An artist declares his credo on art and life

This book, a follow-up to Kitaj's influential First Diasporist Manifesto (1989), is a personal reflection on the Jewish Question in contemporary art as it is lived and painted and imagined by one of today's most innovative and controversial artists. In 615 distinct propositions that deliberately echo the Commandments of Jewish Law, Kitaj here channels his ideas for a new Diasporist art in a daring stream of consciousness. Including 41 images of the artist's work chosen by him to accompany the text, this beautifully crafted volume is a unique and fascinating look into an artist's unusual life and work. From The Second Diasporist Manifesto is: 'But I swore to become myself - the new Jewish painter of a skeptical Diasporist art, born in Modernism, which cleaves to my own uncanny Jewish life of study, painting, unthinkable thoughts and near death...I admit that my Manifesto-poem is very personal, as a poem can be. But one would have to also unpack the cultural secrets of a book on Islamic Art, or Chinese or Egyptian or African Art. My Jewish Art lives a more Modernist Secret life. The Jewish Diaspora is not the only one. It's just mine.'

This is the first book to examine the connections between diaspora - the movement, whether forced or voluntary, of a nation or group of people from one homeland to another - and its representations in visual culture. Two foundational articles by Stuart Hall and the painter R.B. Kitaj provide points of departure for an exploration of the meanings of diaspora for cultural identity and artistic practice. A distinguished group of contributors, who include Alan Sinfield, Irit Rogoff, and Eunice Lipton, address the rich complexity of diasporic cultures and art, but with a focus on the visual culture of the Jewish and African diasporas. Individual articles address the Jewish diaspora and visual culture from the 19th century to the present, and work by African American and Afro-Brazilian artists.

Short-listed for the Art and Christian Enquiry/Mercers' International Book Award 2009: 'a book which makes an outstanding contribution to the dialogue between religious faith and the visual arts'. What does modern Jewish art look like? Where many scholars, critics, and curators have gone searching for the essence of Jewish art in Biblical illustrations and other traditional subjects, Rosen sets out to discover Jewishness in unlikely places. How, he asks, have modern Jewish painters explored their Jewish identity using an artistic past which is- by and large - non-Jewish? In this new book we encounter some of the great works of Western art history through Jewish eyes. We see Matthias Grunewald's Isenheim Altarpiece re-imagined by Marc Chagall (1887-1985), traces of Paolo Uccello and Piero della Francesca in Philip Guston (1913-1980), and images by Diego Velazquez and Paul Cezanne studiously reworked by R.B. Kitaj (1932-2007). This highly comparative study draws on theological, philosophical and literary sources from Franz Rosenzweig to Franz Kafka and Philip Roth. Rosen deepens our understanding not only of Chagall, Guston, and Kitaj but also of how art might serve as a key resource for rethinking such fundamental Jewish concepts as family, tradition, and homeland.

The Manifesto Handbook describes the hidden life of an undervalued genre: the conduit for declarations of principle, advertisements for new “isms,” and provocations in pamphlet form. Often physically slight and small in scale, the manifesto is always grand in style and ambition. A bold, charismatic genre, it has founded some of the most important and revolutionary movements in modern history, from the declaration of wars and the birth of nations to the launch of countless social, political and artistic movements worldwide. Julian Hanna provides a brief genealogy of the genre, analyses its complex speaking position, traces the material process of manifesto making from production to dissemination, unpacks its extremist underbelly, and follows the twenty-first century resurgence of the manifesto as a re-politicised and reinvigorated digital form.

Botticelli’s Muse peels back layers of history to tell a fictionalized version of the life of Sandro Botticelli, his conflicts with the Medici family of Florence, and the woman at the heart of his paintings. In 1477, Botticelli is suddenly fired by his prestigious patron and friend Lorenzo de’ Medici. In the villa of his irritating new patron, the artist’s creative well runs dry—until the day he sees Floriana, a Jewish weaver imprisoned in his sister’s convent. But events threaten to keep his unlikely muse out of reach. So begins a tale of one of the art world’s most beloved paintings, La Primavera, as Sandro, a confirmed bachelor, and Floriana, a headstrong artist in her own right, enter into a turbulent relationship.