New Books in Art

Most people hate and fear uncertainty. It causes such stress and anxiety that we often choose certain surrender over doubt, becoming passive, dependent, addicted―and more anxious than ever. Doubling down on the certainties promised by technology and micro-management only makes things worse, leaving no opportunity for innovation, adaptation or invention. Artists live with uncertainty constantly―but instead of waiting for the future, they run towards making it, with agency and freedom. What can we learn from them, about facing into a future that grows more uncertain daily?

At a time when organizations of all kinds crave innovation but complain their people lack creativity and initiative, the arts have never been so essential to our future. We may not all be artists, but we can learn to think like them. In Embracing Uncertainty: How Writers, Musicians and Artists Thrive In An Unpredictable World (Policy Press, 2025) Margaret Heffernan makes a compelling argument for the vital integration of art into all aspects of our lives and for artists to guide us with their stamina, freedom and endurance.
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Karen L. Bowen and Dirk Imhof join Jana Byars to talk about their new book, The Burgeoning European Print Trade: The Distribution of Prints Via the Plantin-Moretus Press of Antwerp (Harvey Miller, 2025). The European print trade is an evocative topic. Not only art historians, but social, cultural, and economic historians all agree that it was of vital importance in the Early Modern Period, as the conveyer of established icons, as well as the most recent imagery and news. Yet, thus far it is often discussed solely on the basis of tantalizing, isolated case studies. Bowen and Imhof's ground-breaking publication will address this significant lacuna by demonstrating in unprecedented detail how booksellers were routinely engaged in the extensive international distribution and sale of hundreds of thousands of prints annually between the mid-sixteenth and mid-seventeenth centuries. Based upon the exceptionally well-preserved archives of the renowned Plantin-Moretus Press of Antwerp, this book presents the often-overlooked interwoven worlds of booksellers and print sellers, while documenting Antwerp's continued fame for the production and distribution of prints. Together with a remarkable array of clients, ranging from the cultivated and influential elite to ordinary laymen, these figures provide palpable examples of suppliers, buyers, and middlemen that reveal how they interacted with one another. Simultaneously, this work illuminates numerous critical related topics, ranging from how prints were priced and the relative quantities in which they were sold, to the importance of national and professional networks in these transactions. The result is an essential, novel study that clarifies how the print trade worked in practice during a burgeoning period in its evolution.
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In Transatlantic Disbelonging: Unruliness, Pleasure and Play in Nigerian Diasporic Women's Art (Duke University Press, 2025), Bimbola Akinbola redirects the focus in diaspora studies from questions of loss and longing to acts of unapologetic self-definition through the study of Nigerian diasporic women artists navigating disparate geographies, allegiances, and identities. Drawing on the work of contemporary visual and performance artists, experimental filmmakers, and writers—including Wura-Natasha Ogunji, Njideka Akunyili Crosby, Zina Saro-Wiwa, ruby onyinyechi amanze, and Nnedi Okorafor—Akinbola articulates how these artists use their experiences as cultural outsiders to redefine home and national belonging on their own terms. Taking a capacious interdisciplinary approach, she explores how these women employ anti-respectability, taboo, the erotic, and play to challenge oppressive colonial legacies and expectations pertaining to gender and morality. For the artists in this book, their artmaking is a form of homemaking that embraces ambivalence and reinvents alienation as possibility. Theorizing these practices as acts of “disbelonging,” Akinbola radically reimagines diasporic identity formation, illustrating how artists use creative practices to enact and embody belonging and community in expansive ways.

Bimbola Akinbola is Assistant Professor of Performance Studies at Northwestern University.

Dr. Abigail E. Celis is an assistant professor of art history and museum studies at the Université de Montréal.
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The first in-depth exploration of the work of artist Cory Arcangel, a pioneer of DIY-new media art whose influential “hacks” subvert the confines of Big Tech.

Cory Arcangel (b. 1978)—perhaps best known for Super Mario Clouds, the most referenced artistic game hack in art history—became one of the first artists from a new generation of punk DIY–new media geeks to capture the attention of the art world.Combining the hands-on skills from the 1990s net art scene and the 2010s post-internet art’s fondness for memes and the generic image, Arcangel demonstrated the way cultural expressions are intimately connected to media technologies and how these technologies can be pranked for cultural critique. In The Cory Arcangel Hack: Digital Culture and Aesthetic Practice (MIT Press, 2025), Eivind Røssaak shows how Arcangel’s body of work defines a particular strain of postconceptual art that is fundamental for understanding the digital world we live in.Today, the question is not what comes first, humans or machines, but what the forces regulating expressive flows are. Arcangel’s aesthetic and micropolitical critique of mediation at the level of codes and chips enables us to think critically with computational articulations through specific aesthetic clashes and disjunctions, identified in the book as critical “flow-cut arrangements.” This book explores three dominant arrangements in Arcangel’s work—the flow-break hack, the flow-remix hack, and the flow-parody hack—that pinpoint areas of both creativity and concern before and after platform capitalism.Matthis Frickhoeffer is a scholar of critical theory and French thought with a background in literature studies, linguistics and art theory. His work focuses on questions of form, semiotics, and intertextuality. He teaches at the University of Texas at Dallas.
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Museums often served nationalist and imperialist interests in the past, but the primary force in the 21st century is the market. Museum franchising—exemplified by the Louvre Abu Dhabi—is one of the most visible cases of the increasing entanglement of art and museums with capital interests. Such projects are often touted as global enterprises diversifying the art world. Frequently, critics of these controversial projects question these claims and market influence.

The intersection of these two forces—increasing capitalization and moving toward inclusivity—creates a fundamental tension, and that is the subject of Beth Derderian's Art Capital: Museum Politics and the Making of the Louvre Abu Dhabi (Stanford UP, 2026). Focusing on the decade between the Louvre Abu Dhabi's announcement and its eventual opening, the book analyzes how major shifts away from the 19th- and 20th-century paradigm of culture-state representation play out in museums' and artists' everyday practices. Derderian traces the emergence of a new logic, wherein the ways that artists represent the state shift, as does the notion of what constitutes 'good art.' In addition, these intersecting forces spur preemptive erasures that neutralize and depoliticize difference for museum publics.

Drawing on ethnographic research with artists, curators, museum staff, gallerists, art teachers, and other arts professionals, this book analyzes the UAE art world as a microcosm of these massive, epistemic changes.

Beth Derderian is Assistant Professor of Modern Middle East Studies and Anthropology at the Crown Center for Middle East Studies at Brandeis University.
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