An investigation into artistic reproduction and the role of the engravers in the shadows who made prints signed by others, questioning the relationships of domination and subordination in creation.

Examining how things are sold and exchanged within diverse cultural environments, past and present through a collection of contributions by social anthropologists and historians, this book builds a bridge between social history, cultural anthropology and economics and marks a major step in our understanding of the cultural foundations of economic life and the sociology of culture.

A collective analysis of the emergence of the “contemporary” and the transnational and transhistorical logics at work in artistic practices in Dakar in response to questions raised by globalization since the Independances, opening up new territories for sociological, economic, political and aesthetic investigations.

Drawing on extensive documentation and unpublished sources, this collective publication proposes an ambitious re-examination of Hans Hartung's prolific work and eventful personal trajectory as an actor in a broader history of abstraction, which also provides a fertile matrix for many other reflections on twentieth-century art.

An in-depth study of the diorama in the United States at the beginning of the 20th century, a place for the creation and mediation of knowledge but also for the political construction of history, between art, anthropology and natural sciences.

An ambitious and transversal study on the crisis of humanism resulting from modernity, and on the historical consequences of the universalist and absolute conception carried by Futurism and the Bauhaus, proposing little explored paths for a re-reading of the artistic stakes in the 20th century.

By renewing the dialogue with anthropology, this book invites the history of science to be refounded on other, more humanistic bases.

The stakes of Francis Picabia's creative process, between exaltation and rejection of the self, at the heart of the constitution of modernity.

The development of spatial and tridimensional drawing in American art, both in theory and in practice, from the 1960s through the 1970s.

A transdisciplinary study that sheds new light on the birth of modern architecture in France through its relations with the printed text, vector of the diffusion of the architectural ideal at the scale of the nation, and the emergence of the public sphere between the end of the 17th century and the French Revolution.

Hans Hartung and the cinema.

An anthology.

How to explain the intersection, during the twentieth century, of the ideology and theories on violence and creativity?

Jean Laude's writings on art.

First French edition of an essential manifesto of modern art written by Russian writer, poet and journalist Ilya Ehrenburg in 1921.

A pioneering approach to the history of emotions.

Conceived around an anthropology of the object, this book proposes to follow the course of royal objects of Abomey, former capital of the pre-colonial Kingdom of Dahomey (in present-day Benin).

This book traces the career of Kara Walker (born in 1969), the most internationally recognized African-American artist since Jean-Michel Basquiat, and explores the history of the reception of a work that faces the limits of representation, challenging the question of the figuration of the black body.

Can the modern uses of prehistory shed new light on the modern experience of time and, thus, the art of this period?

A critical look at the place and stakes of representations of the war of independence in the contemporary construction of the French and Algerian art scene.

Jean Dubuffet, Art Brut, and the primitivist paradigm.