New Books in Art

Art and Citizenship in Conflict: British Women War Artists, 1939-45 (Manchester UP, 2026) by Dr. Lucy Curzon examines the work of women war artists in order to highlight the complexity of citizenship and gender in Britain during the Second World War.

Evelyn Dunbar, Mary Kessell, Ethel Gabain, Stella Schmolle, and Laura Knight, among others, were commissioned by the War Artists' Advisory Committee (WAAC) to document the millions of women who took up sometimes unconventional roles-in agriculture, the auxiliary services, and manufacturing, among others-to support the British war effort. Indeed, their prints, drawings, and paintings were part of a broader scheme to uphold morale and promote much-needed citizen involvement on the home front. While there is growing interest, the importance of their remit in the history of the Second World War and the quality of their artistry have nonetheless not yet secured them a significant place in scholarship. Art and Citizenship in Conflict seeks to amend this gap.

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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In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade’s Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision.

Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time.
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On June 10, the Metropolitan Museum of Art in New York returned two pieces of artwork to Cambodia: an Angkor statue and a sandstone lintel. It’s the latest repatriation effort by the U.S.’s premier art museum, and the third time the Met has had to give up Cambodian artifacts specifically.

Matthew Campbell’s The Man Who Stole The Gods: A True Story of War, Obsession, and a Global Art Conspiracy (Penguin, 2026) dives into the story of the Cambodian antiquities trade, from looted temples in the Cambodian forests, through dealers in Bangkok like Douglas Latchford, and then into museums and billionaire homes in the West. And he also digs into how this trade fell apart: How the U.S. Department of Justice and activists in Cambodia pressured dealers and museums like the Met to give this art back.

Matthew is an award-winning reporter for Bloomberg Businessweek. His previous book, Dead in the Water—co-authored with Kit Chellel—was selected as a Book of the Year by The Economist, the Financial Times, and The Times. Matt has reported from more than twenty-five countries on crime, corruption, terrorism, economics, and the environment. His work has earned some of journalism’s highest honors, including awards from the Gerald Loeb Foundation, the Overseas Press Club, the National Press Club, SOPA, and SABEW for both feature and investigative reporting

You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The Man Who Stole the Gods. Follow on Twitter at @BookReviewsAsia.

Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.
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A creative, body-based guide to healing for queer, trans, and
gender-expansive readers—somatic tools and expressive arts to feel safer
in your body, rewrite your story, and sustain connection. Queer Expressions: Expressive Art and Somatic Therapy Practices for Healing Body Trauma (North Atlantic Books, 2026) is
a practical, consent-centered guide to healing body trauma through
embodiment and creativity. Drawing on somatic therapy—grounding, breath,
orientation, gentle movement—and expressive arts—collage, drawing,
clay, movement, music, voice—within a harm-reduction frame of pacing,
choice, and safety plans, Wednesdae Reim Ifrach (REAT, ATR-BC, LPC)
shares grounded practices, case vignettes, and simple rituals to help
you move from shut down or on high alert into steadier, more connected
living. The book follows a simple arc: first, feel and steady your
nervous system; next, turn those sensations into art and story; and
finally, build rituals and relationships that help the changes
last—whether you’re navigating dysphoria, ED recovery, chronic stress,
or nervous system dysregulation. Inside you’ll find: Body check-ins
(quick prompts to name sensations and needs), short breath &
movement practices (1–10 minutes), and sensory prompts
(sight/sound/touch/smell/taste) Art invitations (collage, drawing,
movement, sound/voice) with step-by-step guidance and safety notes
Consent & harm-reduction tools (opt-in/out menus, pacing, crisis
planning) to keep the work manageable Community practices & rituals
(altar-making, release-writing, witness circles) to anchor change in
daily lif A queer-centered lens on healing, embodiment, and creativity
Warm, inclusive, and usable on your own or with a therapist, Queer
Expressions helps you build a more livable relationship with your
body—and a story big enough to hold who you are becoming.

Wednesdae Reim Ifrach
is a trans/non-binary art therapist and counselor dedicated to
providing gender-affirming, trauma-informed care that emphasizes
healing-centered engagement, body justice, intersectional social
justice, and equitable access to eating disorder treatment. They co-own
and operate Rainbow Recovery,
offering clinical supervision, consultations, trainings, workshops,
counseling, and art therapy services to clients in Connecticut and
Pennsylvania. As a full-time professor at Moravian University, Wednesdae
teaches mental health counseling, social work, and expressive art
courses, inspiring future professionals. Over the past decade, they have
led trainings and workshops for organizations such as the American Art
Therapy Association, National Alliance for Eating Disorders, and Yale
University, among others. Previously, Wednesdae founded the country’s
first 2sLGBTQIA+ Eating Disorder Program, served on Project HEAL’s
Board, and presided over the Connecticut Art Therapy Association. They
currently co-chair the Health Professionals in Training Program on the
GLMA Board. Their expertise addresses LGBTQ+ concerns and trauma,
honoring each client’s identity.

Helena Vissing,
PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California
and Associate Professor at California Institute of Integral Studies. She
can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023).
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What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026),
Cécile Bishop argues that this seemingly simple question has no
straightforward answer. Instead of treating race as something
immediately visible, she explores how Blackness emerges through the
interplay of perception, language, and history.

A central theme of the book is that visibility is never neutral.
Through examples ranging from photographs of the Liberation of Paris to
works of art such as Portrait of a Black Woman, Bishop shows that
Blackness cannot be reduced to what is seen. Instead, she introduces the
idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience.

Engaging with thinkers such as Édouard Glissant and Frantz Fanon,
Bishop invites readers to rethink the assumption that seeing is the same
as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see.

Amisah Bakuri (PhD) is an
Assistant Professor in the Faculty of Social Sciences and Humanities at
Vrije Universiteit Amsterdam. Her work explores the intersections of
religion, sexuality, gender, and migration, especially within African
diasporic communities in the Netherlands.
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