Ferns and Palms accompanies Los Angeles-based artist Sam Falls' (born 1984) first solo museum show at the Pomona College Museum of Art. The book includes his signature weather-driven paintings and a new site-specific outdoor sculpture composed on an altered pickup truck filled with succulents.
Sadie Barnette's celebratory installations explore collective and familial histories in glittering, speculative spaces Oakland-based multimedia artist Sadie Barnette (born 1984) has made groundbreaking explorations of her own family's history and archives. She situates her father Rodney Barnette's activism, including his founding of the Black Panther chapter in Compton, CA, and his surveillance by the FBI, in the social history of California and global histories of resistance against racial injustice. Through government documents, photography, writing, installation and her signature use of hot pink, Barnette transforms the bond between father and daughter into an art that speaks to the power of community action. This volume features several new works created for the exhibition, as well as a reproduction of the zine Barnette created as a tribute to her father's New Eagle Creek Saloon, the first Black-owned gay bar in San Francisco.
American law in the twentieth century describes the explosion of law over the past century into almost every aspect of American life. Since 1900 the center of legal gravity in the United States has shifted from the state to the federal government, with the creation of agencies and programs ranging from Social Security to the Securities Exchange Commission to the Food and Drug Administration. Major demographic changes have spurred legal developments in such areas as family law and immigration law. Dramatic advances in technology have placed new demands on the legal system in fields ranging from automobile regulation to intellectual property. Throughout the book, Friedman focuses on the social context of American law. He explores the extent to which transformations in the legal order have resulted from the social upheavals of the twentieth century--including two world wars, the Great Depression, the civil rights movement, and the sexual revolution. Friedman also discusses the international context of American law: what has the American legal system drawn from other countries? And in an age of global dominance, what impact has the American legal system had abroad? This engrossing book chronicles a century of revolutionary change within a legal system that has come to affect us all.
(From table of contents)Foreword /Kathleen Stewart Howe --Introduction:Time and space--the work of Todd Gray /Rebecca McGrew and Hannah Grossman --Todd Gray: composite stranger /Nana Adusei-Poku --Conversation with Todd Gray /Carrie Mae Weems --Relocating the fragments: the kaleidoscopic vision of Todd Gray /M. Neelika Jayawardane --Image plates --Artist's biography /Todd Gray --Longing on a large scale /Nana Adusei-Poku --Exhibition checklist --Contributors' biographies.
For six years Maya Stovall staged Liquor Store Theatre, a conceptual art and anthropology video project---included in the Whitney Biennial in 2017---in which she danced near the liquor stores in her Detroit neighborhood as a way to start conversations with her neighbors. In this book of the same name, Stovall uses the project as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. Her conversations with her neighbors—which touch on everything from economics, aesthetics, and sex to the political and economic racism that undergirds Detroit's history—bring to light rarely acknowledged experiences of longtime Detroiters. In these exchanges, Stovall enacts an innovative form of ethnographic engagement that offers new modes of integrating the social sciences with the arts in ways that exceed what either approach can achieve alone.
Rifqa is Mohammed El-Kurd’s debut collection of poetry, written in the tradition of Ghassan Kanafani’s Palestinian Resistance Literature. The book narrates the author’s own experience of dispossession in Sheikh Jarrah--an infamous neighborhood in Jerusalem, Palestine, whose population of refugees continues to live on the brink of homelessness at the hands of the Israeli government and US-based settler organizations. The book, named after the author’s late grandmother who was forced to flee from Haifa upon the genocidal establishment of Israel, makes the observation that home takeovers and demolitions across historical Palestine are not reminiscent of 1948 Nakba, but are in fact a continuation of it: a legalized, ideologically-driven practice of ethnic cleansing.