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Examining the Italian artist’s career-long exploration of the human figure, this book offers new perspectives on the history of postwar and contemporary art

Bick T: Michelangelo Pistoletto

Michelangelo Pistoletto

Figuration and Cultural Politics

Image

African Presence: Philosophies of Time and Concepts of Image

Temporality and Aesthetic Regimes in the ›Black Atlantic‹ 1

How Activist Artists Can Change the World

Useful Art

Political Struggle and Activist Art in the Uk, 1960-Present

Grassroots Artmaking

This book is a blueprint for artists looking to engage with activist movements with a persistent longevity and a reminder that art has the power to be more dangerous than words.
Front Lines: A Lifetime of Drawing Resistance is Susan Simensky Bietila's story of her six decades as a movement artist and activist and a lifetime of artistic collaborations rooted in her activist experience. Growing up during McCarthyism, she rejected the nationalist masculinity of elite art and conformist culture and found feminism and collectivism as new forms of resistance. She became an artist in the New Left, creating illustrations for radical underground publications including RAT, Subterranean News, and comics for the anarchic World War 3 Illustrated.
With more than one hundred images, Front Lines documents her art on the page and in action featuring protest banners and giant puppets of birds and fish carried in the streets, masks of notorious dictators for street theater, posters pasted on walls and hung in radical spaces, community art builds, and more. Visual storytelling and detailed captions contextualize and bring to life her work with movements including antiwar protests during the Viet Nam era, Indigenous led antimine and antipipeline struggles, water protection, immigrant rights, anticorporate globalization convening, protests against the state and capital, Palestinian liberation actions, and collaborations with groups throughout the Great Lakes region and beyond. She agitates from the roots and the front lines to this day.

A Lifetime of Drawing Resistance

Front Lines

"Considers the enduring legacy of California Conceptualism, known for its lax approaches to creating, writing about, and exhibiting art. Moving away from making objects, and turning instead to staging scenes, the artists associated with California Conceptualism-including Eleanor Antin, John Baldessari, David Lamelas, Tony Ramos, Ilene Segalove, and William Wegman-behaved indifferently toward their art, denied making it and knowing what it was about, and displayed a lack of concern for its future. Their casual attitude and aesthetic transformed relationships between artists, critics, and viewers, separating those who could recognize these practices from those who could not. Contemporary artists have continued this trajectory, finding new ways to act casually through their "stance." In the humanities, this term is often taken to mean the beliefs, values, and intentions of authors, and it has offered a useful way to think about how artists position themselves toward their work and audiences. Jacob Stewart-Halevy builds on recent social theory to show how artists, critics, and other members of the art world wield stance to make sense of artworks and their social circumstances, arguing that, through the rise of conceptual art, stance has come to supplement-and in some cases replace-the aesthetic quality of artworks"--

Downplaying Art Since California Conceptualism

The Casual

Essays in Psychological Humanities

From Grief to Creativity

Mari Ruti and Climate Change

New Directions in Contemporary Art

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual's capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual’s capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

AI Art and the Stakes for Art Criticism

A new illustrated planner with week-to-view, featuring illustrations from the British Library's collection. A fine new art planner from Flame Tree. Produced in partnership with the British Library, this diary showcases an enchanting selection of children's book illustrations from their extensive collection. Featuring over 30 works from beloved stories such as Alice in Wonderland, The Wind in the Willows and more, this practical and stylish week-to-view desk diary is a wonderful gift or a treat for yourself. Printed on FSC-certified paper.

British Library: Children's Illustrators 2026 Desk Diary Planner - Week to View, Illustrated throughout

Described as 'exhilarating' by Katy Hessel, a compelling and lively history that examines the lives of British artists from the late-19th century to today. In This is Tomorrow Michael Bird takes a fresh look at the 'long twentieth century', from the closing years of Queen Victoria's reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler's defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson's melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times. At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.

This is Tomorrow

Resistance

Cultural Capital Doesn’t Pay the Rent is a story about loss, economic survival, and three decades of organizing against the interlocking hellscapes of neoliberalism. Jessica Lawless’s memoir is a queer, anarcho-punk history of community care and healing justice.
An original member of Home Alive, the Seattle-based, feminist self-defense collective founded as a response to the unsolved rape and murder of a beloved friend, Lawless takes the reader into subcultural spaces of the 1980s and '90s where anticapitalist concepts of race, gender, and sexuality were developing against the backdrop of the Christian right’s early culture wars.
Digging into their personal archive of pre-internet flyers, meeting notes, zines, photos, newsletters, exhibition announcements, journals, and funeral programs, Lawless explores the somatic impacts of remembering and forgetting. Her attempts to leave violence in the past lead her to the institutional violence of academia, the absurdity of the Los Angeles art world, the crushing poverty of cyclical subemployment as an adjunct professor, and the heartbreak of working in the labor movement.
Reflecting on the past while entering menopause, Lawless crafts a narrative that twists and turns along a winding path, continually rejecting normative conclusions. Cultural Capital Doesn’t Pay the Rent is a moving account of abolitionist feminist resistance that will inspire anyone who’s experienced the hopes and hypocrisies of leftist activism.

A Queer Memoir

Cultural Capital Doesn't Pay the Rent

Vancouver Art Gallery

An eclectically curated collection reveals a kaleidoscopic portrait of the many and diverse talents working in and around BC’s art scene over the past forty years. As a musician, performer, activist, collector, John David Lawrence has long held an important, if underrecognized, position in Vancouver’s creative community. After settling in the city in the mid-1980s he participated in and advocated for performance spaces and artist-run centres, building deep roots in the community, and since 2000 he has been the proprietor of DODA ANTIQUES. Over several decades, Lawrence amassed an idiosyncratic personal collection that includes ceramics, Indigenous art, jewelry, folk art, photography, and plant life. Through the stories of some of these pieces and of Lawrence himself, as well as extensive new photography of his holdings, The Place of Objects illuminates the rich cultural production that is often overlooked by Vancouver’s established artistic community. Released to coincide with a Vancouver Art Gallery exhibition of 300 ceramic works from Lawrence’s collection, The Place of Objects opens with an engrossing conversation between scholar Michael Prokopow and Lawrence that uses specific objects and the diverse areas of his collections to reveal Lawrence’s enigmatic biography and ponder the broader cultural obsession with things. The second half of the book features texts by artists, scholars, friends, and curators who highlight objects of art with historical, cultural, or personal significance. The publication also includes a visual index—a two-dimensional genogram of the objects in his collection—to map the tentacular threads that have informed Lawrence’s collecting practices over the decades. Contributors: Glenn Alteen, Grant Arnold, Daina Augaitis, Jonathon Bancroft-Snell, Nicholas R. Bell, Dave Carlin, Allan Collier, Diana Freundl, Tyler Fritz, Mandy Ginson, Donna Hagerman, Carole Itter, Jenn Jackson, Corey Larocque, Hilary Letwin, Carol Mayer, Siobhan McCracken Nixon, Edmond Melnychuk, Michael J. Prokopow, Esther Rausenberg, Stephanie Rebick, Debra Sloan, Mr. Smith, Carolyn Stockbridge, Jordan Strom, Andrea Valentine-Lewis, Jan Wade, Laura Wee Láy Láq. Artists: Hans Coper, Olea Davis, Walter Dexter, Beau Dick, Denny Dixon, Pat Dixon, Ed Drahanchuk, Axel Ebring, Gathie Falk, Ken Foster, Ken Gerberick, Kathleen Hamilton, Ben Houstie, Avery Huyghe, Tam Irving, Elsie John, Charmian Johnson, Thomas Kakinuma, Zoltan Kiss, Roy Kiyooka, Danny Kostyshin, Zeljko Kujundzic, Corey Larocque, Bernard Leach, Janet Leach, Glenn Lewis, Luke Lindoe, Brian Lynch, Mad Dog, Pat McGuire, Edmond Melnychuk, Philip Melvin, Grace Melvin, Santo Mignosa, Carel Moiseiwitsch, Ellen Neel, Wayne Ngan, Oraf, Davide Pan, Randy Pandora, John Reeve, Bill Reid, Bill Rennie, Hilda Ross, Debra Sloan, Russell Smith, Gordon Thorlaksson, Ron Tribe, Jan Wade, Jean Marie Weakland, Laura Wee Láy Láq.

The John David Lawrence Collection

The Place of Objects

Michelangelo Pistoletto

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