This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.

Seneca Village—a vibrant nineteenth-century community of predominantly Black landowners and tenants—flourished just west of The Met's current location until the city used eminent domain to seize the land in 1857, displacing its residents to make room for the construction of Central Park. The Met's latest Bulletin, Before Yesterday We Could Fly: An Afrofuturist Period Room, imagines a different history in the form of a new type of installation that departs from traditionally Eurocentric period displays to present a fictional but resonant domestic space. Texts by Ian Alteveer, Hannah Beachler, Michelle Commander, and Sarah Lawrence honor the real, lived history of the Seneca Village residents, while also exploring works by Black creators from the eighteenth century to the present day through the empowering lens of Afrofuturism. Including images of new works by Njideka Akunyili Crosby, Roberto Lugo, and Cyrus Kabiru, as well as an original graphic novella by New York Times bestselling author and illustrator John Jennings, this publication foregrounds generations of Black creativity and looks forward to a resilient future.

This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.

A mandala is a diagram of the universe—a map of true reality intended to provide a focus for Buddhist religious practice and inspire the devout. This book highlights the distinctive Tibetan approach to creating mandalas, exploring how it crossed over from India into Tibet, and how continuous exchanges of art and ideas between the two cultures, led by monks and spiritual teachers, gave rise to a uniquely Tibetan style of Buddhist imagery. Featuring more than one hundred paintings, sculptures, and ritual objects, this superbly illustrated volume reflects the dazzling complexities of the Tibetan imagery that has provided a foundation for mandalas through the centuries. Most notably, a mesmerizing installation by the Tibetan American artist Tenzing Rigdol (b. 1982), specially created for the accompanying exhibition and published here for the first time, offers contemporary audiences a way of interrogating and understanding their world and underscores how this ancient tradition remains a vibrant living practice.

Is corporate investing in the arts and culture within communities good business? Written by an expert on the topic who ran the Corporate Art Program at Johnson & Johnson, the book sets out the case for business patronage of the arts and culture and demonstrates how to build an effective program for businesses to follow. As companies seek new ways to add value to society, this book places business support of the arts in a corporate social responsibility context and offers a new concept: Corporate Cultural Responsibility. It discusses the issues underlying business support of the arts and explores new avenues of collaboration and value creation. The framework presented in the book serves as a guide for identifying the key attributes and projected impact of successful and sustainable models. Unlike other books centered on the relationship of art and commerce, this book looks at the broader and global implications of Corporate Cultural Responsibility. It also usefully sets the discussion about the role of philanthropy and corporate social responsibility and the arts within an historical timeframe. As the first book to link culture to community responsibility, the book will be of particular relevance to corporate art advisors and auction houses, as well as students of arts management and corporate social responsibility at advanced undergraduate and postgraduate levels.

Rachel Bryant Davies and Erin Johnson-Williams lead a cast of renowned scholars to initiate an interdisciplinary conversation about the mechanisms of power that have shaped the nineteenth-century archive, to ask: What is a nineteenth-century archive, broadly defined? This landmark collection of essays will broach critical and topical questions about how the complex discourses of power involved in constructions of the nineteenth-century archive have impacted, and continue to impact, constructions of knowledge across disciplinary boundaries, and beyond academic confines. The essays, written from a range of disciplinary perspectives, grapple with urgent problems of how to deal with potentially sensitive nineteenth-century archival items, both within academic scholarship and in present-day public-facing institutions, which often reflect erotic, colonial and imperial, racist, sexist, violent, or elitist ideologies. Each contribution grapples with these questions from a range of perspectives: Musicology, Classics, English, History, Visual Culture, and Museums and Archives. The result is far-reaching historical excavation of archival experiences.

This second part of the 2 volume collection comprises a collection of essays in English by leading scholars on 19th century institutions and individuals presenting the latest developments in international scholarship on the numismatic world in the long 19th century. In the 19th century, developments in the study and collection of coins set the cornerstone for modern numismatics. This volume comprises a collection of essays in English by international leading scholars that highlight significant figures of 19th century research and the state of the numismatic trade in their time. Centering around collectors and scholars of ancient, medieval, modern, as well as on non-Western coinage and medals against the backdrop of the political, cultural, economic, and social changes of the era, this book presents the latest scholarship on numismatics’ contribution to the cultural history of the 19th century. This volume is essential for students and scholars alike interested in 19th century history and the history of coins.

As in all fields and disciplines of the humanities, Jewish Studies scholars find themselves confronted with the rapidly increasing availability of digital resources (data), new technologies to interrogate and analyze them (tools), and the question of how to critically engage with these developments. This volume discusses how the digital turn has affected the field of Jewish Studies. It explores the current state of the art and probes how digital developments can be harnessed to address the specific questions, challenges and problems that Jewish Studies scholars confront. In a field characterised by dispersed sources, and heterogeneous scripts and languages that speak to a multitude of cultures and histories, of abundance as well as loss, what is the promise of Digital Humanities methods--and what are the challenges and pitfalls? The articles in this volume were originally presented at the international conference #DHJewish - Jewish Studies in the Digital Age, which was organised at the Centre for Contemporary and Digital History (C2DH) at University of Luxembourg in January 2021. The first big international conference of its kind, it brought together more than sixty scholars and heritage practitioners to discuss how the digital turn affects the field of Jewish Studies.

This Bulletin highlights five millennia of extraordinary artistic production on the African continent. Twenty-one pairings unite masterpieces from the Museum’s collections of ancient Egyptian and West and Central African art to reveal unexpected parallels and contrasts across time and cultures. The title pays special homage to Senegalese scholar and humanist Cheikh Anta Diop, whose book The African Origin of Civilization: Myth or Reality (1974) challenged prevailing attitudes and advocated for recentering Africa as the source of humanity’s common ancestors and many widespread cultural practices. Building on Diop’s premise, this volume allows readers to delve into the rich histories and diverse artistic traditions from the cradle of human creativity.

Instant New York Times bestseller The story of art as it’s never been told before, from the Renaissance to the present day, with more than 300 works of art. How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway? Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States and the artist who really invented the “readymade.” Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s. Have your sense of art history overturned and your eyes opened to many artforms often ignored or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan, this is the history of art as it’s never been told before.