Published on the occasion of the major exhibition of the same title, this catalogue is the first to place the practices of artists Mike Kelley (1954-2012) and Jim Shaw (b. 1952) alongside each other in historical context, approaching their work as parallel visual meditations on Midwestern culture in particular and on American culture more broadly. The catalogue begins with their meeting at the University of Michigan in Ann Arbor and early collaborations, branching out to present major bodies of work from each artist with a specific interest in tracing the lines of influence as rooted in the vernacular visual cultures of Michigan and the Midwest. Illustrations of the artists' source material, their individual works, and installation views from the exhibition feature prominently throughout the publication, and essays by exhibition co-curators Marc-Olivier Wahler, Carla Acevedo-Yates, and Steven L. Bridges also unpack the many narratives layered in the exhibition, including an interview with Jim Shaw.

Contemporary Great Lakes Pow Wow Regalia showcases the work of contemporary Native American Indian artists who make and wear pow wow dance regalia in the Great Lakes region. In addition to photographs taken by Minnie Wabanimkee, the publication contains a series of essays on dance and dance regalia and a glossary of terms by Cameron Wood, Charlotte Heth, Arnie Parish, Thurman Bear, Frances Vincent, and Marclay Crampton.

In her first book-length collection of poetry, Crystal Williams utilizes memory and music as she lyrically weaves her way through American culture, pointing to the ways in which alienation, loss, and sensed "otherness" are corollaries of recent phenomena. Williams writes about being adopted by an interracial couple, a jazz pianist/Ford Foundry worker and a school psychologist, and how that has affected her development as an African American woman. She tries to work out the answers to many difficult questions: in what way do African American artists define themselves? What do they owe the culture and what does it owe them? To what extent does our combined national memory inform our individual selves? These poems are steeped in the black literary tradition. They are brimming over with the oral tradition that Williams perfected while spending years on the poetry "slam" circuit. This, combined with her musical upbringing, give the collection not only a sense of urgency, but also a rhythm, a breath all its own. Kin tackles not only racial issues, but also the troubling realities of violent acts that can occur, especially in our inner cities. But more importantly, the landscape that Williams creates offers readers an alternative to the racial/political dichotomy in which we all live. Overall, the book resonates with a message of reconciliation that will leave the reader uplifted.

Printmaker/anthropologist Laura B. DeLind and poet Anita Skeen never set out to produce a book at all when they began exchanging prints and poems, but as they began to appreciate at a deeper level the skill involved in each other's work, they began to find meaning in small things--a pattern, a memory, a carefully chosen word. The twenty-two fantastic and formerly undiscovered avian delights in this book illuminate the human world of love and loss, grief and joy, politics and play.

"In this new expanded edition, Susan J. Bandes adds descriptions of additional buildings and discusses projects by ten additional architects"--

"This book presents a comprehensive history of Pewabic Pottery in Detroit, Michigan, its founders, and its place in the Arts and Crafts movement"--

This against-all-odds story of a World War II era steam locomotive captures the determination of two generations of volunteers to keep it running. The narrative traces the train s regular freight service in Michigan, its unlikely salvation from the scrapyard, and the subsequent work to bring it back to steam. This is the tale of the revival of a significant steam locomotive and a triumph of historic preservation."