Visiting Artist Series Resources

The instant New York Times Bestseller * Nominated for the 2019 National Book Award for Fiction "A lyrical work of self-discovery that's shockingly intimate and insistently universal...Not so much briefly gorgeous as permanently stunning." --Ron Charles, The Washington Post Ocean Vuong's debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We're Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family's history that began before he was born -- a history whose epicenter is rooted in Vietnam -- and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We're Briefly Gorgeous is as much about the power of telling one's own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by:  GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more! 

From one of the most original thinkers on the role of religion in the modern world, a profound exploration of the spiritual power of nature--and an urgent call to reclaim that power in everyday life. "Much has been written on the scientific and technological aspects of climate change.... But Armstrong's book is both more personal and more profound. Its urgent message is that hearts and minds need to change if we are to once more learn to revere our beautiful and fragile planet." --The Guardian Since the beginning of time, humankind has looked upon nature and seen the divine. In the writings of the great thinkers across religions, the natural world inspires everything from fear, to awe, to tranquil contemplation; God, or however one defined the sublime, was present in everything. Yet today, even as we admire a tree or take in a striking landscape, we rarely see nature as sacred. In this short but deeply powerful book, the best-selling historian of religion Karen Armstrong re-sacralizes nature for modern times. Drawing on her vast knowledge of the world's religious traditions, she vividly describes nature's central place in spirituality across the centuries. In bringing this age-old wisdom to life, Armstrong shows modern readers how to rediscover nature's potency and form a connection to something greater than ourselves.

When James Baldwin died in 1987, he left behind an extraordinary body of work. Novels, poems, film scripts, and, perhaps most indelibly, essays constituted the great artist's writing, which was not divisible from his work and subsequent fame as a civil rights activist. A friend to and supporter of Martin Luther King Jr., Malcolm X, and Medgar Evers, Baldwin was the voice of a movement-a voice that struggled after his early recognition as a creator to retain the author's "I," while taking on the "We" of his people.In God Made My Face, published on the centenary of Baldwin's birth, the assembled authors, ranging from Baldwin biographer David Leeming to novelist Jamaica Kincaid and filmmaker and Moonlight director Barry Jenkins, create a kind of mosaic, one that not only mirror's Baldwin's various voices but examines, closely, his sui generis contributions to cinema, theater, the essay, and Black American critical studies-including queerness. In each piece assembled here, the authors speak from a personal, informed perspective-through voices that are both informed by Baldwin's deeply personal, anguished, and enlightened voice and his belief that, ultimately, because we are human, we share the potential to love, connect, and live together in all our glory.

Beauty today is a paradox. The cult of beauty is ubiquitous but it has lost its transcendence and become little more than an aspect of consumerism, the aesthetic dimension of capitalism. The sublime and unsettling aspects of beauty have given way to corporeal pleasures and 'likes', resulting in a kind of 'pornography' of beauty. In this book, cultural theorist Byung-Chul Han reinvigorates aesthetic theory for our digital age. He interrogates our preoccupation with all things slick and smooth, from Jeff Koon's sculptures and the iPhone to Brazilian waxing. Reaching far deeper than our superficial reactions to viral videos and memes, Han reclaims beauty, showing how it manifests itself as truth, temptation and even disaster. This wide-ranging and profound exploration of beauty, encompassing ethical and political considerations as well as aesthetic, will appeal to all those interested in cultural and aesthetic theory, philosophy and digital media.

Over the course of a career that spanned fifty years, Agnes Martin's austere, serene work anticipated and helped to define Minimalism, even as she battled psychological crises and carved out a solitary existence in the American Southwest. Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. "I paint with my back to the world," she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. No substantial critical monograph exists on this acclaimed artist--the recipient of two career retrospectives as well as the National Medal of the Arts--who was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. Furthermore, no attempt has been made to describe her extraordinary life. The whole engrossing story, told here for the first time, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America.