• Twenty-First-Century Blue Boy / Melinda McCurdy
• Overrepresented : In Which L.A. Blue Boy Visits San Marino, a City Named After a Plantation named after Europe's Oldest Sovereign State, Situated on a Tongva Village / Malik Gaines
• "A Van Dyke Habit" : Dressing Blue Boy / Kimberly Chrisman-Campbell

"This book is published in conjunction with the exhibition Kehinde Wiley: a portrait of a young gentleman, organized by the Huntington Library, Art Museum, and Botanical Gardens. Malik Gaines investigates the artist's post-modern strategy of inserting Black subjects into canonical European settings. Kimberly Chrisman-Campbell situates Wiley's work within the traditions and trappings of grand manner eighteenth-century portraiture"-- Provided by publisher

• Foreword by Bryan Stevenson
• Preface
• Walking to my mother
• From cain't to cain't
• Hamilton Avenue
• The everyday lie
• Doll's head baseball
• In deep
• A man don't know what he can go through
• Reidsville State Prison
• Finding Patsy
• The chain gang
• Out of the ditch
• Becoming a leather man
• Bridgeport docks and projects
• A good, bad man
• Patsy's story
• I had to scuffle
• Life on leather
• A thinking man's thing
• Homecoming
• Searching for the riverbanks

"A self-taught artist's odyssey from Jim Crow era Georgia to the Yale Art Gallery--a stunningly vivid, full-color memoir in prose and painted leather, with a foreword by Equal Justice Initiative founder Bryan Stevenson. Winfred Rembert grew up as a field hand on a Georgia plantation. He embraced the Civil Rights Movement, endured political violence, survived a lynching, and spent seven years in prison on a chain gang. Years later, seeking a fresh start at the age of 52, he discovered his gift and vision as an artist, and using leather tooling skills he learned in prison, started etching and painting scenes from his youth. Rembert's work has been exhibited at museums and galleries across the country, profiled in the New York Times and more, and honored by Bryan Stevenson's Equal Justice Initiative. In Chasing Me to My Grave, he relates his life in prose and paintings--vivid, confrontational, revelatory, complex scenes from the cotton fields and chain gangs of the segregated south to the churches and night clubs of the urban north. This is also the story of finding epic love, and with it the courage to revisit a past that begs to remain buried, as told to Tufts philosopher Erin I. Kelly"-- Provided by publisher

• Auction Block of Negro Weather
• Hotbed #4
• Hotbed #22
• Abalone 1
• Hotbed # 2
• Hotbed #29
• Abalone 2
• Inquisitor and Insurgent: Black woman with pencil, sharpened
• Linea Nigra
• The Bare Arms of Black Women
• The Lyric Theatre: Lyceum of Dreams
• Hotbed #16
• Hotbed #60
• Hotbed #98
• The Thinking Men
• Hotbed #9
• Brother of the Back Way
• The Poet's House
• Hotbed #6
• Fifty Thousand Dogs Slaughtered in China
• Hotbed #11
• Maven
• Hotbed #7
• Black Woman Moose Lodge #719
• Hotbed #96
• Hotbed #24
• From the Washhouse Files
• Magnolia Garden Homes, High Noon, Unit #144, Parking Lot H
• At War with Ourselves: The Battle of and for the Black Face Boy
• Young Boy on His Knees
• Hotbed #20
• Hotbed #48
• O Noblesse O.
• Hotbed #88
• Hotbed #57
• Yellaw
• Hotbed #44
• Little Man Standing in Clover
• Hotbed #32
• Hotbed #89
• Hotbed #85
• Ode to the Girl on a Wheel
• Hotbed #36
• Hotbed #77
• Hotbed #66
• Miss Polly Is Akimbo underneath the Mother Emanuel Collection Table
• Hotbed #49
• A New Day Dawns
• The Good Fight, Again
• I Feel Good
• Hotbed #18
• Caul
• Hotbed #37
• Black Boy with Coke Exploding
• Topless in America
• Hotbed #62
• Florissant
• Hotbed #50-- Flare
• Black Boy with Cow: A Still Life
• Hotbed #69
• Hotbed #58
• Hotbed #15.inter

Love Child's Hotbed of Occasional Poetry is a twenty-first-century paean to the sterling love songs humming throughout four hundred years of black American life. National Book Award winner Nikky Finney's fifth collection contains lighthouse poems, narrative hotbeds, and treasured artifacts - copper coins struck from a new matrix for poetry, one that testifies from the witness stand and punctuates the occasional lyric within a new language of 'docu-poetry.' The ancestors arise and fly, and the black female body is the 'insurgent sensualist, ' hunted but fighting to live and love in the ways it wants and knows best: "I loved being / a black girl but had not yet learned / to play dead . . ." The tenderness of a father's handwritten notes shadows the collection like a ghost, while the treasured, not-for-sale interiority of a black girl's fountainhead takes over every page. "One yellaw gal with an all-black tongue has gone missing." Finney has composed a new black spiritual, and one of the great voices of our time again stamps her singular sound into the new day.
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• Going home
• Scar tissue
• Teaching the N word
• Interstates
• Mother on Earth
• Black is the body
• Skin
• White friend
• Her glory
• Motherland
• People like me
• Epilogue: my turn.

"A collection of essays on race"-- Provided by publisher.

• Foreword & acknowledgments by Lisa Melandri
• Notes on Amy Sherald by Erin Christovale
• Plates
• Checklist.

Longlisted for the 2018 National Book Award for Poetry "[Trethewey's poems] dig beneath the surface of history--personal or communal, from childhood or from a century ago--to explore the human struggles that we all face." --James H. Billington, 13th Librarian of Congress Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each section, each poem drawn from an "opus of classics both elegant and necessary, "* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson.
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• Foreword / Arnold L. Lehman
• Preface and acknowledgments ; Introduction / Eugenie Tsai
• Kehinde Wiley: the artist and interpretation / Connie H. Choi
• Plate and commentaries / texts by Lee Ambrozy, Elizabeth Armstrong, Richard Aste, Naomi Beckwith, Kirsten Pai Buick, Beth Citron, Sara Cochran, Jeffrey Deitch, Latasha N. Nevada Diggs, Kevin D. Dumouchelle, Quincy Flowers, David J. Getsy, Lewis R. Gordon, Rujeko Hockley, Christine Y. Kim, Venus Lau, Thomas J. Lax, Catharina Manchanda, Kobena Mercer, Valerie J. Mercer, Tumelo Mosaka, Steven Nelson, Molly Nesbit, Tavia Nyong'O, Annie Paul, Megha Ralapati, John B. Ravenal, Joanna Montoya Robotham, Franklin Sirmans, Claire Tancons, Touré, Murtaza Vali, Nicola Vassell, Rebecca Walker, and Deborah Willis.

Celebrated for his classically styled paintings that depict African American men in heroic poses, Kehinde Wiley is among the expanding ranks of prominent black artists - such as Mickalene Thomas, Yinka Shonibare, Kerry James Marshall and Sanford Biggers - who are reworking art history and questioning its depictions of people of colour. This volume surveys Wiley's career from 2001 to the present. It includes early portraits of the men Wiley observed on Harlem's streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings by Titian, van Dyke, Manet and others, in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies and baseball caps. Also included is a generous selection from Wiley's ongoing World Stage project; several of his enormous Down paintings; striking male portrait busts in bronze; and examples from the artist's new series of stained-glass windows. Accompanying the illustrations are essays that introduce readers to the arc of Wiley's career, its critical reception, and ongoing evolution. Published in association with the Brooklyn Museum, New York.
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A "memorial to those lost to AIDS and to two of the great unsung heroes of the early years of the epidemic. Callen, a white gay Midwesterner who moved to New York, became a leading figure in the movement to increase awareness of AIDS in the face of willful neglect; Hemphill, an African American gay man, contributed to the black gay and lesbian flowering in Washington, D.C., with poetry of searing intensity and introspection"-- Provided by publisher.

• Henry Ossawa Tanner: modern spirit / Anna O. Marley
• Henry Ossawa Tanner in the context of Black artists. Before Tanner / Olivier Meslay ; Tanner and transcendence / Richard J. Powell
• Henry Ossawa Tanner and the expatriate experience. The Resurrection of Lazarus : from the Quartier Latin to the Musée du Luxembourg / Marc Simpson ; Pioneer and sage : Henry Ossawa Tanner and the interwar African American community in Paris / Tyler Stovall ; Tanner, the pillar of Trépied / Jean-Claude Lesage ; Tanner and "Oriental" Africa / Adrienne L. Childs
• Henry Ossawa Tanner and religious painting. A New Testament : Henry Ossawa Tanner, religious discourse, and the "lessons" of art / Marcus Bruce ; "I invited the Christ spirit to manifest in me" : Tanner and symbolism / Robert Cozzolino ; "The dynamo and the virgin" : Henry Ossawa Tanner's religious nocturnes / Hélène Valance ; Christian cosmopolitanism : Henry Ossawa Tanner and the beginning of the end of race / Alan C. Braddock
• Henry Ossawa Tanner's style and techniques. Reproduction troubles : Tanner's "Mothers of the Bible" for the Ladies' Home Journal / Michael Leja ; Pursuit of the ideal effect : the materials and techniques of Henry Ossawa Tanner / Brian Baade, Amber Kerr-Allison, and Jennifer Giacci.

This beautiful book, companion publication to the exhibition of the same name, presents a complex overview of the life and career of the pioneering African American artist Henry O. Tanner (1859-1937). Recognized as the patriarch of African American artists, Tanner forged a path to international success, powerfully influencing younger black artists who came after him. Following a preface by David Driskell, the essays in this book - written by international scholars including Alan Braddock, Michael Leja, Jean-Claude Lesage, Richard Powell, Marc Simpson, Tyler Stovall, and Helene Valance - explore many facets of Tanner's life, including his upbringing in post-Civil War Philadelphia, his background as the son of a bishop in the African Methodist Episcopal church, and his role as the first major academically trained African American artist. Additional essays discuss Tanner's expatriate life in France, his depictions of the Holy Land and North Africa, and the scientific and technical innovations reflected in his oeuvre. Edited and introduced by Anna O. Marley, this volume expands our understanding of Tanner's place in art history, showing that his status as a painter was deeply influenced by his race but not decided by it. Contributors include: Brian Baade; Alan Braddock; Marcus Bruce; Adrienne L. Childs; Robert Cozzolino; David Driskell; Amber Kerr-Allison; Michael Leja; Jean-Claude Lesage; Anna O. Marley; Olivier Meslay; Richard Powell; Marc Simpson; Tyler Stovall; and, Helene Valance.
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• Martin Puryear: Ideas of otherness / John Elderfield
• Artisan / Michael Auping
• Jogs and switchbacks / Elizabeth Reede
• A conversation with Martin Puryear / Richard J. Powell
• Plates
• Catalogue of the exhibition
• Chronology / Jennifer Field
• Bibliography
• Exhibition history
• Trustees of the Museum of Modern Art.

In this work, some of the world's most respected art historians, conservators, curators and conservation scientists explore issues in the preservation and restoration of Italian paintings that date from the 13th to the 16th century. Together their essays illustrate ways in which these associated disciplines can enhance one another's understanding of works of art. The authors address not only the conservation of early Italian pictures but also overall philosophies and problems, past and present, of conservation. These topics include: prevailing attitudes toward conservation methodologies in the 20th century; the presentation of damaged and fragmented paintings; the implications of varnishes used in early Italian painting; the aesthetics and practice of retouching and restoration; and the identification of the artists' and conservators' materials. The book is the publication of the proceedings of a symposium that took place at the Yale University Art Gallery in April of 2002.
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