What do technical renderings of plant cells in trees have to do with Disney’s animated opus Fantasia? Quite a bit, as it turns out: such emergent scientific models and ideas about nature were an important inspiration for Disney’s groundbreaking animated realism. In Drawn to Nature: American Animation in the Age of Science (University of Minnesota Press, 2025), Dr. Colin Williamson presents a vivid portrait of how developments in biology, physics, and geology between 1900 and the long 1960s influenced not just Disney but the American cartoon industry as a whole.

Drawing on original research on the scientific appetites of animators and studios such as Winsor McCay, the Fleischer Brothers, Walt Disney, and United Productions of America, Dr. Williamson opens new avenues for understanding the history and aesthetics of cartoons. Interrogating the differences between art and science and reconsidering the realms of dream, magic, and fantasy as they pertain to pop culture, he yields novel proposals for bridging longstanding divides between animation, live-action cinema, and the history of science.

Drawn to Nature not only illuminates the extent to which animators have drawn on scientific insights, it also considers seriously how commercial animations themselves participate in scientific discourse. It revises and revitalizes our existing narratives about the history of American animation to uncover the many ways science informs our collective cultural imagination.

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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The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance. 

The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025)

Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow.

Priya S. Gandhi is a writer and strategist based in New York City.

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How can habits of racialization be affected by art, in its reception and its creation? How can a carnal aesthetics help us understand Latinx life? What if we listen to photographs? How might they undo us? Can we be undone? In Carnalities: The Art of Living in Latinidad (Duke UP, 2025), Mariana Ortega focuses on photography using a hermeneutics of love and critical phenomenology to think about and with creative practices of primarily Latinx artists. Moving from the ocular to the mouthly, Ortega opens up possibilities for being affected by art. She also shows how artists use aesthetic practices to transform themselves, the possibilities for life, and as means to refuse to forget the dead.

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Jana Byars meets one of her academic heroes when Ulinka Rublack joins her to talk about Dürer's Coats: Renaissance Men and Material Cultures of Social Recognition (Routledge, 2025). During the Renaissance, clothing became more and more elaborately decorated and expensive. It often emphasised the privilege of the male elite. Yet clothing could also subvert or reshape conventional cultural norms. This book draws on the case of Albrecht Dürer to examine Renaissance male outerwear as a key element of signalling communication in everyday life. The recognised artist fought for the esteem of urban creators. In asserting his dignity and taste, outerwear was particularly important to Dürer and his time. Ulinka Rublack argues that cloaks and gowns gained in importance during this period and were among the things that mediated social relationships for centuries to come. An investigation into outerwear opens a new window into how people and things were connected in the Renaissance and how important clothing was in shaping subjectivities in everyday life. Using the example of Dürer and his wife as emerging social types, the study follows the artist and the men and women of his time through the streets of Venice, Nuremberg, Augsburg and Antwerp. It poses pressing questions about Albrecht Dürer's entanglement in unequal networks of global trade and the German Renaissance Atlantic.

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Centering collaborations and frictions around a Japanese town’s pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation.

Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan.

Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology.

Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan.

Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here.

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This important new work, Buddhist Landscapes: Art and Archaeology of the Khorat Plateau, 7th to 11th Centuries (NUS Press, 2023) by Stephen Murphy, build on extensive fieldwork and archaeological surveys to reveal the Khorat Plateau as having a distinctive Buddhist culture, including new forms of art and architecture, and a characteristic aesthetic. By combining archaeological and art historical analysis with an historical ecology approach, Murphy traces the outlines of Buddhism’s spread into the region, along its major river systems. In this episode, hosted by Natali Pearson, Murphy shows how he has read this history into and against the Khorat landscape, attending to the emergence of monumental architecture such as stūpa, and Buddha images carved into the rockfaces of hills and mountainsides, and the importance on the Khorat Plateau of the use of boundary markers, or sīmā.

This book provides a new picture of the region in the first and early second millennia, adding to our understanding of the development of Buddhism in Southeast Asia, and offering a new basis for other regionally-focused scholarship to thrive —from textual Buddhology to history to anthropology. As Murphy explains, this opens up new possibilities for understanding the early spread of Buddhism within different landscapes across Asia.

Dr Stephen A. Murphy specialises in the art and archaeology of early Buddhism and Hinduism in Thailand, Laos, Myanmar, Cambodia and Malaysia. He is the Pratapaditya Pal Senior Lecturer in Curating and Museology of Asian Art, and Chair of the Centre of South East Asian Studies, at SOAS University of London.

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In Breathing Aesthetics (Duke University Press (2022), Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity.

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Art After Liberalism (Columbia UP, 2022) is an account of creative practice at a moment of converging political and social rifts – a moment that could be described as a crisis of liberalism. The apparent failures of liberal thinking are a starting point for an inquiry into emergent ways of living, acting, and making art in the company of others.

What happens when the framework of the nation-state, the figure of the enterprising individual, and the premise of limitless development can no longer be counted on to produce a world worth living in? It is increasingly clear that these commonplace liberal conceptions have failed to improve life in any lasting way. In fact, they conceal fundamental connections to enslavement, colonization, moral debt, and ecological devastation.

Nicholas Gamso speaks to Pierre d’Alancaisez about the ills of liberalism and art’s role in deciding on what may come after the impasse.

Nicholas Gamso is a writer and academic who works across theory, visual culture, performance, and space/place. He’s an editor at Places.

Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.

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Taylor McCall's The Art of Anatomy in Medieval Europe (Reaktion, 2023) is the first history of medieval European anatomical images. Richly illustrated, The Art of Anatomy in Medieval Europe explores the many ways in which medieval surgeons, doctors, monks, and artists understood and depicted human anatomy. Taylor McCall refutes the common misconception that Renaissance artists and anatomists such as Leonardo da Vinci and Andreas Vesalius were the fathers of anatomy who performed the first human dissections. On the contrary, she argues that these Renaissance figures drew upon centuries of visual and written tradition in their works.

Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender.

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Adorno and the Ban on Images (Bloomsbury, 2022) upends some of the myths that have come to surround the work of the philosopher Theodor W. Adorno – not least amongst them, his supposed fatalism.

Sebastian Truskolaski argues that Adorno's writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without, at the same time, betraying its vital impulse. By re-appraising Adorno's writings on politics, philosophy, and art, this book reconstructs this notoriously difficult author's overall project from a radically new perspective (Adorno's famous 'standpoint of redemption'), and brings his central concerns to bear on the problems of today.

On the one hand, this means reading Adorno alongside his principal interlocutors (including Kant, Marx and Benjamin). On the other hand, it means asking how his secular brand of social criticism can serve to safeguard the image of a better world – above all, when the invocation of this image occurs alongside Adorno's recurrent reference to the Old Testament ban on making images of God.

By reading Adorno in this iconoclastic way, Adorno and the Ban on Images contributes to current debates about Utopia that have come to define political visions across the political spectrum.

Lukas Hoffman is a Doctoral Candidate at the Carolina-Duke Graduate Program in German Studies and is currently supported by a DAAD research grant as a Visiting Scholar at the Humboldt University in Berlin. He is currently working on a book manuscript that examines how the persistence of religious imagery in German modernist lyric reimagines the ways in which traditional, religious attitudes overlap with revolutionary political thought. Recently, he has published an article in Monatshefte, titled “Love of Things: Reconsidering Adorno’s Criticism of Rilke” (Summer 2022) and has a forthcoming article in New German Critique, titled “Abject Eve: A Revolutionary Reading of Lasker-Schüler’s ‘Erkenntnis.’”

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