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• Introduction. Haptic interfaces and the quest to reinscribe tactility
• Interface 1. The electrotactile machine
• Interface 2. The haptic 99
• Interface 3. The tongue of the skin
• Interface 4. Human-machine tactile communication
• Interface 5. The cultural construction of technologized touch
• Coda. Haptics and the reordering of the mediated sensorium.

"David Parisi offers the first full history of new computing technologies known as haptic interfaces--which use electricity, vibration, and force feedback to stimulate the sense of touch--showing how the efforts of scientists and engineers over the past 300 years have gradually remade and redefined our sense of touch. Archaeologies of Touch offers a timely and provocative engagement with the long history of touch technology that helps us confront and question the power relations underpinning the project of giving touch its own set of technical media."-- from the publisher.

In this book, Sam Contis presents a new window onto the work of the American photographer Dorothea Lange. Drawing from Lange's extensive archive, Contis constructs a fragmented, unfamiliar world centred around the figure of the day sleeper - at once a symbol of respite and oblivion. The book shows us one artist through the eyes of another, with Contis responding to resonances between her and Lange's ways of seeing. It reveals a largely unknown side of Lange, and includes previously unseen photographs of her family, portraiture from her studio, and pictures made in the streets of San Francisco and the East Bay. Day Sleeper will be featured alongside other works of Contis's in the exhibition Dorothea Lange: Words & Pictures at the Museum of Modern Art, February-May 2020.

• Sotto voce / Robert Storr
• The visual frequencies of Denzil Hurley / Gervais Marsh
• The sea has no back door : an introduction to Denzil Hurley / Wallace Whitney.

"Denzil Hurley is a long-underrecognized Barbadian-American artist, whose artistic and intellectual underpinnings have been influential in the art world throughout his life. Published in tandem with an exhibition of his work at Canada, this book is the first major publication on Hurley. Born in Barbados in 1949, Hurley was an impactful educator, spending most of his teaching career at the University of Washington. With essays by Gervais Marsh, Robert Storr, and Wallace Whitney that consider the breadth of the artist's achievement, the catalogue focuses on Hurley's final paintings, a mixture of reductive post-conceptual painting and provisional construction methods of the African diaspora"--Publisher.

The prehistoric site of Ban Chiang in northeast Thailand challenges the narrative of Thai origins, while at the same time appealing to the public's vision of Thailand as an early centre of civilization. Ban Chiang demonstrates the complexity of constructing national heritage in modern Thailand, where the Thai national narrative begins and ends with Buddhism and the monarchy. Designs on Pots. Ban Chiang and the Politics of Heritage in Thailand contributes to the literature on cultural preservation, repatriation, fake antiquities as souvenirs, and the ethics of collecting and demonstrates how heritage tourism intersects with the antiquities market in Asia. Ban Chiang itself is important for rethinking the model of indigenous development in Southeast Asian prehistory and provides informed speculation about the borders between prehistory, proto-history, and history in the region, challenging current and past models of Indianization that shape the Thai state's heritage narrative.

"Humane Ecology: Eight Positions features artists who explore the inseparability of the natural and social. Each represents a distinct approach and place, or position, but all think in ecological terms--that is, about the complex relationships between living things and their environments. In doing so, they challenge ideas of "nature" as something separate from humans. They also center humans who have often been marginal in discussions of the environment. Through sculpture, video, sound installation, and plantings, these artists illuminate patterns of cultivation and care, migration and adaptation, extraction and exploitation that span historical, geographical, and species lines. This exhibition appears in both the Clark's Conforti Pavilion and the Lunder Center at Stone Hill, indoors and out."--Publisher's website.

In Jin-me Yoon: Life & Work, Ming Tiampo reveals how Jin-me Yoon's multidisciplinary art-which includes photography, video, and performances-investigates how we engage with our surroundings and offers hope for a better tomorrow. It considers how one of Canada's most important voices on the nature of identity developed a critical perspective on the representation of this country in museums, art history, the tourist industry, and monuments with groundbreaking works that, as Tiampo notes, have become "canonical touchstones in the public articulation of Canadian identity and race."

• Foreword / Thomas P. Campbell
• Silent No More: Kehinde Wiley's work calls us to action / Darren Walker
• Imagining a New Future / Justin Steele
• Donors to the exhibition
• Essays
• Kehinde Wiley: an archaeology of silence / Claudia Schmuckli
• The Long Arc of Silence / Valerie Cassel Oliver
• Kehinde Wiley Creates Space for Healing / Emil Wilbekin
• Kehinde Wiley: in his own words
• Catalogue
• An Archaeology of Silence
• Appendices
• Reconceptualizing Tradition: Wiley's art historical references / Janna Keegan
• A biogrpahical timeline of the artist
• Checklist of the exhibition
• Acnowledgments
• Contributors
• Picture credits.

"An Archaeology of Silence presents a collection of monumental paintings and sculptures, expanding on Kehinde Wiley's body of work DOWN from 2008. Initially inspired by Holbein's painting The Dead Christ in the Tomb (1520-22) as well as historical paintings and sculptures of fallen warriors and figures in the state of repose, Wiley created an unsettling series of prone Black bodies, re-conceptualizing classical pictorial forms to create a contemporary version of monumental portraiture, resounding with violence, pain, and death, as well as ecstasy. For this new body of work, Wiley has expanded these core thematic elements to meditate on the deaths of young Black men slain all over the world. Technology allows viewers to witness these graphic depictions of violence against the Black body that were once silenced. Wiley states, "That is the archaeology I am unearthing: The spectre of police violence and state control over the bodies of young Black and Brown people all over the world." In light of the current global conflicts, language concerning power struggles and inalienable human rights are more critical than ever. The new portraits depict young Black men and women in positions of vulnerability that tell a story of survival and resilience, revealing the beauty that can emerge from the horrific. These poses, borrowed from Western European art historical sources, function as beautiful elegies echoing a central metaphor of youth and resilience and stand as monuments to endurance and perseverance in the face of savagery, incorporating a scale that pushes beyond the mere corporeal and into the realm of spiritual icons, of martyrs and saints." -- provided by the artist: https://kehindewiley.com/exhibitions/2022-2/
"American artist Kehinde Wiley's new body of paintings and sculptures confronts the silence surrounding systemic violence against Black people through the visual language of the fallen figure. It expands on his 2008 series, Down -- a group of large-scale portraits of young Black men inspired by Hans Holbein the Younger's The Dead Christ in the Tomb (1521-1522). Wiley investigates the iconography of death and sacrifice in Western art, tracing it across religious, mythological, and historical subjects. In An Archaeology of Silence, the senseless deaths of men and women around the world are transformed into a powerful elegy of resistance. The resulting paintings of figures struck down, wounded, or dead, referencing iconic paintings of mythical heroes, martyrs, and saints, offer a haunting meditation on the legacies of colonialism and systemic racism." -- provided by publisher: https://www.famsf.org/exhibitions/kehinde-wiley-an-archaeology-of-silence

• Director's foreword / T. Barton Thurber
• Acknowledgments / Elizabeth Nogrady and Alyx Raz
• Making and meaning at the Frances Lehman Loeb Art Center / Elizabeth Nogrady
• Collecting art at Vassar: a timeline / Elizabeth Nogrady with Anna Molloy and Emily Lesorogol
• At the Loeb : Catalogue entry contributors. Vassar's founding collection: landscape painting of the Hudson Valley / William L. Coleman
• Catalogue entries, 1300s BCE-1500s CE
• European prints from the Felix M. Warburg Collection / Elizabeth Nogrady
• Catalogue entries, 1600s-1830s
• Japanese prints / John P. Murphy
• Catalogue entries, 1840s-1880s
• Nineteenth-century photography / Jessica D. Brier
• Catalogue entries, 1880s-1890s
• French modern art / Cora Michael
• Catalogue entries, 1920s
• Early American Modernism: the Stieglitz Circle / John P. Murphy
• Catalogue entries, 1930s-1950s
• Building a modern art collection / Mary-Kay Lombino
• Catalogue entries, 1950s-1970s
• Collecting folk and self-taught art / Mary-Kay Lombino
• Catalogue entries, 1970s-1990s
• Works on paper by Inuit artists / Molly S. McGlennen
• Catalogue entries, 1990s-2000s
• Contemporary photography / Jessica D. Brier
• Catalogue entries, 2010s-present
• Modern and contemporary art in the Hudson Valley / John P. Murphy
• Catalogue entry notes
• Photo credits.

"On the occasion of the groundbreaking for the Frances Lehman Loeb Art Center of Vassar College, a student publication posed the question, 'What will the Loeb Art Center mean for Vassar?' This richly illustrated book considers responses to this question more than three decades later, on the thirtieth anniversary of the Loeb's opening in 1993. Through an introductory essay on the history and role of the art museum at Vassar, a related timeline, catalogue entries of individual works of art, and essays focused on thematic groups of objects, this publication explores the Loeb and its predecessor, the Vassar College Art Gallery. The beginnings of the collection date to Vassar's founding in 1861, making it the first American college or university to include a museum in its original mandate. The depth and dynamism of this art collection, which spans from antiquity to the present day, is evident in the variety of subjects covered by the book's texts, whose authors include Vassar curators, faculty members, community partners, and art historians who studied at the college. Applying their varied expertise and perspectives to signature works from the Loeb, they critically examine the collection and its formation over time, as well as its relationship to teaching and learning on campus and beyond." -- Provided by publisher

• Toward synchronicity: Meiji art in transition / Chelsea Foxwell
• On industry and industriousness: the fine art of Meiji-period technique / Bradley M. Bailey
• Catalogue of the exhibition. Crafting a modern state ; Navigating changing seas ; Fashioning the self ; Making history, enshrining myth ; Cultivating a modern aesthetic.

"This exhibition catalog takes a fresh look at the art of Japan's Meiji era (1868-1912), through a vivid selection of approximately 175 objects drawn from early public and private collections across the United States, including newly discovered prints, photographs, textiles, paintings and craft objects. Featuring motifs such as the sea and nature, Buddhist deities, contemporary life and mythical animals, Meiji Modern highlights these themes and their transformation with the introduction of newly imported techniques and materials at the intersection of art, industry and society. The Meiji era was a complex period of unprecedented cultural and technological transition that played out in the context of intense global competition. The objects assembled in this stunning catalog also document the history of American collections of nineteenth-century Japanese art. Highlighting the active role of art in the construction of the Japanese nation-state, the works in a variety of mediums capture the hopes and aspirations of Japanese modernization along with its challenges. Building upon this perspective, essays emphasize modern Japanese artists' engagement with both European and Asian trends. With its focus on Japan's often overlooked non-Western modernity, this publication also addresses the role of art in both constructing and reflecting identity"--Publisher's description.

• Introduction : art and development : a new framework for postwar art
• The semiperipheral art gallery : Gallery Maya, Istanbul
• Democratic abstractions : Bülent Ecevit on art and politics
• "The first coup in the Turkish art world" : the Developing Turkey competition of 1954
• The artist as agent of development : Füreya Koral between Turkey and the United States, 1955-1958
• Conclusion : building Istanbul modern : art and development in a twenty-first-century museum.

"This vivid portrait of the art world in Turkey explores how a cohort of influential Turkish modernists built a new art world in Istanbul and Ankara after World War II. The entrepreneur and female gallerist Adalet Cimcoz, the art critic (and future prime minister) Bülent Ecevit, and artists like Aliye Berger, Füreya Koral, and Bedri Rahmi Eyüboğlu were focused on issues beyond aesthetics. On the canvas, in criticism, and in the gallery, these cultural pioneers also grappled with economic questions, attempting to transform their country from a 'developing nation' into a major player in the global markets of the postwar period. Elucidating for the first time landmark works of Turkish modernism, along with an innovative array of sources--from gossip columns to economic theory--Sarah-Neel Smith reveals the art world as a key site for the articulation of Turkish nationhood in the mid-twentieth century. This groundbreaking study offers economic development as a new framework for analyzing global modernisms of the twentieth century"-- Provided by publisher.

"An artist's notebooks are arguably the most authentic means of understanding her process, techniques, and impulses. And, for a performance artist, a rare, permanent record of how she develops her craft. Compiled over the course of four decades on stationery from various hotels, and other temporary residences, this collection of Marina Abramović's original drawings, collages, poetry, writings, cut-outs, photographs and doodles offers glimpses of a brilliant mind in constant motion."-- Provided by publisher.

• In clausura
• The language of the cells
• Objects in miniature
• Memoir : traces of a nun's life.

In the eighteenth through the early twentieth century, French nuns from various orders created miniature simulacra of the cells in which they slept, studied, and performed their devotions. Each diorama contains an effigy of the nun, a prie-Dieu, devotional objects such as a crucifix, handiwork, and artifacts to foster study and contemplation. This book examines the lives of the brides of Christ as depicted in these dioramas, proposing that the material objects found in the chambers trace the contours of the collective and individual identities of the nuns who created these cells. Viewed as a type of memoir, the cells furnish the sisters a stage upon which to rehearse the meaning of their lives. The dioramas create a tension between the private and public presentations of the self, between verisimilitude and self-fashioning, and between reality and representation. The book contextualizes the miniature cells within the larger discourse of gender, identity, self-representation, monastic devotion, and the power wielded by the aesthetics of scale.

"Painting in Fifteenth-Century Italy: This Splendid and Noble Art is a transformational study that introduces groundbreaking approaches and discoveries. Challenging the traditional focus on Venice, Florence, and Rome, the lively narrative traverses the peninsula from north to south and culminates in the global ports of Naples and Sicily. It reappraises the careers and collaborations of painters, some little-known today. With greater frequency than previously imagined, these masters traveled widely to seek professional opportunities and expand their artistic horizons. Through such journeys, they engaged with local visual culture as well as the art of antiquity, Byzantium, Spain, and northern Europe. New findings by conservators elucidate the varied techniques, precious materials, and brilliant colors of the works. With nearly 200 colour illustrations, some specially commissioned, Painting in Fifteenth-Century Italy reveals the richness, invention, and dynamic crosscurrents of the century's art."--Dust jacket.