This volume brings together a significant selection of works from the titular series by the New York–based sculptor Melvin Edwards (born 1937), created between 1963 and 2016, comprising more than 50 years of what is considered the artist's central body of work.

Edwards started to produce the Fragments series when he lived in Los Angeles, at a crucial time of the civil rights movement in the United States. The works directly reference the practice of lynching after the abolition of slavery. Denouncing violence against African Americans, Edwards created these steel sculptures as forms between bodies and machines that can also be . . . .go to book page >>

Largely self-taught and coming from a working-class background, Djanira da Motta e Silva (1914–79) emerged on the Brazilian art scene in the 1940s, working in paint, woodcut and engraving to depict everyday life in Brazil, often with religious overtones. Although she developed a prolific career during her lifetime, in recent decades her work has been left aside of the official narratives of Brazilian art history.

This book examines Djanira's fundamental role in the formation of Brazilian visual culture and seeks to reposition her as a key figure in 20th-century art history. Its title speaks to the extraordinary visual and symbolic repertoire . . . .go to book page >>

Featuring a tip-on cover images and paper changes throughout, Cannibalizing Modernism is the first comprehensive English-language catalog on the Brazilian painter Tarsila do Amaral (1886–1973), a key figure in Latin American modernism.

After studying with Fernand Léger and André Lhote in Paris, Tarsila—as she is widely known in Brazil—cannibalized modern European references to create a unique style, with the use of caipira (rural Brazilian) colors and representations of local characters and scenes. Much of her work was made in dialogue with two leading modernist thinkers of her time, Mário de Andrade and Oswald de Andrade. Her work also parallels the development . . . .go to book page >>