“Visual culture is at the heart of the creation of meaning, and the creation of meaning is at the heart of the production of knowledge. The books we publish at With press To probe the ways in which visual culture is inscribed with power, and they examine flawless what is at stake in this power. They amplify sub-studied subjects; They make the domain progress through inclusive contributions to knowledge; And they reveal how what we see – And what remains hidden in sight – is linked to equity and justice. Our readers know that visual culture is never neutral. »»
—Victoria Hindley, Art, architecture and design, senior Acquisition publisher
Black elegies By Kimberly, Juanita Brown is a flawless study of black sorrow as a form of elegy. Brown asks: How do you cry those you are not supposed to see? And where is the sorrow? She shows us that sorrow is everywhere: “He pours photographs and modulates music. He hovers in the tenor and the tone of cinematographic performance. It resides in the body as an inspired concept, while waiting for its articulation.”
In Monumental graffitiThe curator and anthropologist Rafael Schacter focuses on the material, communicative and contextual aspects of graffiti and monuments to provide a timely perspective on public art, citizenship and the city today. Applying the monument as an objective to understand graffiti and graffiti as an objective to understand the monument, it challenges readers to consider what the appropriate monument could be for our contemporary world.
Ray Johnson (1927-1995), alias “New York's most famous unknown artist“Was known for the elaborate games he played with institutions of the art world, requesting their attention when he rejected their invitations. A book on RayEllen Levy proposed the first complete study of the artist who transformed career affairs into an ironic performance, tracing his artistic development from his arrival at the Black Mountain College in 1945 at his death in 1995.
For most of modern history, artistic creation was opposed to the goalkeeper. But in San Francisco in the 1950s and 1960s, a group of artists gathered around Ruth Asawa (1926-2013) began to reject this dominant story. In Ruth Asawa and the Mother Artist in the middle of the centuryJordan Troeller analyzes how their work as mothers fueled their work as an artists, redefining the main aesthetic concerns of their time, including autonomy, average specificity and originality.
To find out more about these new versions and other books from the Press, visit mitpress.mit.edu.
