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A manifesto for museological change that examines the outcome when acquisitions policies, permanent collections and exhibitions become increasingly important battlegrounds for social justice.

Museums are facing a reckoning. Thrust to the forefront of difficult conversations around toxic philanthropy, increased corporatization, decolonization, repatriation and legacies of theft and looting, many of our cultural institutions are undergoing a period of radical transformation, seemingly redefining their very function and mission to address new public concerns. But who owns the past? How bloody is too bloody? And whose museum is this, truly?

Museums and Social Justice addresses these questions and more, shedding light on pressing issues such as why an oil giant attempted to sponsor an arctic exhibition at the British Museum; why Berlin’s Humbolt Forum is exhibiting British-looted objects from Benin; and why the Baltimore Museum of Art has made a public commitment to acquire more works by women artists. Using such events as case studies, Dr. Maura Reilly engages with pioneering arguments in and around matters of diversity, access to heritage, decolonization, patrimony and racial equality, and outlines specific action plans to confront these challenges, avoid reputational controversy and maintain confidence in our public institutions.

Published to accompany a major exhibition at M+, Hong Kong, this catalogue places more than sixty Picasso masterpieces alongside works by Asian and Asian-diasporic artists selected from the M+ collections.

Why is Pablo Picasso so famous the world over? How does Picasso, the quintessential modern artist of the 20th century but also undeniably a European, relate to the work of contemporary artists in other parts of the world, such as Asia? And what do Picasso and his legacy mean in an age and a place that are far from his own? These are some of the fundamental questions explored by this book, which accompanies a major exhibition at M+, Hong Kong, and the Musée National Picasso-Paris.

At its heart are two intertwined narratives. First, Picasso’s life and artistic practice are interpreted through the four archetypes of the creative genius, the outsider looking in, the consummate magician and the endlessly inquisitive student of art history. Secondly, the fresh interpretation of Picasso’s oeuvre is placed ‘in conversation’ with the works of Asian artists, thereby revealing what Picasso’s art can tell us about artistic practice today, and vice versa. A visual timeline shows how Asian art and artists migrated to Europe during Picasso’s lifetime and became an unavoidable part of his cultural context and milieu while also describing Picasso’s reception in Asia from the 1910s up to the end of the 20th century.

A bold exploration of complex relationships between origin and reception, invention and adaptation, and West and East, this book enriches the discourse on transnational contemporary Asian art and visual culture, while contributing to the growing critical literature on global art history.

A vibrant contemporary art anthology that explores the complex ties between race, climate crisis and colonialism by 100 leading artists of African diasporic, Latin American and Native American identity.

Black Earth Rising presents works by artists of African diasporic, Latin American and Native American identity that address vital questions of land, presence, climate crisis, and social and environmental justice against the historical backdrop of European settlement of the New World. Supported by an exhibition at the Baltimore Museum of Art curated by the author, this timely publication invites us to trace and make the connections between race, the climate crisis and colonialism.

Works by 100 contemporary artists are presented in three thematic sections: Reckoning, Reimagining and Reclaiming. Complex and intertwined concepts are explored: forced migration and slavery, the environmental consequences of colonialism, the occupation of Native lands, the urban plight of Black and Brown communities, and how cultural practices and knowledge systems of indigenous peoples can change our perspectives of the natural world.

Compelling and thought-provoking, Black Earth Rising presents a discourse around climate change that situates the voices of people of colour at the active centre rather than on the passive periphery and expands our understanding of aesthetic perspectives on climate change through artworks that reach to the poetic and lyrical rather than the didactic.

Learn more about the exhibition at artbma.org

Placing the artist in the context of his time, Melissa McQuillan looks at the influences on his life and work and discusses his paintings in depth. Van Gogh’s letters to his brother Theo and other artists, particularly Gauguin, are also examined.

The author argues that Van Gogh’s works were products of his deliberate engagement with contemporary artistic questions and of his experience as an art dealer. His subsequent reputation, the mythology that grew up after his death, the debates between naturalism and modernity and the social implications of Van Gogh’s imagery – all are studied in full in this lucid account of an artist who sold only one painting during his lifetime but whose works now command the highest prices in the world.

Over the course of history there sometimes emerge works of art of such quality that they transcend boundaries of period and place. In this exploration of the idea of the masterpiece, distinguished artists, critics and art historians write about their personal encounters with the greatest artworks of all time, representing cultures from all over the world, and stretching from prehistory and the birth of art to Cézanne at the cusp of Cubism.

What Makes a Masterpiece? begins with the forms of animals inscribed on the walls of Chauvet Cave in France, and travels through the worlds of the ancient Egyptians, Assyrians, Greeks and Romans, embodied by images of royal or martial potency and mysterious religious rites. Medieval representations of Christ are celebrated alongside images of Vishnu, the Buddha and his priests, and the royal figures of South American and African civilizations. The jewels of the Quattrocento are on show beside the lesser-known triumphs of Aztec and Japanese court artists, while the masters of the European Renaissance and Baroque mingle with Mughal, Arab and Chinese virtuosos. The journey ends with the 19th century, depicted as an age of revolution, introspection and modernization.

This collection of famous works is more than the sum of its parts: it presents a remarkable cultural chronicle, showing how artists throughout history have seen their world and chosen to represent it. Here are seventy answers to the question, ‘What makes a masterpiece?’

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the ‘author’ of such a work? And just what is the difference between a work of art and a work of craft?

The Art of Not Making tackles these questions head on, exploring the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in the creation of some of today’s most innovative and sought-after works of art.

Michael Petry presents the art of over 115 contemporary artists – including Takashi Murakami, Matthew Barney, Tony Cragg, Cornelia Parker, Grayson Perry, Ai Weiwei, Daniel Buren and Carsten Höller – all of whom have one thing in common: they do not always make their own work. Instead, they often either employ others to produce it on their behalf, or appropriate objects made by someone else. Original interviews with the artists and artisans offer insights into this creative collaboration, which often produces works breathtaking in their scope and ambition.

This is a fresh, controversial and enlightening approach to many of the most influential artworks of our time.

This groundbreaking book offers a radical new reading of art since the Middle Ages and sheds fresh light on the deep connections between modern and pre-modern art. Moving across the familiar lines set out in conventional histories, Alexander Nagel offers a radical new reading of art since the Middle Ages. Rich collisions and fresh perspectives reveal ideas and practices across centuries of artistic practice, and provide a new set of reference points that reframe the history of art itself.

The author reconsiders key issues in the history of art, from iconoclasm and idolatry to installation and the museum as institution. He shows how the central tenets of modernism – serial production, site-specificity, collage, the readymade and the questioning of the nature of art and authorship – were all features of earlier times, now revived by recent generations.

The book examines, among a host of other topics, the importance of medieval cathedrals to the 1920s Bauhaus movement; the parallels between Renaissance altarpieces and modern preoccupations with surface and structure; the relevance of Byzantine models to Minimalist artists; the affinities between ancient holy sites and earthworks; the sacred relic and the modern readymade.

Alongside the work of leading twentieth-century medievalist writers such as Walter Benjamin, Marshall McLuhan, Leo Steinberg and Umberto Eco, Nagel considers a wide range of celebrated artists, from Giotto, Leonardo, Michelangelo and Caravaggio to Marcel Duchamp, Kurt Schwitters, Robert Smithson and Damien Hirst.

Body art is the most intimate art form, linking the self, the senses, and the social and political. Today, in almost any major city worldwide, you will encounter tattoos, piercings, henna painting and elaborate hairstyles. In recent years, body art has proliferated in an unprecedented way, borrowing motifs and practices from many different traditions. What is it that new and borrowed body arts do, and what do they tell us about the global culture that we now inhabit?

Anthropologist and art historian Nicholas Thomas explores these questions and many more in this wide-ranging survey of body arts from prehistoric origins to the present.

He illuminates their role in expressing personal and cultural identity; their longstanding associations with ritual, theatricality, criminality and beauty; and their recent resurgence via the Modern Primitive movement and the work of contemporary artists such as Marc Quinn and Rebecca Belmore.

More than 180 illustrations chronicle the extraordinary diversity of body arts, from Australian and African traditions of painting and scarification to Chinese footbinding, Russian prison tattoos, Harlem drag balls and the inked designs worn by celebrities such as Tupac Shakur and David Beckham. For anyone with a personal or professional interest in the subject, Body Art offers a timely and intelligent celebration of this quintessentially human art form.