Milk is a limited series art journal of written and visual artworks by artist-mothers about motherhood. In the first volume, themed “Chores & Transcendence,” we look at the mundane domestic work, the invisible labor and repetitive actions of motherhood, and how that is counterbalanced with sublime emotional experiences. Volume 1 features works by 15 artists from 7 countries. It includes artworks by Reut Asimini, Colleen Barry, Talia Chetrit, Rachael Grad, Emma Hardy, Csilla Klenyánszki, Sarah Lightman, Kath Lovett, Elena Skoreyko Wagner, Tabitha Soren, Annie Hsiao-Ching Wang; poetry by C.S. Griffel and Kate Falvey; and interviews with Julie Phillips and Sim Chi Yin. The cover features a painting by Sarah Lightman.

Milk is a limited series art journal of written and visual artworks by artist-mothers about motherhood. Volume 2 is themed “Body & Belonging”, and looks at how physical (and not) mothering can be, as well as how it can inspire a deep sense of belonging or alienation. Volume 2 features works by 19 artists from 10 countries. It includes artworks by Mequitta Ahuja, Imogen Alabaster, Alejandra Alarcón, Clara Aldén, Jocelyn Allen, Julia Bollinger, Miriam Fabijan, Paola de Grenet, Ashley January, Kasey Jones, Takako Kido, Hilke Kurzke, Fani Parali; poetry by Christa Fairbrother, Faith Paulsen, Marin Smith, and J. Hope Stein; and interviews with Chelsea Conaboy and Cassie Arnold. The cover features a photograph by Jocelyn Allen.

Milk is a limited series art journal of written and visual artworks by artist-mothers about motherhood. Volume 3 is themed “Purpose & Ambivalence”, and looks at how motherhood can give a deep sense of purpose – to some – and yet it can lead to a range of conflicting, uncertain, or changing emotions. Volume 3 features works by 14 artists from 6 countries. It includes artworks by Fatema Abizar, Lupita Carrasco, Violet Costello, Marice Cumber, Sharon James, Lisa Krannichfeld, Jenny Lewis, Jena Love, Sarah Pabst, Jannike Stelling, Susanne du Toit; an article by Szilvia Molnar; and interviews with Andi Gáldi Vinko and Pragya Agarwal. The cover features a work of embroidery on canvas by Fatema Abizar.

Vol. for 1867 includes Illustrated catalogue of the Paris Universal Exhibition.

This highly topical book offers a comprehensive study of the interaction of food, politics and science over the last hundred years. A range of important case studies, from pasteurisation in Britain to the E coli outbreak offers new material for those interested in science policy and the role of expertise in modern political culture.

This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.