Simone Wicha

How the influential American art historian used his print collection to theorize body language and the concept of the copy Beginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920–2011) amassed a collection of more than 3,500 prints spanning the medium’s 500-year history in the West. Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that before photography, prints functioned as the "circulating lifeblood of ideas," disseminating figures and styles across boundaries. Through close observation of his prints, Steinberg developed some of his most innovative arguments about the instructive richness of the copy and the expressive potential of body language. This lavishly illustrated volume examines the development of Steinberg’s remarkable collection and its role in his scholarship. It also serves as an introduction to the history of Western printmaking that these works broadly encompass.

Interlacing West African weaving, European tapestry and Southern quilting, Brackens creates figurative narratives and cosmographic abstractions that merge commemoration, allegory and lived experience Diedrick Brackens (born 1989) constructs intricately woven textiles that speak to the complexities of Black and queer identity in the United States. He foregrounds the loaded associations of cotton, which is enmeshed in the history of the transatlantic slave trade, and inscribes his weavings with symbolic materials and figures that probe the tangled threads of American history. For darling divined, Brackens presents a selection of new and recent weavings. Their titles draw from poetry and literature by writers such as Essex Hemphill, a poet and activist known for openly addressing race, sexuality, the rise of HIV/AIDS and other issues affecting the queer African American community. This work was inspired by Hemphill’s poems, particularly “The Father, Son and Unholy Ghosts,” which speaks to the intricacies of familial relationships and the radical gesture of birthing one’s own identity. Brackens’ large-scale tapestries portray moments of intimacy between coupled beings, whether they be animals, lovers, relatives or friends.