In Calling Memory into Place, art historian and cultural critic Dora Apel explores the relationship between collective and personal memory and place in a series of reflective essays that are by turns erudite and personal.
Philosopher and historian Diana Souhami's No Modernism Without Lesbians is a work of impeccable scholarship and a vibrant narrative about the essential and lasting philanthropy and patronage of the Arts by four remarkable lesbians.
Camille Billops moved beyond predictable and well-tread ground to open up space for new narratives in her films—about Black families, Black women, and Black middle-class life—that pulled on her distinctive and unapologetic worldview.
If art is about the fostering and maintenance of traditions, then the Russians were proposing a kind of anti-art. An exploration of the exhibition catalog, Russian Dada 1914-1924.
Mitchell B. Merback exploits the cryptic nature of Albrecht Dürer's Melencolia I in order to encourage deeper speculation into one's self and the manner in which one engages with the world through the oft-misunderstood condition of melancholy.