John Kapusta's Self-Realization Nation: How Artists of the Creative Counterculture Made a New America (U California Press, 2026) is the story of an unexpected group of performing artists who led one of the most influential artistic movements in contemporary American history. After World War II, personal fulfillment emerged as a defining American cultural ideal. Self-realization--the quest to become our authentic selves--remains a powerful part of American culture and arts today. In Self-Realization Nation, John Kapusta provides a lively cultural history of how an overlooked movement of musicians, dancers, and actors championed the ideal of self-realization. These performers, who spanned many backgrounds, identities, genres, and artistic styles, became what he calls the creative counterculture. Artists as varied as Sonny Rollins, John Cage, Anna Halprin, Alice and John Coltrane, and Pauline Oliveros shared an approach to creativity focused on letting go of limiting beliefs and subverting oppressive social norms. Through colorful vignettes, Kapusta reveals how these artists made their art and how their approach spread beyond the performing arts to influence such fields as psychology, education, and wellness. Ultimately, these creative counterculturists came to define a new vision of an America where everyone was free to be themselves, together.

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Between the fifteenth and early seventeenth centuries, European painting underwent a profound transformation as artists increasingly painted on canvas instead of wood or walls. Nowhere was more important to this shift than Venice, where painters experimented with canvas with remarkable creativity and innovation. In Venetian Canvas and the Transformation of Painting (Princeton University Press, 2026), Dr. Cleo Nisse investigates why Venetian artists adopted canvas and how it revolutionized their art between 1400 and 1600.

Intertwining approaches from art history and art conservation, and featuring stunning new photographs that show details as never before, the book presents groundbreaking research based on close study of Venetian artworks, archival sources, art-making treatises, and early modern art criticism. It sheds new light on the materiality of early modern canvas, its production and supply, and the influence of climate on its use. The book offers fresh interpretations of iconic works and important concepts such as pittura di macchia and non finito, and demonstrates how canvas contributed to the radical new style of painters such as Titian, Tintoretto, and Veronese. But above all else, it shows how canvas changed the making and meaning of paintings. 

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. 

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Can publishing change the world? In Dispatches from the Avant-Garage: The Alternative Press Rebecca Kosick (Wayne State UP, 2026), an Associate Professor in Comparative Poetry and Poetics at the University of Bristol, tells the story of The Alternative Press. Beginning in Detroit in the late 1960s, initially based in the house of Ann and Ken Mikolowski, the press created a rich and eclectic set of artworks. The story of The Alternative Press is also the story of US art and radical politics from the 1970s into the 1990s, with lessons for art and politics today. Drawing on a huge amount of archival work, interviews, and visual reproductions to analyse both the form and content of The Alternative Press’s activity, the book will be essential reading for arts and humanities scholars, as well as for anyone interested in the history of radical art and culture in the USA.

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Wayfaring: Photography in Taiwan, 1950s–1980s (Australian Centre on China in the World, 2025) explores four transformative decades of photography in Taiwan, tracing its evolution amid the island’s emergence from Japanese colonialism and integration into Nationalist China, largely under martial law (1949–87). Through a dozen richly illustrated essays and interviews, the book bridges the gap between vigorous Chinese-language scholarship on photography in Taiwan and its limited representation in English. Essays on photographers in the 1950s–60s, including Long Chin-San (Lang Jingshan) (1892-1995), Deng Nan-Guang (1907-1971), Chang Chao-Tang (1943-2024), Liu An-Ming (1928-2022), Hwang Pai-Chi (b. 1931), Hsu Yuan-Fu (1932-2018) and Tsai Hui-Feng (1928-2005), reveal photography’s pivotal role in documenting ‘local’ culture and shaping cultural identity, while challenging ideas of ‘amateur’ and ‘realist’ practices and recognising the importance of transnational connections. Meanwhile, essays on Hsu Jen-Shiu (b.1946), Lin Bo-Liang (b. 1952), Kao Chung-Li (b. 1958), Lien Hui-Ling (b. 1961) and Hou Tsung-Hui (b. 1960), along with interviews sharing the firsthand experiences of Liu Chen-Hsiang (b.1963), Lulu Shur-tzy Hou (1962-2023) and Yao Jui-Chung (b.1969), highlight the experience of photography in 1970s–80s Taiwan, as both witness and agent of social transformation, addressing issues such as environmental protection, mental health and gender politics, as well as being a crucial vehicle for the transdisciplinary nature of contemporary art, theatre, cinema and performance in Taiwan at that time.

Chen Shuxia is a historian and curator of Chinese art. Her research concerns art collectives, diasporic artistic practice, and reciprocal relations between people and objects. Her most recent books include Wayfaring: Photography in Taiwan, 1950s–1980s (2025), Chinese Toggles: Culture in Miniature (2024) and A Home for Photography Learning: the Friday Salon, 1977-1980 (2024). Her most recent curated exhibitions include “Merchants of Haymarket: the Making of Sydney’s Chinatown” (2026), “The trace is not a presence…” (2025), “Chinese Toggles: Culture in Miniature” (2024). Chen is the inaugural curator of the Chau Chak Wing Museum’s China Gallery, and a Senior lecturer in the Master’s degree programme in Curating and Cultural Leadership, at the University of New South Wales School of Art & Design.

Olivier Krischer is a historian and curator of art from East Asia and the Asian Australian diaspora, whose research concerns modern and contemporary transcultural art, photography and intermedia practices. His curatorial projects include “Assembly” (2023), featuring eight Hong Kong-born artists, “Wayfaring: Photography in 1970s-80s Taiwan” (2021) and “Between: Picturing 1950-1960s Taiwan” (2016). His publications include John Young: The History Projects (2025), Zhang Peili: From Painting to Video (2019) and Asia through Art and Anthropology: Cultural Translation Across Borders (with F. Nakamura and M. Perkins, 2013). Krischer is currently a lecturer and program convenor for the Master’s degree programe in Curating and Cultural Leadership, at the University of New South Wales School of Art & Design.

Li-Ping Chen is a visiting scholar in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Li-Ping’s NBN episodes on Taiwan Studies are supported by the Chun and Jane Chiu Family Foundation Taiwan Studies Program at Oregon State University.

Relevant Links:

• Open Access for Wayfaring: Photography in Taiwan 1950s−1980s

• Wayfaring 找路: Photography in 1970s–80s Taiwan Exhibition Webpage

• Wayfaring Exhibition Pamphlet

• Wayfaring Exhibition Video Tour | Part 1 — Overview

• “Between: Picturing 1950s-60s Taiwan / 間：臺灣五六十年代面影”

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This is a special edition of the New York Institute for the Humanities’ Vault podcast. On May 13, 2026, Princeton’s Center for Human Values hosted a day-long conference titled Audio & Ideas: Exploring the Possibilities for Scholarly Podcasting. It was co-sponsored by Princeton’s Journalism program, and the NYU Podcast Initiative. Over the course of four panels, scholars, podcasters, and journalists discuss how academics might employ the techniques of narrative audio as part of their research.

In the second panel, Chenjerai Kumanyika led a discussion about the aesthetics of podcasting. Professor Kumanyika is an assistant professor at NYU’s Arthur L. Carter Journalism Institute, who specializes in using narrative non-fiction audio journalism to critique the ideology of American historical myths about issues such as race, the Civil War, and policing. His podcast Empire City, was chosen by the New York Times as one of the best podcasts of 2024. He was the co-creator, co-executive producer and co-host of Uncivil, a podcast on the Civil War, and he is the collaborator for Scene on Radio’s Season 2 “Seeing White,” and Season 4 on the history of American democracy. His current podcast is Unruly Subjects. The panel included Vinson Cunningham, a staff writer at The New Yorker, where he has written about theatre and television. He is a Spring 2026 McGraw Professor of Writing in the Program in Journalism at Princeton University. He is the author of the novel, Great Expectations; Julia Barton is an award-winning podcast, audiobook, and radio editor. She was the executive editor of Pushkin Industries, where she helped develop Revisionist History and Against the Rules. She’s the editor of Malcolm Gladwell’s The Bomber Mafia, Michael Specter’s Fauci, and Michael Lewis’s unabridged Liar’s Poker and companion podcast. Her 2019 series, Spacebridge, was called “dazzling” by The New Yorker. She writes the audio history newsletter, Continuous Wave.

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Black Freedom: A Visual History of Juneteenth and Emancipation Days (Black Dog & Leventhal, 2026) is the first fully illustrated history of Juneteenth and other Emancipation Day celebrations, told through photographs, art, and an engrossing narrative.

For more than 150 years, Black communities have gathered to honor freedom, resilience, and the ongoing struggle for true liberation. While Juneteenth has recently gained wider recognition, it was one of many Emancipation Day traditions celebrated across the United States.

These observances were spaces of joy, remembrance, and resistance—even as the fight for full freedom was unfinished. This volume brings together stirring essays and striking images from Juneteenth and beyond, offering a sweeping portrait of how Black people have created and sustained rituals of remembrance, a testament to the generations who, through celebration and storytelling, demanded that their contributions to the making of America be fully recognized.

Blair LM Kelley is an award-winning author, historian, and scholar of  the African American experience. She is also the president and director of the National Humanities Center, the only independent center for advanced study in the world dedicated exclusively to the humanities.

Kishauna Soljour is an Assistant Professor of Public Humanities at San Diego State University. Her most recent writing appears in the edited collection From Rights to Lives: The Evolution of the Black Freedom Struggle.

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Karl Whittington joins Jana Byars to talk about his new book, Queer Making: On Artists and Desire in Medieval Europe (Pennsylvania State University Press, 2025). What role does desire play in the making of art objects? Art historians typically answer this question by referring to historical evidence about an artist's sexual identity or to particular kinds of imagery. But what about anonymous artists? Or works whose subject matter is mainstream? We know little about the identities and personalities of most premodern artists, but this should not hold us back from thinking about their embodied experience. In this book, Karl Whittington contends that we can "queer" the works of anonymous makers by thinking about their embodied experiences creating art. Considering issues of touch, pressure, and gesture across substances such as wood, stone, ivory, wax, cloth, paint, and metal, Whittington argues for an erotics of artisanal labor, in which the actions of hand, body, and breath interact in intimate ways with materials. Whittington takes seriously the agency of materials and technical processes, arguing that they necessarily placed the bodies of artists and artisans into physical situations and psychological states that can be read through the lens of desire. Combining historical evidence with speculative description, this evocative set of essays broadens our understanding of the motivations and experiences of premodern artists. It will appeal to scholars and students of art history, medieval studies, gender studies, queer studies, and anthropology.

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Exploring the work of established and emerging artists in Indonesia’s vibrant art world, Artists and the People: Ideologies of Art in Indonesia (NUS Press, 2022) examines why so many artists in the world’s largest archipelagic nation choose to work directly with people and in the studio. While the social dimension of Indonesian art makes it distinctive in the globalised world of contemporary art, Elly Kent is the first to explore this engagement in Indonesian terms. What are the historical, political and social conditions that lie beneath these polyvalent practices? How do formal and informal institutions, communities and artist-run-initiatives contribute to the practices and discourses behind socially-engaged art in Indonesia? What do artists do when they locate their practice in a broader social milieu, and what tensions arise when artists integrate communities, governments, politics, history and people into their practice?

Drawing on interviews with artists, translations of archival material, visual analyses and participation in artists’ projects, this book presents a unique, interdisciplinary examination of ideologies of art in Indonesia. It portrays the ways art practice and theory are understood within Indonesia and inside Indonesian-language discourse. Indonesia's artists have continued to explore, resist and draw on the methodologies and discourses of social responsibility and artistic autonomy generated by Indonesian arts practitioners through their early 20th-century encounters with modernity and the founding of the nation state. This book brings contemporary practice into conversation with art history in Indonesia.

Dr Elly Kent is a visual artist, translator, researcher and educator with 20 years of experience working in academia and the arts in Indonesia and Australia. Elly is Deputy Director of the ANU Indonesia Institute and Sub-dean of Languages in the College of Asia and the Pacific at the Australian National University. She convenes the Year in Asia program and is Treasurer of the Indonesia Council, Australia’s peak body for Indonesian studies.

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Connoisseurs and conmen: The contest for cultural authority in early twentieth-century Britain (Manchester University Press, 2026) by Dr. Lewis Ryder examines John Hilditch (1872-1930), a notorious collector of Chinese art who lied, hoaxed and manipulated in his struggle against museum experts to become a cultural authority. Previously overlooked as a pest with a dubious collection, this book uses Hilditch to interrogate how far the monumental social, cultural and political changes of the early twentieth century unsettled social and cultural hierarchies and how these hierarchies were remade. It shows how the cultural elites were forced to engage with the public and re-draw the boundaries of citizenship, expertise and high and low culture in response to unprecedented social mobility, the democratisation of culture and politics, as well as the effects of British imperialism which brought ordinary Britons access to antiquities as well as confidence to claim expertise over foreign cultures. The book will interest social and cultural historians of Modern Britain, museum scholars and art historians.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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Is food porn a vibrant and democratic new expression of modern food culture or a superficial addition to an image-saturated world? Tracing its origins from the 1970s to today, this timely book examines the evolution of food porn as a desire-inducing aesthetic practice and a visually extravagant food spectacle.

Through discussions on class, gender, sexuality and national identities, Food Porn: Food Aesthetics in a Digital Age (Bristol University Press, 2026) by Dr. Jonatan Leer & Dr. Stinne Gunder Strøm Krogager questions whether food porn reinforces social hierarchies or empowers individuals. Also exploring anti-food porn aesthetics, this book is essential reading for anyone seeking to understand the deeper social implications of food’s digital allure.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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Art-Science Undisciplined invites us into a collaborative journey grounded in mutual exploration and transformation. Moving beyond transactional exchanges of expertise, artist Janani Balasubramanian and astrophysicist Natalie Gosnell draw on their own experiences, as well as stories from other art-science collaborators, to offer an imaginative guide for developing a values-based and joyful undisciplined practice.

This playbook offers practical and conceptual tools for co-creation that foster new, powerful alliances among artists, scientists, and their supporters. While attentive to the everyday reality of busy schedules and institutional demands, Balasubramanian and Gosnell illuminate strategies to change our current ways of working and dare us to imagine a more expansive future. The projects, potentials, and possibilities resulting from undisciplined creation will reshape not only the practitioners but their worlds altogether.

Janani Balasubramanian is an artist, director, and founder based at Stanford University.

Natalie Gosnell is an astrophysicist, artist, and Associate Professor of Physics at Colorado College.

Caleb Zakarin is CEO and Publisher of New Books Network.

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