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"A powerful compendium on the discourse of colorblindness shaping American society, which forcefully demonstrates that it is not a change of heart but an epistemic shift in a long racial project. Seeing Race Again assembles an impressive array of scholars from diverse academic locations who represent leading and emergent voices in the study of race."--Roderick A. Ferguson, author of The Reorder of Things: The University and Its Pedagogies of Minority Difference "Structural white domination shapes social cognition not merely at the individual level but within the supposedly objective academy. But yesterday's overt racism in the humanities, social sciences, natural sciences, and legal theory is no longer acceptable in a post-civil rights epoch--hence, the shift toward today's 'colorblindness.' This trailblazing and courageous text exposes the ongoing illicit white advantage concealed beneath the pretense of racial neutrality."--Charles W. Mills, author of Black Rights/White Wrongs: The Critique of Racial Liberalism "Seeing Race Again offers astute cross-disciplinary analysis of the ideology of colorblindness as a mechanism for perpetuating white supremacy. It also provides a crucial analytical frame for countering it. Valuably recognizing the importance of its project to racial-justice efforts in broader society, Seeing Race Again takes an intellectually pioneering look at the role that the 'knowledge-production' industry plays in producing, as well as reproducing, racial hierarchy in academic disciplines as varied as law, history, sociology, psychology, education, and musicology."-- Kimberly West-Faulcon, Professor of Law and James P. Bradley Chair in Constitutional Law, Loyola Law School, Los Angeles "Seeing Race Again is an unprecedented collection that examines the longstanding complicities between the American academy and the settler, colonial, and racialized society that it shaped and continues to advantage. With essays from leading lights in their fields, this anthology breaks new ground by revealing how the major disciplines of modern thought promote 'race-blind' and 'post-racial' methods and values that both advance and obscure past and present patterns of white supremacy, racial impoverishment, disenfranchisement, and the wholesale violations of life at the center of American society. In this moment of racial emergency when Muslim bans are repackaged by the law as mere 'travel bans, ' Seeing Race Again explains not only how we got here as scholars and intellectuals but also how we might repurpose our disciplines for genuinely emancipatory ends."-- Chandan Reddy, author of Freedom with Violence: Race, Sexuality, and the U.S. State

"Parallel Modernism is the first English-language book to explore Cubism and Surrealism in Japan at length. It offers a wealth of color illustrations and translations of Japanese material that shed light on the ways that modernism in Japan was interpolated and redefined in local terms. This book will have a lasting impact on the field."--Namiko Kunimoto, author of The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art "Chinghsin Wu's original and important study of Koga Harue upends established notions of Cubism, Expressionism, and Surrealism as simply centered in or derived from Europe. Carefully researched and clearly written, her account of a 'parallel' trajectory of modernism in Japan joins an exciting body of art historical scholarship on global modernisms and transnational circulation."--Sonal Khullar, author of Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990

"This strikingly original book analyzes interactions between contemporary art and American law in a rich and powerful way. One might think these cultural forms had nothing to say to each other, but Joan Kee sits the reader down in a new place of her own making. She shows that these forms and their relationship are very different from what one might have thought--they're fascinating, often in tension, sometimes listening to each other, at once enemies and friends. A real achievement!"--James Boyd White, L. Hart Wright Collegiate Professor of Law Emeritus, University of Michigan "This book is a very important piece of scholarship that ties together two very disparate fields: art history and legal analysis. Joan Kee, a top-flight lawyer and an art historian, makes a very powerful contribution to the existing field, which has been less covered with regard to post-sixties art. Not only does she do an excellent job of informing readers about existing law and how it governs contemporary art, but she also adds quite a bit of context and argument to current debates in a fresh and exciting manner."--Sonia Katyal, Chancellor's Professor of Law and Co-director of the Berkeley Center for Law and Technology, University of California, Berkeley "Important, meticulously researched, and beautifully written, Models of Integrity is an illuminating analysis of the entanglements between U.S. law and contemporary art practices from the 1960s to the present. In a thorough and lucid voice, Joan Kee guides the reader--especially the reader reticent to engage with the question of the law--through the stories of key figures in contemporary art history in order to illustrate law and art's mutual implication. This book brings the submerged connections between art and law to the surface, asking us in turn to reimagine our understanding of both."--Joshua Chambers-Letson, Associate Professor of Performance Studies, Northwestern University "A tour de force of scholarship and interdisciplinarity, this book is fundamentally about power: who wields it, how it takes shape, and how it can be contested. Joan Kee shines a new light on the ways in which seminal artworks and artists in postwar America posed uniquely new models of justice, originality, authorship, property, identity, form, and experience. At a time when art itself was being radically redefined--as a statement, or contract, or act--this extraordinary study reframes the rise of performance, process, and conceptual art in terms of a contest between law and disorder, ethics and exegesis, control and freedom, authority and community, intention and force majeure. Kee's groundbreaking work will change the way we think about culture and society; it will reshape our understanding of what art is--and what it can do."--Michelle Kuo, Marlene Hess Curator of Painting and Sculpture, Museum of Modern Art "Rich, original, and provocative, Models of Integrity is essential reading for anyone interested in the intersection of art and law."--Amy Adler, Emily Kempin Professor of Law at New York University School of Law

"In Frances Richard's hands, language is more than just a theme. It is a practice, a way of thinking, and it becomes a critical framework that changes the way we see the artist, his work, his language, and the sociohistorical context in which all are embedded."--Gwen Allen, Professor of Art History, San Francisco State University "Like a well-written novel, what might appear as factual minutia becomes enlivened by Richard into a penetrating character analysis; we become more and more invested in learning about this unusual artist whose career and life were cut short by illness and death. Fortunately, Gordon Matta-Clark: Physical Poetics doesn't stop at mere biography. This close analysis of the life, writings, sculpture, and conceptual artworks of Gordon Matta-Clark is a work of serious research."--Jennifer A. González, Professor of Art History and Visual Culture, University of California, Santa Cruz "Energetic and well-informed, Richard keeps the quirkiness of her subject in mind as she demonstrates a broad and deep knowledge of, and sympathy for, Gordon Matta-Clark, capturing the range of his interests and engagements."--Jack Flam, Distinguished Professor Emeritus of Art and Art History, City University of New York and President, Dedalus Foundation

The Saburo Haseagwa reader accompanies the exhibition Changing and unchanging things: Noguchi and Hasegawa in postwar Japan, which is made possible through lead support from the Terra Foundation for American Art.

This generously illustrated volume is the first comprehensive publication devoted to the powerfully expressive work of David Park (1911-60). Best known as the founder of Bay Area Figurative art, Park moved from Boston to California at the age of seventeen and spent most of his adult life in and around San Francisco. In the immediate postwar years, like many avant-garde American artists, he engaged with Abstract Expressionism and painted non-objectively. In a moment of passion in 1949, he made the radical decision to abandon nearly all of his abstract canvases at the Berkeley city dump and return to the human figure, in so doing marking the beginning of the Bay Area Figurative movement. The astonishingly powerful paintings he made in the decade that followed brought together his long-held interest in classic subjects such as portraiture, domestic interiors, musicians, rowers, and bathers with lush, gestural paint handling and an extraordinary sense of color. In 1958-59 Park reached his expressive peak, reveling in the sensuous qualities of paint to create intensely physical, psychologically charged, and deeply felt canvases. This fertile period cut short by illness in 1960, Park transferred his creative energy to other mediums when he could no longer work on canvas. In the last months of his life, bedridden, he produced an extraordinary thirty-foot-long felt-tip-pen scroll and a poignant series of gouaches. Published to accompany the first major museum exhibition of Park's work in more than thirty years, David Park: A Retrospective traces the full arc of the artist's career, from his early social realist and cubist-inspired efforts of the 1930s to his mature figurative paintings of the 1950s and his astounding final works on paper. An overview of Park's full body of work by Janet Bishop, SFMOMA's Thomas Weisel Family Curator of Painting and Sculpture, will be joined by approximately ninety full-color plates of paintings and works on paper; an essay by Tara McDowell on the figure drawing sessions held by Park, Richard Diebenkorn, Elmer Bischoff, Frank Lobdell, and others in their studios starting in 1953; short essays on Park's scroll, his gouaches, and the portraits that Imogen Cunningham and Park made of each other; and an illustrated chronology. Published in association with the San Francisco Museum of Modern Art. Exhibition schedule: Modern Art Museum of Fort Worth: June 2-September 8, 2019 Kalamazoo Institute of Arts: December 21, 2019-March 15, 2020 San Francisco Museum of Modern Art: October 4, 2020-January 18, 2021

"This is the first volume to examine seriously the notion of a 'Persianate world' extending far beyond the traditional strongholds of Iran and India. By highlighting the uses of Persian across early modern Eurasia in places as diverse as China, Siberia, and even England, the volume represents an exceptionally important contribution to our understanding of what constituted this world."--Andrew Peacock, Professor of Middle Eastern and Islamic History, University of St. Andrews "With erudition and refinement, this book accomplishes something remarkable--it shows the importance of Persian as a language of exchange of specialized literate knowledge while also exploring the process by which it became constrained by the rise of vernacular cultures. It provides a timely corrective to an anachronistic understanding of the Persianate sphere as an empire of letters centred exclusively on Iran."--Paolo Sartori, author of Visions of Justice: Shari'a and Cultural Change in Russian Central Asia "This groundbreaking collection of essays illuminates the multifaceted and very complex history of the rise and decline of the Persian language as a lingua franca in a way that has never before been conceptualized."--Ahmad Karimi-Hakkak, author of Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran "The scholarly term 'Persianate' has been widely adopted with little critical analysis. This volume provides welcome reflection and case studies on the role of Persian in countries and domains beyond Iran and India, exploring its frontiers to find analytical utility in the concept."--Kevin van Bladel, Professor of Near Eastern Languages and Civilizations, Yale University

"Published on the occasion of the exhibition Hans Hofmann: The Nature of Abstraction, organized and presented by the University of California Berkeley Art Museum & Pacific Film Archive."

Eusebius's groundbreaking History of the Church, remains the single most important source for the history of the first three centuries of Christianity and stands among the classics of Western literature. His iconic story of the church's origins, endurance of persecution, and ultimate triumph--with its cast of martyrs, heretics, bishops, and emperors--has profoundly shaped the understanding of Christianity's past and provided a model for all later ecclesiastical histories. This new translation, which includes detailed essays and notes, comes from one of the leading scholars of Eusebius's work and offers rich context for the linguistic, cultural, social, and political background of this seminal text. Accessible for new readers and thought-provoking for specialists, this is the essential text for anyone interested in the history of Christianity

"Miriam Lichtheim's three-volume set is the most complete compilation; it is accessible to the general reader and simultaneously useful to the scholar; its critical apparatus is excellent."--World Literature Today "This is an admirable and valuable book. For the scholar it presents thoroughly reliable translations, with commentary and documentation. For the amateur of literature it presents a comprehensive selection of prose and poetry, felicitously put into English."--Cambridge Review of Middle East Studies "The new collection of ancient Egyptian literary masterpieces in English translation from the pen of Miriam Lichtheim is both representative and up to date. It is a literary masterpiece in itself, a landmark in the translation of ancient texts, and a scholarly achievement of outstanding excellence."--Journal of Near Eastern Studies

"A long-overdue comparative and interdisciplinary history of African American and Black British art and artists that gives critical voice and analytical exposure to those artists who have been alienated within their own marginalized status. Impressively thorough, praiseworthy, and necessarily bold."--James Smalls, Professor of Visual Arts, University of Maryland, Baltimore County "Celeste-Marie Bernier's necessary and timely research fosters crucial bridging of African American studies and Black British studies, advancing our deeper understanding of the Black Atlantic."--Dr. Zoe Whitley, co-curator of Soul of a Nation: Art in the Age of Black Power "Bernier has indeed produced a weighty study. Perhaps her greatest achievement in Stick to the Skin is the way in which she obliges us to see the merit, wisdom, and benefits of looking at Black artists in a range of wider contexts. Bernier emphatically overturns the insularity that has tended to be the hallmark of African American artists' histories, and instead, proposes a bold and challenging set of new theoretical frameworks with which to consider the work of artists of the Black Atlantic over a period of half a century. This book will take its place as one of the most substantial tomes on the work of Black visual artists."--Eddie Chambers, Professor of Art and Art History, University of Texas, Austin

Features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. This title is suitable for students and scholars of film and media, critical theory, and European culture and history.

Offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it.

Presents 100 Latin inscriptions arranged in chronological order and illustrated by photographs. In this book, the inscriptions, which range in date from the sixth century B C to A D 525, are collated with standard texts and are accompanied by translations and full annotation.

Most difficult problems in the social sciences, the authors note, have no definitive solutions, but simply outcomes. This is a study of different concepts of business income. It also includes help on many other questions such as: when to replace plant, how to measure depreciation, which rate of compound interest to use in budgets, and so on.