Enlightenment; and from the rise of atheism in the late 1800s to the seeds of a spiritual rebirth in the modern era. Along the way, you will experience anew the masterpieces of many artists, from Polykleitos to Raphael, Duccio to Rembrandt, Monet to Picasso. Through the works of these great artists, you will discover how the various themes and motifs of man's spiritual struggle occur, morph, fade, and then reoccur centuries later. And you will never look at a work of art the same way again.Daniel Peris is Senior Vice President at Federated Hermes in Pittsburgh. He can be reached at DanielxPeris@gmail.com or via Twitter @HistoryInvestor. His History and Investing blog and Keep Calm & Carry On Investing podcast are here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Alex Nathanson's book A History of Solar Power Art and Design (Routledge, 2021) examines the history of creative applications of photovoltaic (PV) solar power, including sound art, wearable technology, public art, industrial design, digital media, building integrated design, and many others.The growth in artists and designers incorporating solar power into their work reflects broader social, economic, and political events. As the cost of PV cells has come down, they have become more accessible and have found their way into a growing range of design applications and artistic practices. As climate change continues to transform our environment and becomes a greater public concern, the importance of integrating sustainable energy technologies into our culture grows as well.The book will be of interest to scholars working in art history, design history, design studies, environmental studies, environmental humanities, and sustainable energy design.Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

How we relate to orphaned space matters. Voids, marginalia, empty spaces—from abandoned gas stations to polluted waterways—are created and maintained by politics, and often go unquestioned. In Loving Orphaned Space: The Art and Science of Belonging to Earth (Temple UP, 2022), Mrill Ingram provides a call to action to claim and to cherish these neglected spaces and make them a source of inspiration through art and/or remuneration.Ingram advocates not only for “urban greening” and “green planning,” but also for “radical caring.” These efforts create awareness and understanding of ecological connectivity and environmental justice issues—from the expropriation of land from tribal nations, to how race and class issues contribute to creating orphaned space. Case studies feature artists, scientists, and community collaborations in Chicago, New York, and Fargo, ND, where grounded and practical work of a fundamentally feminist nature challenges us to build networks of connection and care.The work of environmental artists who venture into and transform these disconnected sites of infrastructure allow us to rethink how to manage the enormous amount of existing overlooked and abused space. Loving Orphaned Space provides new ways humans can negotiate being better citizens of Earth. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism.Not, however, in West Germany. In Sustainable Utopias: The Art and Politics of Hope in Germany (Harvard UP, 2022), Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politics―a society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. Berlin’s History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia (U Washington Press, 2021), Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually “postwar.” Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists’ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism. Featuring a variety of creative production, including staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds.Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Manifesto of Futurism was published in 1909, on the front page of Le Figaro, the oldest daily newspaper in France. Its author was Filippo Tomasso Marinetti, a 33-year-old Italian writer who was born in Alexandria, Egypt, in 1876 and was educated in Egypt and France. With his Manifesto of Futurism, Marinetti launched a new artistic movement that opposed what he called pastism, the worship of the past. Jeffrey Schnapp is a Carl A. Pescosolido Professor of Romance Languages and Literatures and of Comparative Literature at Harvard University. He specializes in Italian language and culture, art, and media. See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master’s degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2008, the artist Renzo Martens released his controversial film Episode 3: Enjoy Poverty filmed in the Democratic Republic of Congo. The film portrayed the artist as a colonial explorer travelling around the Congo’s plantations with the naiveté of the cartoon character Tintin. Martens encounters poverty, hunger, and abuse, all the while narrating the way in which these experiences enrich him as a western observer.In a manner now familiar in mainstream critical culture, the film was labelled as 'problematic'. Martens’ work and method were critiqued widely by an array of commentators. Some have changed their mind in light of Martens’ further work. Others - and I know this from speaking with an editor of a prominent art magazine - won’t come anywhere near it even twelve years on "for fear of inadvertently promoting the Martens' practice".Critique in Practice: Renzo Martens' Episode III (Enjoy Poverty) (Sternberg Press, 2020), a volume edited by Anthony Downey brings together a range of responses to Enjoy Poverty, some dating from 2008, others more recent. It contains essays by the likes of Dan Fox, Ana Teixeira Pinto, Artur Zmijewski, TJ Demos, JJ Charlesworth, Ariella Aisha Azoulay, JA Koster, and Gregory Sholette. The book explores the limits of artistic practice as critique, challenging both Martens and the writers.Because it would be impossible to speak to them and because I already interviewed Anthony Downy not long ago, I invited Renzo Martens, the subject of the book and its critiques to join me. Watch Episode III: Enjoy Poverty Institute of Human Activities The Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) CATPC at Sculpture Center Article in The New Yorker The Balot NFT My interview with Anthony Downey Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The discussion about objects, human remains and archives from former colonial territories is becoming increasingly heated. Over the centuries, a multitude of items – including a cannon of the King of Kandy, power-objects from DR Congo, Benin bronzes, Javanese temple statues, Mori heads and strategic documents – has ended up in museums and private collections in Belgium and the Netherlands by improper means. Since gaining independence, former colonies have been calling for the return of their lost heritage. As continued possession of these objects only grows more uncomfortable, governments and museums must decide what to do.Inconvenient Heritage: Colonial Collections and Restitution in the Netherlands and Belgium (Amsterdam University Press, 2022) by Dr. Jos van Beurden asks: How did these objects get here? Are they all looted, and how can we find out? How does restitution work in practice? Are there any appealing examples? How do other former colonial powers deal with restitution? Do former colonies trust their intentions? The book, provided open access, discusses the answers to these questions - which are far from unambiguous, but indispensable for a balanced discussionThis interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art