“Visual culture is central to meaning making, and meaning making is central to the production of knowledge. The books we publish at the MIT Press probe the ways that visual culture is inscribed with power, and they unflinchingly examine what is at stake in that power. They amplify understudied subjects; they advance the field through inclusive contributions to knowledge; and they reveal how what we see — and what remains hidden from view — is related to equity and justice. Our readers know that visual culture is never neutral.”
—Victoria Hindley, Design and Visible Tradition, Acquisitions Editor
Black Elegies by Kimberly Juanita Brown is an unflinching research of black grief as a type of elegy. Brown asks: How do you mourn these you aren’t presupposed to see? And the place does the grief go? She exhibits us that grief is all over the place: “It spills out of photographs and modulates music. It hovers in the tenor and tone of cinematic performances. It resides in the body like an inspired concept, waiting for its articulation.”
In Monumental Graffiti, curator and anthropologist Rafael Schacter focuses on the fabric, communicative, and contextual elements of graffiti and monuments to supply a well timed perspective on public artwork, citizenship, and the town as we speak. Making use of monument as a lens to know graffiti, and graffiti as a lens to grasp monument, he challenges readers to think about what the suitable monument for our up to date world might be.
Ray Johnson (1927–1995), aka “New York’s most famous unknown artist,” was infamous for the flowery video games he performed with artwork world establishments, soliciting their consideration whilst he rejected their invites. In A E-book about Ray, Ellen Levy gives the primary complete research of the artist who turned the enterprise of career-making right into a tongue-in-cheek efficiency, tracing his creative improvement from his arrival at Black Mountain Faculty in 1945 to his loss of life in 1995.
For many of recent historical past, artmaking was pitted towards caretaking. However in San Francisco within the Nineteen Fifties and Sixties, a gaggle of artists gathered round Ruth Asawa (1926–2013) started to reject this dominant narrative. In Ruth Asawa and the Artist-Mom at Midcentury, Jordan Troeller analyzes how their labor as moms fueled their labor as artists, redefining key aesthetic considerations of their period, together with autonomy, medium specificity, and originality.
To study extra about these new releases and different books from the MIT Press, go to mitpress.mit.edu.