Here are 100 books that Van Gogh on Demand fans have personally recommended if you like
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I am a Geography professor at DePaul University with a long-standing obsession with the world, comparing puddle shapes to countries as a small child and subsequently initiating map and flag collections that I cultivate to this day. Having lived in different parts of the UK and the USA, as well as being fortunate enough to travel further afield, I’ve relished the opportunity to explore widely and chat with the people who know their places best. I love books that alter how I look at the planet, and I am particularly intrigued by the subtle ways in which people have shaped our world—and our perceptions of it—both intentionally and inadvertently.
How often do we consider the people behind the objects we use every day?
This book offers an unrivalled glimpse into the lives of the female workers who manufacture many of the products we take for granted and, in so doing, provides a human face to China’s rapid development. Through her interactions and interviews, Chang illustrates how the emergence of new industrial metropolises is transforming the opportunities and aspirations of young rural women.
While she does not shy away from showing the grittier aspects of China’s colossal factories, crucially, Chang demonstrates how their workers are autonomous individuals with concerns and dreams both relatable and unfamiliar.
This stimulating read is one of my favourite texts to use with university students, raising, as it does, all sorts of questions about gender, class, culture, and individual agency, but it has much to offer a wider audience, too, not least in providing an important…
An eye-opening and previously untold story, Factory Girls is the first look into the everyday lives of the migrant factory population in China.
China has 130 million migrant workers—the largest migration in human history. In Factory Girls, Leslie T. Chang, a former correspondent for the Wall Street Journal in Beijing, tells the story of these workers primarily through the lives of two young women, whom she follows over the course of three years as they attempt to rise from the assembly lines of Dongguan, an industrial city in China’s Pearl River Delta.
I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.
China's gargantuan size has haunted its efforts to become a modern nation. Anthropologist Greenhalgh argues that in the late 1970s, Chinese rocket scientists, influenced by doomsday policymakers in the West, convinced the Chinese government to impose a one-child family planning program. The draconian enforcement of the one-child policy subjected millions of women to intimate corporeal surveillance that resulted in uncounted numbers of forced abortions, hidden births, and suffering for the masses. By 2016, when the two children policy was instituted, family planning contributed to an unbalanced gender ratio, delayed marriages, and a possibly irreversible population decline. Social engineering is a modus operandi of the Chinese state, and ironically, its most famous strategy threatens the nation's sustainability as a world industrial power.
China's one-child rule is unassailably one of the most controversial social policies of all time. In the first book of its kind, Susan Greenhalgh draws on twenty years of research into China's population politics to explain how the leaders of a nation of one billion decided to limit all couples to one child. Focusing on the historic period 1978-80, when China was just reentering the global capitalist system after decades of self-imposed isolation, Greenhalgh documents the extraordinary manner in which a handful of leading aerospace engineers hijacked the population policymaking process and formulated a strategy that treated people like missiles.…
I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.
This collection, by anthropologists and psychiatrists, gives us a glimpse of soul searching by ordinary people as China compresses centuries of industrial growth into two decades. The unprecedented fragmentation of families and loss of culture have scattered lives and disoriented minds. The chapter authors consider intimate topics -- death, sex, depression, stigma, suicide, and madness -- that lie beneath the glossy images of Chinese achievements. They reveal the deep confusion of ordinary people as they struggle with questions of morality and humanity in a relentless, turbulent world.
"Deep China" investigates the emotional and moral lives of the Chinese people as they adjust to the challenges of modernity. Sharing a medical anthropology and cultural psychiatry perspective, Arthur Kleinman, Yunxiang Yan, Jing Jun, Sing Lee, Everett Zhang, Pan Tianshu, Wu Fei, and Guo Jinhua delve into intimate and sometimes hidden areas of personal life and social practice to observe and narrate the drama of Chinese individualization. The essays explore the remaking of the moral person during China's profound social and economic transformation, unraveling the shifting practices and struggles of contemporary life.
I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.
Drawing from her work as a journalist, Chen gives us unsettling stories crystallized by the ferocious competition that engulfs everyone in the vast anonymous landscape that is contemporary China. The endless micro-struggles of small-town individuals to escape poverty or gain an educational foothold reveal their warped understanding of society and life. Mindless mishaps, fears, and even cruelty are everyday experiences of people struggling to survive and protect their families. The great hidden human costs of China's rise are simply mind-boggling.
A dazzling debut collection which, deftly and urgently, tells the stories of those living in the biggest and most complicated country on earth.
A BARACK OBAMA READING LIST SELECTION FOR SUMMER 2021
'In this magnificent collection of stories, the author vividly captures the desires and losses of a richly drawn cast while drawing on the realities of contemporary China' Cosmopolitan
A brother competes for gaming glory while his twin sister exposes the dark side of the Communist government on her underground blog; a worker at a government call centre is alarmed one day to find herself speaking to a former…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This is the best account I know of the double bind that artists subjected to settler forms of colonialism have had to endure. Taking Nigerian modern art as his case study, this eminent Africanist art historian shows how, on the one hand, colonial officials attempted to abolish the indigenous artistic heritage as "savage," or "primitive," while simultaneously blocking African artists from a European art education. To become modern required a negotiation between these dual limitations and ended up producing something very different from Western modernism.
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This book is part of a series that extensively documents watershed modern and contemporary exhibitions. The Havana Biennial of 1989 was especially important because it developed what has been called South-South connections in the exhibition of contemporary art–in other words, connections between different parts of the Global South or non-West that are not routed through European or North American art capitals. This was possible because, during the Cold War, Cuba maintained extensive cultural networks throughout the so-called Third World
The second installment in Afterall's Exhibition Histories series, Making Art Global, Part 1 focuses on the third Havana Biennial, which took place in 1989. In the core essay, Rachel Weiss examines the ways in which this exhibition extended the global territory of contemporary art and redefined the biennial model. Gerardo Mosquera, a key member of the curatorial team, contributes a reflection on the project, and its constituent exhibitions and events are documented photographically. The book also includes a paper delivered by Geeta Kapur at the Biennial conference and republishes reviews of the Biennial by Coco Fusco and Luis Camnitzer. It…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
Hito Steyerl is one of the most prominent artists and media theorists in the world. Her essays draw unexpected and always stimulating connections between media technologies, surveillance, war, and political power. They are short, concise, and a pleasure to read, but they always engage with big ideas around the ethical and social challenges of a world made global through the framework of the Internet and digital communication more broadly.
In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the work itself? Can we distinguish between creativity and the digital white noise that bombards our everyday lives? Exploring artefacts as diverse as video games, Wikileaks files, the proliferation of spam, and political actions, she exposes the paradoxes within globalization, political economies, visual culture,…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
Not only is this book an authoritative account of the Tansaekhwa movement in Korea–a group of abstract painters who gained great acclaim in recent years–but it establishes a model of how regional art worlds intersect with global networks. Kee accomplishes this by charting the hierarchical relation between Japan and Korea within Southeast Asia, whose differences were largely erased when "Asian" art was exhibited in Europe. In other words, regional rivalries and specificities are often subsumed into broader regional identities when artworks begin to circulate globally.
Starting in the mid-1960s, a group of Korean artists began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that prompted critics to describe their actions as "methods" rather than artworks. A crucial artistic movement of twentieth-century Korea, Tansaekhwa (monochromatic painting) also became one of its most famous and successful. Promoted in Seoul, Tokyo, and Paris, Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art.
In this full-color, richly illustrated account-the first of its kind in English-Joan Kee provides a fresh interpretation…
I am a writer who lived in Germany for more than six years with my family. That experience opened my eyes to a different way of parenting in a country that had learned hard lessons about too much authoritarian control. It also taught me that much of what we believe is “true” about raising kids is actually cultural—and therefore, can be changed. In addition to my book about raising kids in Germany, Achtung Baby, I’ve written extensively on raising self-reliant kids, including articles in The New York Times, Wall Street Journal, and Time.com among others.
When my daughter was in first grade in Germany, her teacher read this book to her entire class. Sex education is considered a right in Germany since knowing how your body works is essential for your reproductive health. In the U.S. it’s left to us as parents to teach sex ed to our kids—which I’d argue is less than ideal, given the high costs of keeping kids ignorant. (The U.S. has higher rates of teen AIDS, teen pregnancy, and abortion than Germany.) If you don’t know how to broach this subject, this book is a good, age-appropriate, place to start when your young kids first begin asking questions.
For as long as I can remember, my parents answered any/all of my questions about the body, puberty, and sex; often giving me more information than I actually wanted! So when friends asked me questions, I was always eager to pass on my knowledge. Who knew that years later, it would land me a master’s degree in public health (MPH), jobs in sexuality health education, and a passion for writing about human reproduction and family formation? Plus, I have personal experience on the topic: I come from a three-generation family created through adoption and foster care; and overcame the trials and tribulations of infertility with the use of assisted reproduction.
When I first sat down to fully explain human reproduction to my own child, I grabbedIt’s So Amazing because it included explanations of insemination and IVF – subjects that most books in the genre don’t explain.
The book also covers many topics leading up to and after conception: anatomy, puberty, gestation, birth, genetics, and family. Its graphic-novel format enables readers to digest the information-rich content in bite-sized pieces, at their own pace. The book is funny and warm, and normalizes kids’ curiosity about the body.
There are two other books in this series:It’s Not the Storkand It’s Perfectly Normal. They are all great books to add to any family’s collection.
From the trusted team of Robie H. Harris and Michael Emberley, this classic resource for younger children receives its most ambitious update yet.
How does a baby begin and how is it born? How did I begin? Why are some parts of kids’ bodies different from some parts of other kids’ bodies? Most younger kids have questions about reproduction, babies, love, sex, and gender too. Some also have concerns. For over twenty years, It’s So Amazing! has provided children age seven and up with the honest answers they’re looking for through age-appropriate, reassuring words and accurate, up-to-date, inclusive art. Throughout…
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