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A revelatory and informative presentation of the anti-apartheid posters created by Medu Art Ensemble

A revelatory and informative presentation of the anti-apartheid posters created by Medu Art Ensemble

The People Shall Govern!

Medu Art Ensemble and the Anti-Apartheid Poster, 1979-1985

The Great Albums

40 Years

Run-DMC and Raising Hell

Afro-Latin America

Art and Anti-Racism in Latin America

Leonardo

Media Practices and Aesthetics of Radical Truth

Exposing Violence

This rare self-portrait from pioneering publisher, writer and cultural activist Margaret Busby underscores her powerful legacy and celebrates some of the people and places that have shaped her exceptional lifeMargaret Busby has been at the heart of cultural life in the UK for over 50 years. From becoming Britain's youngest and first Black woman publisher when she founded publishing house Allison &amp; Busby, to editing the ground-breaking international anthologies Daughters of Africa and New Daughters of Africa, her many achievements are testament to her dedication to championing the lives and stories of others, particularly those throughout the world who have been marginalised by the mainstream. With little attention previously given to her own skills as a writer, Part of the Story is a unique opportunity to enjoy her own remarkable literary output. It brings together her writings on people, places, politics and publishing, and provides a rich insight into the many elements that have contributed to shaping her life, from her childhood in Ghana to the Black writers, intellectuals, artists and activists she has worked with, befriended, supported and championed for over half a century.

Writings from Half a Century

Part of the Story

The Making of an Icon

Frida

A Cultural History

The Italian Renaissance

An expansive consideration of the creative output of a unique twentieth-century master that brings a fresh perspective to his enigmatic and enduring work &nbsp; M. C. Escher (1898–1972) was born in the Netherlands and is known internationally for his self-described “mental images” that connect to mathematics and various branches of science. Considered a one-man art movement, he remained outside of the art establishment and is treasured today for his mind-bending works. His imagery explores the relationships between art and science, order and disorder, and logic and irrationality, and presents complex orchestrations of multidimensional alternate realities. &nbsp; Drawing from the Michael S. Sachs collection—the most extensive Escher holdings in the world—this overview of the artist’s work features more than five hundred objects, including prints, drawings, watercolors, printed fabrics, constructed objects, wood and linoleum blocks, lithographic stones, sketchbooks, and the artist’s working tools. Offering new insights into Escher’s iconic and idiosyncratic work, scholarly essays discuss the artist’s background and creative practice, examine the mathematical underpinnings of his use of geometric models, and ponder the ways his meticulously crafted images are filled with the element of wonder. &nbsp; Distributed for the Museum of Fine Arts, Houston

The Art of M. C. Escher from the Michael S. Sachs Collection

Virtual Realities

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

The People Shall Govern!

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