"What do Kaylene Whiskey and Pyaari Azaadi have in common? Both are women of color whose art can be visually breathtaking and conceptually powerful, with feminist underpinnings - andthe subjects of recent art catalogs that we can't put down. It's hard to resist the joyous charm of Whiskey's paintings, while the beauty and strength of Azaadi's activist art make her publication (featuring an essay by Hyperallergic Editor at Large Hrag Vartanian) a must-read."
"Also among the books we're reading right now is the Equal Justice Initiative's incisive study of Legacy Sites in Montgomery, Alabama, replete with compelling photographs that illustrate the struggle for racial justice in the United States. I highly recommend Otherhow by artist Joseph Grigley, who is deaf; the bookoffers an intimate, engaging, and essential record of personal advocacy and art-world ableism."
"William E. Wallace openly uses what he calls "informed imagination" to explore the relationship between the two masters in his new study. | Olivia McEwan Michelangelo & Titian: A Tale of Rivalry and Genius by William E. Wallace A new translation of the French artist's 1930 memoir is a kaleidoscopic collection of dialogues, sketches, and Blakean proverbs. | Joyelle McSweeney Cancelled Confessions (or Disavowals) by Claude Cahun A new anthology on plastics in art reveals the philosophical conundrums and contradictions at the"
Kaylene Whiskey and Pyaari Azaadi are women of color whose art combines visual impact, conceptual depth, and feminist themes, each presented in compelling recent catalogs. The Equal Justice Initiative's study of Legacy Sites in Montgomery, Alabama documents the struggle for racial justice through striking photographs. Otherhow by Joseph Grigley, a deaf artist, records personal advocacy and exposes art-world ableism. Additional recommended reads cover Edmonia Lewis's sculptural practice, the birth of modernism in Montmartre, Kaylene Whiskey's luminous paintings, Gainsborough's fashion portraits, a study of Michelangelo and Titian, and a translated 1930 memoir alongside an anthology on plastics in art.
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