André Mesquita – författare

An indigenous Yanomami artist translates the body art of his community into paper-based worksSheroanawe Hakihiiwe (born 1971) is an Indigenous Yanomami artist from the Venezuelan Amazon. His practice consists of minimal and abstract drawings inspired by the body paintings of his community, which he began producing in the 1990s after learning to make paper using native fibers.

A sweeping look at the history of the artist collective whose graphic poster designs helped define the visual culture of AIDS activismGran Fury (1988–95) was a New York–based activist artist collective that emerged from ACT UP (AIDS Coalition to Unleash Power), an organization founded in 1987 to raise awareness about the HIV/AIDS crisis in the United States through political activism. Named for the vehicle favored by the New York City police, Gran Fury formed to summon a sense of collective indignation. The collective’s innovative graphic design campaigns were mobilized in ACT UP demonstrations to awaken the public to the disdain, neglect and silence of Ronald Reagan’s administration during the epidemic. The group produced posters, newspapers, stickers, photographs, videos and billboards that were circulated to transform perceptions about HIV/AIDS, interrogate ineffective public policies and underreported government data, interrupt misconceptions disseminated by the media, confront the morality of religious institutions, and alleviate the stigma and discrimination faced by people living with HIV/AIDS. They worked closely with other activist groups, including the Silence=Death Project, whose posters featuring a pink triangle came to be a defining visual of the AIDS crisis.This richly illustrated catalog is a comprehensive survey of the collective’s body of work. It includes unpublished essays, historical interviews, rare pamphlets, photographs and ephemera that altogether chart the development of a new visual language for effecting social change. Gran Fury: Art Is Not Enough is an indispensable reference for the study of the intersection of activism and the arts in the late 20th century.

Over 200 works across painting, sculpture, weaving, maps and video attest to ecological harm and suggest reparative, non-anthropocentric modes of global cohabitationThis book brings together more than 200 works by artists, activists and social movements that examine, from different perspectives, the concept of “ecology” as a system of interrelationships among human and more-than-human beings—including animals, plants, rivers, forests, mountains, fungi and minerals.Lushly illustrated, this catalog includes reproductions of works and curatorial essays divided into thematic sections—“Web of Life,” “Geographies of Time,” “On Becoming,” “Territories, Migrations, and Borders” and “Inhabiting the Climate.” The paintings, sculptures, weavings, maps and videos of the 117 artists presented, nearly all of whom come from the so-called Global South, not only shed light on the effects of colonialism, environmental racism and global capitalism on bodies, territories and ecosystems, but also the historical and structural roots of this mode of living, as well as different ways of seeing, inhabiting and transforming the planet.

Inspired by the theories of Murray Bookchin, Cuevas’ tongue-in-cheek, pop culture–inspired installations critique capitalism’s effect on the environmentBorn in Mexico City, Minerva Cuevas (born 1975) has developed an artistic practice that questions power dynamics between humans and nonhumans. Her conceptual works and public interventions offer a critique of neoliberalism and address debates over resource extraction, forced displacement and environmental devastation.

Sensuous biomorphic forms steeped in Brazilian history and culture Using materials such as bronze, concrete, stone and papier-mâché, Brazilian artist Erika Verzutti (born 1971) creates works that evoke animals and plants, landscapes and minerals, everyday items and objects from art history. This monograph spans her entire career since 2003.