An affirming resource for leaders and practitioners forwarding diversity, equity, and inclusion efforts on campus. In Restorative Resistance in Higher Education, diversity researcher and educator Richard J. Reddick shares the wisdom gained from three decades of diversity, equity, and inclusion (DEI) work in educational settings. Reddick centers DEI efforts as challenging yet essential components of college life, recognizing campus environments not just as mirrors reflecting societal values and biases but also as crucibles for social change. Creating a more equitable college campus, Reddick argues, is a complex task that should be met by all members of the university community. He discusses many measures that promote wider involvement, including campus cultural orientations, professional development for faculty and staff, and frameworks to help institutional leaders respond to inequity and exclusion on campus. Delivering a trove of best practices for equity advancement, Reddick offers DEI professionals, and all members of the higher education community, the tools to engage in the work on professional, academic, and personal levels. He advocates developmental relationships such as mentoring, role modeling, and coaching as a means for historically marginalized students to access hidden educational pathways. He also encourages frank discussion of the social and emotional tax on persons who participate in or lead work on these highly charged issues. Throughout this crucial work, Reddick emphasizes the importance of restorative and sustaining approaches: those that promote practitioner well-being and challenge unjust structures.

A creative and beautiful book packed with inspiring ideas to help you capture likenesses and explore personalities in stitch, from a well-loved textile artist. Anne Kelly's evocative and nostalgic work often incorporates portraits – of friends, family, historical figures and even pets. Within these pages she shares her approach to textile portraiture, bringing in a wealth of different embroidery techniques, including hand and machine embroidery, quilting and appliqué, to render in cloth the nuances of facial expressions and the personalities of her subjects. The book covers: • Selfies at Home: making the perfect self-portrait in cloth. • Representation and Culture: how portraits have been used in textile art for cultural expression around the world. • Stylized Imagery: going beyond the traditional portrait into abstraction. • Place and Time: creating a sense of place with portraiture, sometimes incorporating photographs. • Narratives: how to create a fuller story using deeply personal ephemera and related imagery. • Pet Projects: immortalising your pets in your textile work. Beautifully illustrated with stunning examples of her own work and that of intriguing textile artists who specialise in portraiture from around the world, this is the ideal book for embroiderers and textile artists who want to introduce this often tricky subject area into their work.

2020 Unmasked is a comprehensive visual story of the year that changed America. The images were captured by three photographers from three different cities: Susan Baggett in Boston, Robin Fader in Washington, DC, Victor Mirontschuk in New York City, and edited by multi-award-winning photographer Ari Espay. We decided to create a book together when we realized we were each out in our own city's streets photographing and trying to make sense of this crazy new world. 2020 UNMASKED will also include personal narratives of people most seriously impacted by the events of the year. There are four sections: Election, Resistance, Covid, and Lockdown.

One of Kirkus Review's Best Books About Being Black in America "Powerful... Calling for Black women (in and out of the public eye) to be treated with empathy, Blay’s pivotal work will engage all readers, especially fans of Mikki Kendall’s Hood Feminism." —Kirkus (Starred) An empowering and celebratory portrait of Black women—from Josephine Baker to Aunt Viv to Cardi B. In 2013, film and culture critic Zeba Blay was one of the first people to coin the viral term #carefreeblackgirls on Twitter. As she says, it was “a way to carve out a space of celebration and freedom for Black women online.” In this collection of essays, Carefree Black Girls, Blay expands on this initial idea by delving into the work and lasting achievements of influential Black women in American culture--writers, artists, actresses, dancers, hip-hop stars--whose contributions often come in the face of bigotry, misogyny, and stereotypes. Blay celebrates the strength and fortitude of these Black women, while also examining the many stereotypes and rigid identities that have clung to them. In writing that is both luminous and sharp, expansive and intimate, Blay seeks a path forward to a culture and society in which Black women and their art are appreciated and celebrated.

Abolition. Feminism. Now. is a celebration of freedom work, a movement genealogy, a call to action, and a challenge to those who think of abolition and feminism as separate—even incompatible—political projects. In this remarkable collaborative work, leading scholar-activists Angela Y. Davis, Gina Dent, Erica R. Meiners, and Beth E. Richie surface the often unrecognized genealogies of queer, anti-capitalist, internationalist, grassroots, and women-of-color-led feminist movements, struggles, and organizations that have helped to define abolition and feminism in the twenty-first century. This pathbreaking book also features illustrations documenting the work of grassroots organizers embodying abolitionist feminist practice. Amplifying the analysis and the theories of change generated out of vibrant community based organizing, Abolition. Feminism. Now. highlights necessary historical linkages, key internationalist learnings, and everyday practices to imagine a future where we can all thrive.

Emma Dawson and Logan Reynolds have been neighbors and enemies for as long as either one can remember. Despite the fact their BFF fathers have been encouraging them their whole lives to be friends, they've managed to avoid each other at all costs. Emma thinks Logan is a callous jerk who cares about nobody but himself. Logan thinks Emma is a stuck-up goody-two-shoes with no life. The two couldn't be any more different...which is why Emma is so confused when the Emerson High Computer Club's "Summer Fling Compatibility Test" concludes they're a perfect match. But Logan's not confused. He lied on the test to make his "sometimes girlfriend" think they're not meant to be and now Emma is furious that he made her lose out on the chance of having a swoony summer romance with the perfect guy. Forced by his stepmother to make it up to her, Logan decides to help her win the heart of her lifelong crush: his best friend, Matt. He knows how much of a challenge this will be. Matt is good-looking, popular and outgoing. Emma is quiet, bookwormish, and scared of everything. However, Logan is convinced that with some major tweaking, he can transform Emma into someone Matt could fall for. But as the summer heats up, so does their budding friendship... and soon, they may be faced with the biggest challenge of all: falling for each other.

Accompanied by a traveling exhibition, this book on the Bahamian artist’s textile portraits serves as a love letter to Black women: their style, strength, vulnerabilities, and beauty. This debut of the 29-year-old Bahamian-born artist aims to redefine the often-politicized Black body, with portraits made in a range of textile-based techniques, such as embroidery and appliqué, celebrating Black women. Gio Swaby’s intimate portraits are unique, highly personal figurative works made from an array of colorful fabrics and intricate, freehand lines of thread on canvas that explore the intersections of Blackness and womanhood. Illustrated with 80 works in full color that span from 2017 to 2021, this is the first book on this contemporary feminist artist who is a rising star in the world of textiles and portraiture. According to Swaby, “I wanted to create a space where we could see ourselves reflected in a moment of joy, celebrated without expectations, without connected stereotypes.” Writers and scholars with multiple points of view take on Swaby’s work and delve into her place within contemporary Black art.