WOMEN IN THE ARTS
KARA WAKER—NO/ KARA WALKER—YES/ KARA WALKER—?
March 2009
Introduction by Howardena Pindell & Essays by 28 Artists, Educators, Writers and Poets
ISBN 978-877675-72-0 $22.00; paper
Section I—is a platform that gives voice to the previously unheard commentary of Walker's art world peers at the unbalanced writings rained on Walker by most of the art critics.

Section II—has excerpts from the critics' biased reviews, interviews and "profiles"—all in lavish praise of Walker for her "originality, daring and brilliance."

Section III—includes those few critics who dared to question the validity of what had already been showered on Walker.

Back of the book Appendix contains brief histories of Lynching and Minstrelry and biographies of those brave leaders, among many others, Ida B. Wells Barnett, Frederick Douglass, Fannie Lou Hammer, Rosa Parks and Harriet Tubman who opened the door that Kara Walker and her supporters want to close.

ART HISTORY, FILM & PHOTOGRAPHY
HERO, MADMAN, CRIMINAL, VICTIM: THE ARTIST IN FILM & FICTION
March 2009
Betty Ann Brown
ISBN 978-1-877675-75-1; Illust.; paper; $26.00
Are artists really misrepresented as geniuses, egomaniacs and killers? Yes. And B. A. Brown offers stills and reproductions as proof, accompanied by a breadth of cultural references, interlaced with the negative images that are regularly presented in the media landscape.

Her chapters on "depictions of the artist as Fraud and Criminal and women artists as Victims of Love make significant contributions to contemporary criticism." The book is full of sound analysis and historical information.

A PORTRAIT OF HANS HOFMANN AS PAINTER, TEACHER and FRIEND
March 2009
Sam Feinstein
ISBN 978-1-877675-74-4, B/ W & color illust.; paper; $28.00
From 1949 to 1952, Sam Feinstein studied with Hofmann in Provincetown, where he was much involved in the artistic environment and became very close to Hofmann as a friend. His studio was across the street from Hofmann's house and they met regularly for a late afternoon swim or a casual evening visit expanding their formal daytime relationship of teacher/student. Feinstein dictated his memories of those years under the guidance of his son, Sascha, between December 1989 and January 1990. He hoped to accurately record Hofmann's teaching principles and theories of painting which had been greatly misunderstood and misinterpreted in past studies. Feinstein's reminiscences about those years with Hofmann are full of entertaining anecdotal accounts and references to fellow students, many of whom later became famous. And best of all the book is a fond remembrance of the ebullient man, influential teacher and painter, Hans Hofmann.