This essential handbook offers art professionals and collectors an accessible legal analysis of important principles in art law, as well as a practical guide to legal rights when creating, buying, selling and collecting art in a global market. Although the book is international in scope, there is a particular focus on the US as a major art centre and the site of countless key international court cases. This authoritative but accessible and wide-ranging volume is essential reading for arts advisors, collectors, dealers, auction houses, museums, investors, artists, attorneys and students of art and law.
Arts educators have adopted social justice themes as part of a larger vision of transforming society. Social justice arts education confronts oppression and inequality arising from factors related to race, ethnicity, nationality, religion, class, ability, gender, and sexuality. This edition of Common Threads investigates the intersection of social justice work with education in the visual arts, music, theatre, dance, and literature. Weaving together resources from a range of University of Illinois Press journals, the editors offer articles on the scholarly inquiry, theory, and practice of social justice arts education. Selections from the past three decades reflect the synergy of the diverse scholars, educators, and artists actively engaged in such projects. Together, the contributors bring awareness to the importance of critically reflective and inclusive pedagogy in arts educational contexts. They also provide pedagogical theory and practical tools for building a social justice orientation through the arts. Contributors: Joni Boyd Acuff, Seema Bahl, Elizabeth Delacruz, Elizabeth Garber, Elizabeth Gould, Kirstin Hotelling, Tuulikki Laes, Monica Prendergast, Elizabeth Saccá, Alexandra Schulteis, Amritjit Singh, and Stephanie Springgay
The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.”
This imaginative, practical, and engaging sourcebook offers inspiration and tools to craft critical, meaningful, transformative arts education curriculum and arts integration grounded within a clear social justice framework and linked to ideas about culture as commons.
Orchestrating text and color photography through the lens of vulnerability, Cara Judea Alhadeff explores embodied democracy as the intersection of technology, aesthetics, eroticism, and ethnicity. She demonstrates the potential for social resistance and a rhizomatic reconceptualization of community rooted in difference--and a socio-erotic ethic of ambiguity that disrupts codified normalcy. Within the context of global corporatocracy, international development, the pharma-addictive health industry, petroleum-parenting, and arts-as-entertainment, she scrutinizes the emancipatory possibilities of social ecology, post-humanism, and the pedagogy of trauma. Confronting hegemonies of convenience culture, she lays the groundwork for a reticulated citizenry that requires theory-becoming-practice. Alhadeff's primary text and footnotes become parallel narratives, reflecting their intermedial content. As she integrates the personal and theoretical with the visual and textual, she mobilizes a comprehensive exploration of our bodies as contingent modes of relation. She cites philosophers and artists from Spinoza to Audre Lorde, Louise Bourgeois, and douard Glissant, who have explored collaborative and uncanny conditions of becoming vulnerable. In the context of multiple constituencies, creativity becomes a political imperative in which cognitive and somatic risk-taking gives voice to social justice.
This book presents a unique and intriguing collection of drawings of courtroom scenes. Entering the courtroom wearing his robe, Judge Pierre Cavellat literally had a secret up his sleeve. Hidden in it were pens and pencils, which he used to sketch the scenes he observed from his bench. Throughout a 40-year judicial career in one of France's more important regional appellate courts, Cavellat produced hundreds of illuminating drawings and paintings depicting the court proceedings but also the main actors: the prosecutors, defence counsel, his fellow judges, the defendants, witnesses, policemen, the general public, as well as the courtroom itself and its architecture. The resulting vivid and uncensored impressions give an unprecedented insight into how a judge perceives his profession and the institution of justice as a whole. Given the scarcity of written autobiographies by judges, and their reluctance to lay bare their inner feelings and thinking, the images reveal, in a candid and immediate fashion, the deeply hidden emotions, ambiguities and fantasies of a judge going about his work. The author, a judge herself, interprets the images through the lens of her own judicial experience, exploring how judges think and act and how their thinking is constructed through their education, professional training, gender and class. In doing so she exposes how personal background, history and experience play an additional, sometimes conflicting, role in 'judgecraft'. While relevant to both practitioners and students of law this book should also appeal to the wider public.