Featured catalogs collection for Books Division page

New weekly series: Case studies from the Media Archaeology Lab
The Media Archaeology Lab, hosted at the University of Colorado at Boulder and founded by Lori Emerson, is a space for cross-disciplinary experimental ...
For military families, the battle for inner peace during deployment is hard-fought.
Lisa Leitz was one of approximately 300 members of Military Families Speak Out in attendance at a September 24, 2005, protest in Washington, D.C., org ...
Black sexuality, the glass closet, and how the "down low" can never be one specific thing.
Since the early 2000s, the phenomenon of the "down low"—black men who have sex with men as well as women and do not identify as gay, queer, or bisex ...
The definition of academic freedom, for many, does not accommodate dissent.
BY STEVEN SALAITA Associate professor of English at Virginia Tech Academic freedom is often a diversion from the free practices of acade ...
The BDS movement and the front lines of the war on academic freedom.
BY SUNAINA MAIRA Professor of Asian American studies at the University of California, Davis In December 2013, the American Studies Association ann ...
As it turns out, you can go home again.
Writer Michael Fedo, whose essays and stories have been deeply inspired by his roots, grew up in this Duluth home. BY MICHAEL FEDO Minnesota wr ...
On the challenge of co-existence.
Paul Carter writes about his book Meeting Place, in which waiting, meeting, non-meeting, and communication have possibilities in unexpected manifesta ...
Who cares if you look? Participatory art and the act of interpretation. (Part III of III)
Portrait of Tristan Tzara, 1927. Participatory aesthetics loom large in Tzara's infamous "Dada Poem" from the "1918 Manifesto." Part I Part ...
Who cares if you look? On the artist and the spectator. (Part II of III)
The Bride Stripped Bare by Her Bachelors, Even, Marcel Duchamp. Duchamp famously declared that the artist decided what was art, not the public. ...
Who cares if you look? On internal and external relationships with art. (Part I of III)
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership. ...