Fall 2015 Catalog

U N I V E R S I T Y O F T E X A S P R E S S | FA L L 2 0 1 5 98 U N I V E R S I T Y O F T E X A S P R E S S | FA L L 2 0 1 5

KRISTIN HERSHNew Orleans, Louisiana

Hersh is a founding member of the bands Throwing Muses and 50 Foot Wave. Her memoir Rat Girl was widely praised by publications from the New York Times to Rolling Stone, which named it one of the top ten best rock memoirs ever written.

AMANDA PETRUSICHBrookly n, New York

Petrusich is the author of several books about music, including Do Not Sell At Any Price: The Wild, Obsessive Hunt for the World’s Rar-est 78 rpm Records. Her criticism and reporting has appeared in the New York Times, the New York Times Magazine, Pitchfork, Spin, BuzzFeed, and the Oxford Ameri-can, where she is a contributing editor. She teaches music writing at New York University.

American Music SeriesPeter Blackstock and David Menconi, Editors

release date | october4¾ x 7 inches, 198 pages, 10 b&w photos

ISBN 978-0-292-75947-3$22.95 | £15.99 | C$29.95hardcover

ISBN 978-1-4773-0874-5$22.95e-book

From the book

. . . you sometimes gave a piece of your soul to people who didn’t stop to ad-

mire it. I’ve seen you wheel off stage, your middle finger in the air. And we

all give up pieces of our hearts to people who care enough to give up a piece

of theirs and see what kinda parachute we can make together, then live for

the parachute. Which was always gonna be better than us, more than the

sum of its parts . . . was s’posed to help us survive the inevitable plummet.

Instead, you started with a broken heart and blamed everyone you met

after that for breaking it. This didn’t shut you down, though; just lent

you a soft spot, helped you see into people’s chests, see all the broken hearts

around you. And I know you played music for those smashed muscles. Not

a happy ending, but a sweet-as-pie beginning and middle.

creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate mem-oir is essential reading for anyone interested in the music or the artist.

Handwritten note from Vic.

Hersh and Chesnutt in concert, The Mint, L.A., 2000. Photo by Kerina Marcon.


release date | october9½ x 10½ inches, 304 pages, 36 color and 221 duotone photos

ISBN 978-1-4773-0372-6$85.00 | £59.00 | C$115.00hardcover

MARK COHENPhiladelphia, Pennsylvania

Cohen’s photography is in many major collections, including the Museum of Modern Art, the Art Institute of Chicago, the Museum of Fine Arts Houston, the Whitney Museum of American Art, the George Eastman House, and the Nelson-Atkins Museum of Art. He has published three previous books—Grim Street, True Color, and Dark Knees—and his work has been included in over eighty individual and group exhibitions.

JANE LIVINGSTONFlint Hill, Virginia

Livingston is a highly respected curator whose books include The New York School: Photographs, 1936–1963 and The Art of Richard Diebenkorn.

Clockwise from top left: Improvised Beach, 1975; Two Guys’ Shoes and Feet, August 18, 1973; Knee, 1973; Snow on Cabbage Leaf, 1974; Bare Thin Arms and Aluminum Siding, 1981


SPIDER MARTIN

James “Spider” Martin (1939–2003) created the most comprehensive visual documenta-tion of the March 1965 events in Selma, one of the most significant moments in the civil rights era. During the three years he worked for the Birmingham News, his photographs won numerous awards, including Associated Press awards for Best Feature Photograph, Best Sports Photograph, and Best News Photograph. He spent the remainder of his career working as a full-time freelance photographer for advertising and corporate clients nationwide.

Focus on AmericanHistory SeriesThe Dolph Briscoe Center for American History University of Texas at AustinDon Carleton, Editor

release date | november9½ x 9½ inches, 128 pages, 80 duotone photos

ISBN 978-1-4773-0839-4$40.00 | £27.99 | C$51.95hardcover

“Spider, we could have marched, we could have protested forever, but if it weren’t for guys like you, it would have been for nothing. The whole world saw your pictures. That’s why the Voting Rights Act passed.”

—MART I N L U THER K I NG , 1965

In the shadow of the Alabama state capitol, counterdemonstrators carry signs protesting the marchers and President Lyndon B. Johnson’s support for the civil rights movement.

Marchers flee across the Edmund Pettus Bridge as an unidentified woman assists an unconscious Amelia Boynton.


Distributed for The Contemporary Austin

release date | september8¼ x 10½ inches, 248 pages, 143 color photos

ISBN 978-1-4773-0551-5$65.00 | £45.00 | C$85.00hardcover

Lakes Were Rivers, Door and Archway, 2014. Art-work and image © Jessica Mallios. Courtesy Lakes Were Rivers.

Angelbert Metoyer, The Indigo King, 1998. Artwork © Angelbert Metoyer. Image courtesy of the artist. Photograph by Marc Newsome.

with color plates and explicatory text. In addition, Artist’s Voice sections have been contributed by Roger Hiorns, Trisha Baga and Jessie Stead, and Lakes Were Rivers.

HEATHER PESANTIAustin, Tex as

Pesanti is Senior Curator at The Contemporary Austin, where she has organized exhibitions on the work of Marianne Vitale, Liam Gillick, and Do Ho Suh. In 2014, together with Robert Storr, Pesanti was a visiting critic and lecturer in the Viewpoint Series at the Uni-versity of Texas at Austin. Prior to Austin, Pesanti was Curator at the Albright-Knox Art Gallery in Buf-falo, New York, where she organized the large-scale historical exhibition Wish You Were Here: The Buffalo Avant-garde in the 1970s.


The Southwestern &Mexican PhotographySeriesThe Wittliff Collections at Texas State UniversityDavid Coleman, Editor

release date | november12 x 12 inches, 176 pages, 115 duotone photos

ISBN 978-1-4773-0776-2$60.00 | £42.00 | C$80.00hardcover

Opposite page: Guerrilleros en la niebla, 1966, Sierra de Falcón, Venezuela/Guerrillas in the Mist, 1966, Sierra de Falcón, Venezuela; top right: Celia Cruz, 1963, Ciudad de México/Celia Cruz, 1963, Mexico City; bottom right: Che, Hoja de contactos, 1964, La Habana, Cuba/Che, Contact sheet, 1964, Havana, Cuba


PETER F. MEARSAustin, Tex as

Mears is Curator of Art at the Harry Ransom Center, the University of Texas at Austin, where he manages, along with a collection of notable works by pioneering Texas artists, a collection of artworks by artists who write and writers who paint and sculpt. Mears has curated exhibition surveys of the Ransom Center’s prints and drawings collec-tion and the centennial exhibition Miguel Covarrubias: A Certain Clairvoyance, a historical overview of the artist’s celebrity caricatures, illustrations, and books.

lifelong subject of study for Reaugh, as did the native longhorn, the main protagonist in his visual narrative of the West. A restless and intrepid traveler, Reaugh took sketch trips with students to some of Texas’s most spectacular and remote locations almost annually for over fifty years, producing hundreds of colorful and mesmerizing pastel studies.

Seven contributors knowledgeable in the field of early Texas art and art of the American Southwest discuss Reaugh’s life and long career in this beautifully illustrated book. Their essays offer new in-sights into this fascinating and resourceful man who is often called the “Dean of Texas Artists.”

Distributed for the Harry Ransom Center, University of Texas at Austin. This book is a companion publication to the Ran-som Center’s exhibition Frank Reaugh: Landscapes of Texas and the American West (August 4–November 29, 2015).

release date | september11 x 9½ inches, 178 pages, 133 color photos

ISBN 978-1-4773-0363-4$35.00 | £23.99 | C$45.50hardcover

Clockwise from left: Driving the Herd (1904), Dallas Museum of Art; Portrait of Frank Reaugh, 1890s, unidentified pho-tographer, the Bryan Museum, Galveston, Texas; Autumn Twilight (Dust of Krakatau) (1883), Harry Ransom Center.

Fall 2015 Catalog

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