Anti-Racism

"A new collection of stories and songs from award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson."

Catalog of exhibition held Haus der Kunst, October 12, 2009 - January 17, 2010.
Includes an interview with the artist, and statements by the artist from posts on his blog.

"This publication documents the School of the Art Institute of Chicago's 2014-15 Bill and Stephanie Sick Distinguished Visiting Artist, Theaster Gates, and the course Architecture acts taught in collaboration with Michael Newman and Andrew Santa Lucia."--Page [4].

"Back to Black traces the long and eminent history of Black radical politics. Born out of resistance to slavery and colonialism, its rich past encompasses figures such as Marcus Garvey, Angela Davis, the Black Panthers and the Black Lives Matter activists of today. At its core it argues that racism is inexorably embedded in the fabric of society, and that it can never be overcome unless by enacting change outside of this suffocating system. Yet this Black radical tradition has been diluted and moderated over time; wilfully misrepresented and caricatured by others; divested of its legacy, potency, inclusivity and force for global change. Kehinde Andrews explores the true roots of this tradition, and connects the dots to today's struggles by showing what a renewed politics of Black radicalism might look like in the 21st century."--Publisher's website.

Published in conjunction with the exhibition Betye Saar: Extending the Frozen Moment, held at the University of Michigan Museum of Art, Ann Arbor, Oct. 15, 2005-Jan. 8, 2006; at the Norton Museum, West Palm Beach, Florida, Mar. 18-June 11, 2006; and at the Pennsylvania Academy of the Fine Arts, Philadelphia, Sept. 8-Dec. 3, 2006.

"Published in anticipation of the exhibition Betye Saar: The Legends of Black Girl's Window, October 21, 2019-January 4, 2020"--Colophon.

"Uneasy Dancer brings together over 80 works including installations, assemblages, collages and sculptures by the pioneering Los Angeles artist Betye Saar (born 1926) produced between 1966 and 2016. This handsomely designed volume presents Saar's work as a copiously illustrated timeline, with numerous documentary images and exhibition details. "Uneasy Dancer" is an expression Saar has used to define both herself and her artistic practice: "my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender." Through her use of found objects, personal memorabilia and derogatory images that evoke denied or distorted narratives, Saar developed a powerful social critique that challenges racial and sexist stereotypes deeply rooted in American culture." --Publisher's website.

Published in conjunction with an exhibition of the same name organized as part of the Institute of Asian Art at the Vancouver Art Gallery and presented July 9-October 10, 2016.

"The first book to show the provocative posters and groundbreaking graphics of the Black Panther Party... The Black Panther newspaper was founded to articulate the party’s message, and artist Emory Douglas became the paper’s art director and later the party’s minister of culture. Douglas’s artistic talents and experience proved a powerful combination: his striking collages of photographs and his own drawings combined to create some of the era’s most iconic images." - Publisher

"As a young South African woman of about twenty, Saartjie Baartman, the so-called "Hottentot Venus," was brought to London and placed on exhibit in 1810. Clad in the Victorian equivalent of a body stocking, and paraded through the streets and on stage in a cage she became a human spectacle in London and Paris. Baartman's distinctive physique became the object of ridicule, curiosity, scientific inquiry, and desire until and after her premature death. The figure of Sarah Baartman was reduced to her sexual parts.
Black Venus 2010 traces Baartman's memory in our collective histories, as well as her symbolic history in the construction and identity of black women as artists, performers, and icons. The wide-ranging essays, poems, and images in Black Venus 2010 represent some of the most compelling responses to Baartman. Each one grapples with the enduring legacy of this young African woman who forever remains a touchstone for black women."--Provided by publisher.

"Produced in close collaboration with the artist, this volume documents new projects commissioned for The Museum of Contemporary Art, Los Angeles, alongside Cai Guo-Qiang's own survey of his artistic journey and the personal cosmology that informs his work. It features a rich sampling of Cai's wonderfully diverse oeuvre, including explosion events, gunpowder drawings, and installations. Informative essays and a conversation with the artist explore Cai's influences, from traditional Chinese scrolls and his father's miniature paintings to Asian philosophy and memories of his grandmother. Including never-before-published new works and unprecedented contributions by the artist himself, this book promises to be an important reference on Cai's art for years to come."

Catalog of the first exhibition of CATPC held at SculpturCenter, New York, January 28-March 27, 2017.

"Charles White (1918-1979) intentionally and unapologetically dedicated his life and work to conveying the concerns, sentiments, and beauty of African Americans, always realistically portraying his subjects with the dignity they so rightly deserved but were so often denied. Through universal themes he interpreted and presented the humanitarian and social issues of his time by examining the heroism, struggles, hopes, histories, and triumphs of Black people. Barnwell discusses White's regard as an artist and chronicles his career as he pursued artistic excellence, personal integrity, economic freedom, and racial equality." - Book jacket

"In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements—many of which are appearing in English for the first time—demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art’s intersection with public policy, health, and the environment, the contributors outline the region’s long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship."-- Publisher's description.

"Examining painting, photographs, and other representations of Black people over the past two centuries, Cutting a Figure argues that these images should be viewed as a category of portraiture distinct from depictions of people with other racial and ethnic backgrounds. The difference, Richard J. Powell contends, stems directly from the Black subject's power to subvert dominant racist conventions by evincing such traits as self-composure, self-adornment, and self-imagining." "Powell supports his argument by skillfully parsing these displays of individuality, social performance, and increased visibility, which in the nineteenth century were sometimes described as "cutting a figure." Combining previously unpublished images with scrupulous archival research, Cutting a Figure illuminates the ideological nature of the genre and the centrality of race and cultural identity in understanding modern and contemporary portraiture." - Book jacket

"Danh Vo's conceptual, installation-based practice dissects the cultural forces and private desires that shape our experience of the world. He often employs found objects, images and texts to animate personal narratives that refract global political histories. Published to accompany the most comprehensive museum survey to date of the Danish artist's work, this catalog presents for the first time an illuminating overview of Vo's work from the past 15 years. Organized around nearly 30 major projects and installations, the volume ranges from Vo's early performative works such as Vo Rosasco Rasmussen (2003), in which he married and divorced acquaintances in order to add their surnames to his own, to his recent sculptural hybrids of classical and Christian statuary. A lead essay by Katherine Brinson probes the artist's roving, research-based process in which historical study, fortuitous encounters and personal relationships are woven into psychologically potent tableaux. Significant recurring subjects include the legacy of colonialism and the fraught status of the refugee, as well as the image of the United States in its own collective imagination and in that of the world."

Catalog of an exhibition held at the Dortmunder Kunstverein, June 10-August 7, 2011.

"Employing a wide range of art forms in which self-portraiture and the body are often conduits for wider social and political narratives, Rodney’s art refuses easy categorisation and can be as humorous as it is poignant... From the debunking of mythologies pertaining to ‘angry’ ‘Black Art’, and questioning the relationships between art and identity politics, to examining notions of body art and representations of pain, both writers offer provocative texts on arguably one of the most innovative and important British artists’ of his generation." - Publisher

"In the 1960s, for at least a brief moment, Montreal became what seemed an unlikely centre of Black Power and the Caribbean left. In October 1968 the Congress of Black Writers at McGill University brought together well-known Black thinkers and activists from Canada, the United States, Africa, and the Caribbean–people like C.L.R. James, Stokely Carmichael, Miriam Makeba, Rocky Jones, and Walter Rodney. Within months of the Congress, a Black-led protest at Sir George Williams University (now Concordia) exploded on the front pages of newspapers across the country–raising state security fears about Montreal as the new hotbed of international Black radical politics." - Publisher

Catalog of an exhibition held at the Power Plant, Toronto, Ont. and five other museums between June 25, 2005 and Dec. 17, 2007.

Published on the occasion of an exhibition held at the Whitney Museum of American Art, New York, Mar. 10-June 5, 2011; the Los Angeles County Museum of Art, Los Angeles, Calif. Oct. 23, 2011-Jan. 22, 2012; and the Modern Art Museum of Fort Worth, Fort Worth, Tex. Feb.-May 2012.

"The iconic work Untitled (I Am a Man) (1988) by the important contemporary American artist Glenn Ligon is a quotation, an appropriated text turned into an artifact. The National Gallery of Art in Washington presents the work as a "representation--a signifier--of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous by Ernest Withers' 1968 photographs." In this illustrated study of the work, Gregg Bordowitz takes the National Gallery's presentation as his starting point, considering the museum's juxtaposition of Untitled (I Am a Man) and the ca. 1935 sculpture, Schoolteacher, by William Edmondson, and the relation of the two terms, "markers" and "signs." After closely examining the canvas itself, its textures, brushwork, and structure, Bordowitz presents a theoretical framework that draws on the work of American philosopher Charles Sanders Peirce and his theory of Firstness, Secondness, and Thirdness. He makes a case for Thirdness as a function, operation, or law of meaning-making, not limited by the gender, age, ethnicity, race, class, or personal history of the viewer. Bordowitz goes on to examine Ligon's work in terms of the representation of self, race, and gender, focusing on three series: Profile Series (1990-91), Narratives, and Runaways (both 1993). He cites such historical figures as Sojourner Truth and her famous 1851 speech, "Ain't I a Woman?" as well as influences ranging from Bo Diddley's 1955 song, "I'm a Man" to the cultural theories of Stuart Hall."

Catalog of exhibition held at Deutsche Guggenheim Apr. 17-Jul. 9, 2004.

"Copublished by Aperture and the Portland Art Museum, Oregon, to accompany Hank Willis Thomas: All Things Being Equal, an exhibition organized by the Portland Art Museum and curated by Julia Dolan and Sara Krajewski, on view October 2019-January 2020."

"Published on the occasion of the exhibition Honouring Tradition: Reframing Native Art at the Glenbow Museum, Calgary, February 16 to July 13, 2008, organized by the Glenbow Museum"--T.p. verso.

Exhibition presented at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY, Jan. 18-June 2, 2003 and Williams College Museum of Art, Williamstown, MA, Aug. 30-Dec. 5, 2003.

Catalog for an exhibition held Aug. 28-Sept. 16, 1981 at Tōkyū Gallery in Tokyo

"Unceded Territories is a major and timely review of the work of Lawrence Paul Yuxweluptun, spanning thirty years of his painterly and polemical practice. It places the artist's concerns in dialogue with this moment in our shared histories. An artist of Cowichan and Okanagan descent, Yuxweluptun lives and works on unceded Coast Salish territories in Vancouver, British Columbia. He calls himself a history painter, a monumentalist, a modernist. Impassioned in his commitment to advance First Nations rights to the land and effect change, Yuxweluptun fuses art with political action--he "paints freedom and equality". This retrospective includes brilliant commentary from Michael Turner, Lucy Lippard, Marcia Crosby, Glenn Alteen, a short-story by Jimmie Durham. In an extensive dialogue, curators Karen Duffek and Tania Willard discuss the meaning of Yuxweluptun's practice and place it in the context of the First Nations struggle for autonomy, justice, and environmental preservation. In a searing and powerful artist's statement, Yuxweluptun himself explains the essence of his painting and the forces that drive his artistic and political life. Published to accompany the exhibition at the University of British Columbia Museum of Anthropology this volume includes 65 of Yuxweluptun's paintings from the last three decades and will be a lasting document of his art and activism."-- Provided by publisher.

"This comprehensive catalogue of Lorna Simpson's critically-acclaimed 30-year body of work highlights her photo-text pieces as well as film and video installations to reveal how the artist explores identity, memory, gender, history, fantasy, and reality"-- Provided by publisher.

"This book showcases the exquisite collage work of internationally acclaimed artist Lorna Simpson. Combining vintage advertising images of Black women and men with colorful ink washes, striking geological formations, and dreamy skyscapes, Simpson creates fantastical coiffures that pay homage to the beauty of Black hair. A lyrical introduction by eminent poet Elizabeth Alexander rounds out this volume."

"Born in the British protectorate of Zanzibar (now Tanzania), Himid makes colorful, decorative paintings, as well as sculptures and ceramics, generally themed around African experience and the global history of the African diaspora, and often referencing the aesthetics of African textiles." - Publisher

"Mark Bradford is best known for dazzling, large-scale abstract paintings that examine the class-, race-, and gender-based economies that structure urban society in the United States. Gathering carefully chosen found and salvaged materials from the area surrounding his studio in the Leimert Park neighborhood of Los Angeles, Bradford engages in an intricate artistic process that involves both creation and destruction. His complex, fractured works address pressing political issues and the media's influence on contemporary society while cataloguing cultural change and the artist's personal responses to societal conditions. The first major book on this leading American artist, Mark Bradford features essays by distinguished authors who investigate how Bradford straddles the line between social critique and formal innovation, playing the two against one another to produce works of seduction and analysis. Topics include Bradford's debt to abstract expressionism, his relationship to the largely unknown history of twentieth-century abstraction by African American artists, his work as a public artist, and his interest in midcentury European collage and decollage practices."--BOOK JACKET.

"American sculptor Martin Puryear (b. 1941) creates work that combines the clean elegance of minimalism and the simplicity of traditional materials. His stunning sculptures explore themes of identity, ethnicity, and history, and are rich with social and cultural commentary. Puryear, who is known for abstract, large-scale pieces in wood, stone, and bronze, has captured the attention of the art world for the past 30 years. Despite the apparent simplicity of his works, however, he engages in an extensive iterative process that has, until now, been unknown. Martin Puryear: Multiple Dimensions explores that process, featuring numerous drawings, prints, and small-scale sculptures that have never before been published. This catalogue is the first to examine Puryear's work across media, providing invaluable insight into his visual thinking, from sketches to working drawings and constructions for sculpture. Handsomely illustrated with nearly 120 color plates that demonstrate the evolution of Puryear's ideas between drawings, prints, and sculptures, this beautiful volume draws back the curtain on the methodology of this important and enigmatic artist. "-- Provided by publisher.

Published in connection with an exhibition held Apr. 22-Sept. 3, 2006, Henry Art Gallery, Seattle.

Catalogue of an exhibition held at the Hamburger Kunsthalle, March 26-May 31, 2004; the Kunstmuseum Bonn, June 17-August 29, 2004; and at Magasin 3 Stockholm Konsthall, October 9-December 18, 2004.

Catalog of an exhibition held at Fondazione Querina Stampalia, Venice, June 4-Sept. 20, 2009.

"Anyone who's ever encountered one of Nick Cave's Soundsuits--whether in a gallery or on the street--can't help but be fascinated with these brightly hued, provocative constructions that function as both costume and sculpture. The most comprehensive survey of the artist's work to date, this large-format volume compiles the fantastic Soundsuits, for which the artist is best known, together with his other sculptural work and related projects in video and live performance. The book chronicles the artist's ingenious use of materials, which began with a Soundsuit constructed entirely from twigs and has since ranged from secondhand rugs and other thrift-store finds to feathers, buttons, beading, and rainbow-dyed synthetic hair. Dazzling images of Cave's Soundsuits are presented alongside video stills and performance views that capture the current of joyful energy that runs throughout the work. Essays by Elvira Dyangani Ose and Nato Thompson provide an illuminating critical context for the artist's practice, and an interview by Andrew Bolton explores the artist's working process and inspirations. Beautiful, insightful, and exciting, this volume will be a must-have for Cave's ever-growing audience."

"Meet Me at the Center of the Earth features sculptures that Cave calls Soundsuits, to evoke the sense of movement, rattles and rustles inherent in the design of the pieces—which are composed of manufactured and handmade fabrics, such as beads, sequins, bottle caps, old toys, twigs and hair, and seem poised to explode into ritual dance. Exploring issues of ceremony, ritual, identity and myth, they embrace various traditions, as well as cultural and historical references, from African fetish objects to Japanese Butoh dance." - Publisher

Published in conjunction with an exhibition held Aug. 23, 2006-Feb. 25, 2007.

Published in conjunction with the exhibition organized by the Museum of Contemporary Art, Chicago, Oct. 25, 2003-Jan.18, 2004 and four other museums in 2004-2005.

Published to accompany the exhibition held at Deutsche Bank Kunsthalle, Berlin, 26th March-25th May 2015.

Catalog of the exhibition held at David Zwirner, New York, September 13-October 21, 2017.

Published on the occasion of the exhibition "Sarah Sze: Infinite Line" organized by Asia Society Museum, presented at the Asia Society Museum, New York, NY, December 16, 2011- March 18, 2012.

Published in conjunction with an exhibition held at the De Young Museum, Fall, 2006 and at the Japanese American Museum in Los Angeles, Winter 2007.

Catalog of an exhibition at the Peabody Essex Museum, Salem, Mass., Jan. 14-Apr. 29, 2012.

"Teaching Resistance is a collection of the voices of activist educators from around the world who engage inside and outside the classroom from pre-kindergarten to university and emphasize teaching radical practice from the field. Written in accessible language, this book is for anyone who wants to explore new ways to subvert educational systems and institutions, collectively transform educational spaces, and empower students and other teachers to fight for genuine change. Topics include community self-defense, Black Lives Matter and critical race theory, intersections between punk/DIY subculture and teaching, ESL, anarchist education, Palestinian resistance, trauma, working-class education, prison teaching, the resurgence of (and resistance to) the Far Right, special education, antifascist pedagogies, and more. Edited by social studies teacher, author, and punk musician John Mink, the book features expanded entries from the monthly column in the politically insurgent punk magazine Maximum Rocknroll, plus new works and extensive interviews with subversive educators. Contributing teachers include Michelle Cruz Gonzales, Dwayne Dixon, Martín Sorrondeguy, Alice Bag, Miriam Klein Stahl, Ron Scapp, Kadijah Means, Mimi Nguyen, Murad Tamini, Yvette Felarca, Jessica Mills, and others, all of whom are unified against oppression and readily use their classrooms to fight for human liberation, social justice, systemic change, and true equality."--Provided by publisher.

"The transformation of everyday and urban detritus is one of Theaster Gates' fundamental artistic strategies, one lending it to a new value as art. The partly newly created works and space-grabbing sculptures also following this attitude. Gates' work as a strategy of archiving and recycling, preservation and innovation as a form of critical analysis of social issues are analyzed by Romi Crawford and Thomas D. Trummer. In a conversation with Hamza Walker, Gates himself explains his work and, in particular, his artistic concept underlying the exhibition in Bregenz. The exhibition Black Archive is impressively documented by large format installation images."--Publisher's website.

"Encompassing a wealth of drawings, photography and film, Ana Mendieta: Traces provides a comprehensive and illuminating overview of this highly influential artist's work. Essays by art historians, Julia Bryan-Wilson and Adrian Heathfield, as well as Stephanie Rosenthal, Chief Curator at Hayward Gallery, provide an array of new approaches to Mendieta's practice. This publication also includes a wide-ranging and highly illustrated anthology of never-before-seen material, including Mendieta's own notebooks, exhibition plans and correspondence, the result of unparalleled access to the Ana Mendieta Archive. Filled with new imagery, ephemera and scholarship, Ana Mendieta: Traces provides a comprehensive introduction to this major twentieth-century artist, as essential for Mendieta experts as for those coming to her work for the first time." -- Publisher's description.

"In Unsettled Visions, the activist, curator, and scholar Margo Machida presents a pioneering, in-depth exploration of contemporary Asian American visual art. Machida focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway. Machida conducted extensive interviews with ten artists working during this transformative period: women and men of Chinese, Filipino, Indian, Vietnamese, Korean, and Japanese descent, most of whom migrated to the United States. In dialogue with the artists, Machida illuminates and contextualizes the origins of and intent behind bodies of their work. Unsettled Visions is an engrossing look at a vital art scene and a subtle account of the multiple, shifting meanings of "Asianness" in Asian American art."--BOOK JACKET.

"Lebanese artist Walid Raad is an influential voice in art from the Middle East. Published for his first comprehensive exhibition in the US, this catalogue surveys three decades of Raad's practice in photography, video and performance. 0Beginning with his groundbreaking project The Atlas Group (1989-2004), to his recent work on the history of art in the Arab world (2007-ongoing), it offers an overview of Raad's career and features his most momentous bodies of work. Raad explores the ways we represent war and history, casting doubt on the veracity of photographic and video documentation. 0Essays by scholars place Raad's art in the context of contemporary photography and video, as well as art made in Lebanon since the 1960s; provide an overview of Raad's performance lectures; and examine Raad's most recent bodies of work made in the Islamic galleries at the Louvre and Metropolitan Museum of Art, which explore the history, collecting and display of historical and modern art and artifacts from the Arab world and Iran. A special contribution by Raad presents a fictional interview with multiple artists, curators and writers."

Catalog of an exhibition held at the University of North Texas Art Gallery, Denton, Tex., Jan. 16-Feb. 25, 2003; H&R Block Artspace at the Kansas City Art Institute, Kansas City, Mo., June 6-Sept. 6, 2003; and the Institute of Contemporary Art at Maine College of Art, Portland, Me., June-Oct., 2004.

"'We were eight years in power' was the lament of Reconstruction-era Black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a Black president followed by a vicious backlash that fueled the election of the man Coates argues is America's 'first white president.' But the story of these present-day eight years is not just about presidential politics. The essays also examine the new voices, ideas, and movements for justice that emerged over this period -- and the effects of the persistent shadow of our nation's old and unreconciled history. Coates relays the events of the Obama era from his intimate and revealing perspective: the point of view of a young writer who begins the journey in an unemployment office in Harlem and ends it in the Oval Office, interviewing a president. Some of the pieces first published in The Atlantic, including 'Fear of a Black President,' 'The Case for Reparations,' and 'The Black Family in the Age of Mass Incarceration.' Eight fresh essays revisit each year of the Obama administration through Coates's own experiences, observations, and intellectual development, capped by an assessment of the election that fully illuminated the tragedy of the Obama era."

"In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. 'Whitewalling: Art, Race, & Protest in 3 Acts' reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world - no less than the country at large - has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. 'Whitewalling' takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?"

"The Winter We Danced is a vivid collection of writing, poetry, lyrics, art and images from the many diverse voices that make up the past, present, and future of the Idle No More movement. Calling for pathways into healthy, just, equitable and sustainable communities while drawing on a wide-ranging body of narratives, journalism, editorials, and creative pieces, this collection consolidates some of the most powerful, creative pieces, this collection consolidates some of the most powerful, creative, and insightful moments from the winter we danced and gestures towards next steps in an ongoing movement for justice and Indigenous self-determination."

"This catalogue is published in conjunction with the exhibition 'Yayoi Kusama: Infinity Mirrors,' organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, February 23-May 14, 2017." --T.p. verso.

Catalog of an exhibition held at Robert Miller Gallery, New York, June 11-August 7, 1998.

"Accompanies the exhibition shown at the Japan Society Gallery, New York from October 18, 2000 through January 14, 2001"--T.p. verso. Exhibition held at Walker Art Center, Minneapolis Mar. 10-June 17, 2001 and at four other locations from July 13, 2001-Sept. 8, 2002.

"Newly revised and updated, this authoritative book presents the exciting, ironic, and often subversive work of Yinka Shonibare MBE, one of the stars of the international art scene. Born in London and raised in Nigeria, Shonibare employs a diverse range of media--from sculpture, painting, and installation to photography and film--to probe matters of race, class, cultural identity, and history. He is perhaps best known for his signature use of a colorful "African" batik fabric that actually originated in Indonesia and was introduced to Africa in the19th century by British and Dutch colonizers. Incorporated into Victorian costumes, covering sculptures of extraterrestrials, or stretched like canvas for paintings, these vibrant textiles cleverly challenge issues of origin and authenticity. This book--the most comprehensive resource available on Shonibare--presents the best work of the London-based artist's career, including his high-profile project for the Fourth Plinth in London's Trafalgar Square and other innovative public sculptures. Whether lampooning Victorian propriety or commenting on what it means to be an "alien," Shonibare makes art that challenges straightforward interpretations"-- Provided by publisher.