Aruna D'Souza - Böcker

A selection of key essays by one of the most influential voices in art history, including seven previously unpublished pieces. This illustrated, edited collection of essays brings together for the first time some of the pioneering art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal tract on feminism in art, ‘Why Have There Been No Great Women Artists?’, Nochlin had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history, with her writings on modernism being transformative to the discipline. Nochlin embraced Charles Baudelaire’s conviction that modernity meant to be of one’s time - and that the role of an art historian was to understand the art of the past not only in its own historical context, but according to the urgencies of the contemporary world. From academic debates about the nude in the 18th century to the work of Robert Gober in the 21st, whatever she turned her analytic eye to was very much conceived as the art of the now - the art we need to look at to navigate the complexities and contradictions of the present.

This collection of essays revisits gender and urban modernity in nineteenth-century Paris in the wake of changes to the fabric of the city and social life. In rethinking the figure of the flâneur, the contributors apply the most current thinking in literature and urban studies to an examination of visual culture of the period, including painting, caricature, illustrated magazines, and posters. Using a variety of approaches, the collection re-examines the long-held belief that life in Paris was divided according to strict gender norms, with men free to roam in public space while women were restricted to the privacy of the domestic sphere. Framed by essays by Janet Wolff and Linda Nochlin - two scholars whose work has been central to the investigation of gender and representation in the nineteenth century - this collection brings together new methods of looking at visual culture with a more nuanced way of picturing city life.

Edouard Manet s Le Dejeuner sur l herbe (1863) is generally cited as the first modern painting. The entry slide in art history lectures about modernism, the work remains among the 'most audacious painting[s] ever seen in France,' as Ross King described it in The Judgement of Paris (2006). As Manet did with Le Dejeuner sur l herbe, the most provocative painters today collapse the historical and the contemporary onto one plane. Jeffrey Deitch invited a group of these influential artists to create their own versions, combined here with historical responses to Manet s painting. The slim volume features these often biting and satirical works alongside essays discussing Le Dejeuner sur l herbe s enduring influence on contemporary figurative painting. ARTISTS INCLUDE: Nina Chanel Abney, Diane Arbus, Vanessa Beecroft, Cecily Brown, Caitlin Cherry, Joe Coleman, Robert Colescott, Somaya Critchlow, Celeste Dupuy-Spencer, Dominique Fung, Alain Jacquet, Kurt Kauper, Karen Kilimnik, Cindy Ji Hye Kim, Jeff Koons, Ella Kruglyanskaya, Liu Xiaodong, Tala Madani, Sophie Matisse, Paul McCarthy, Sam McKinniss, Jill Mulleady, Ariana Papademetropoulos, Naudline Pierre, Christina Quarles, Walter Robinson, Giangiacomo Rossetti, David Salle, Katja Seib, Tschabalala Self, Vaughn Spann, Mickalene Thomas, Salman Toor, John Wesley, Kehinde Wiley

Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings-introduced in this collection by critic and curator Aruna D'Souza-offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.

Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings-introduced in this collection by critic and curator Aruna D'Souza-offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.

An Indigenous Futurist reimagining of landscape, addressing imperialism, ownership, and place.This beautifully illustrated volume is the first book to explore the work of contemporary Indigenous North American artist Andrea Carlson, accompanying the artist’s major solo exhibition at the Denver Art Museum (October 5, 2025–January 18, 2026).Using oral and archival research, as well as art historical and philosophical theory, Carlson (Grand Portage Ojibwe descent) creates multipanel landscapes on the themes of museum collection practices, consumption, possession, and repatriation. Her work addresses the colonial construction of landscape genre painting and imperial concepts of land ownership and connection to place.Through the lens of Indigenous Futurism, an artistic movement emphasizing the successful, sovereign presence of Indigenous people into the future, the works question human-centered biases and relationships to dominance and assimilation.