This bright yellow tote features artwork from a woodcut lace border detail with grasshoppers and other local flora and fauna, from a doctoral Thesis Print on Logic.  Original printed on satin by Manuela Cereza  and defended in the Cathedral of Puebla, Mexico, in 1746.Call number: Ayer BC60.F74 1746$20.00      

From reproductions of Dürer copperplates to twenty-first-century apparel, this exhibition explores the history of images printed on fabric. Printing images and texts on luxurious fabrics instead of paper once took portraits, devotional images, and other artworks to the next level, brokering powerful relationships and memorializing important events on resplendent broadsides and serviceable handkerchiefs alike. However, whether fancy or functional, these early imprints from Europe and the Americas and their modern-day equivalents remain understudied and unappreciated for their artistry and deep connections to global economies. Premodern Printing on Fabric, held at the Newberry Library in 2026, is the first exhibition to tell the story of these exceedingly rare objects, highlighting new research that bridges the gap between art and book history, textiles, and printmaking.This exhibition catalog delves into fabric printings from the medieval to the modern. Examples range from seventeenth-century marriage poems and portraits on silk and devotional printings on linen reproducing cult objects to the nostalgically reprinted Albrecht Dürer copperplates and George Washington-themed handkerchiefs. A flurry of proto-computerized Jacquard-loom activity during nineteenth-century world's fairs offered woven silk memorabilia in collectible sizes, while simultaneously recreating high-end medieval manuscripts. Many unable to afford printed silks could then incorporate swatches into family quilts long before the popularity of graphic t-shirts.

Satirical suffragette scarf  of 100% habotai silk  with illustrations printed in black. Includes depictions of women's and men's roles in 1981 if the women's rights and suffrage movements were successful. Borders of handkerchief have captioned illustrations of women in positions including scientists, athletes, admirals, commanders in chief, lawyers, and chief justices; men are conversely shown in traditional women's roles, such as laundering, cleaning, serving dinner, and taking care of babies; the four corners have men in positions of idleness. 

Satirical suffragette pocket square of 100% habotai silk with illustrations printed in black. Includes depictions of women's and men's roles in 1981 if the women's rights and suffrage movements were successful. Borders of handkerchief have captioned illustrations of women in positions including scientists, athletes, admirals, commanders in chief, lawyers, and chief justices; men are conversely shown in traditional women's roles, such as laundering, cleaning, serving dinner, and taking care of babies; the four corners have men in positions of idleness. 

Zayd Ayers Dohrn was born underground. His parents were fugitives after a decade fighting the US government; his mother was on the FBI's Ten Most Wanted list. All his life, Dohrn's parents said his birth marked a clean break with violent revolutionary struggle, but in this explosive memoir, he discovers that story wasn't entirely true.This masterpiece of personal and social history brings us inside an infamous family and their lives underground. Drawing on exclusive interviews, declassified FBI files, and long-hidden letters, photos, and diaries, Dohrn tells a new story of radical resistance, including revelations about the Weathermen's bombing campaign, their secret alliance with the Black Liberation Army, and the dramatic prison break of Assata Shakur.Reckoning with the emotional damage the Weathermen inflicted on their victims, their children, and themselves, Dohrn's unflinching memoir explores the roots of radicalism and asks how a young person survives when the place they feel safest--with their family--also puts them in danger.

Settler colonial studies and Indigenous studies are often assumed to be the same intellectual project. In Indigenomicon, Jodi A. Byrd examines the differences between the two fields by bringing video game studies and Indigenous studies into conversation with Black studies, queer studies, and Indigenous feminist critique. Byrd theorizes "the image of the law of the Indigenous" as structuring dispossession in games including Assassin's Creed, Animal Crossing, BioShock Infinite, and Demon Souls. They demonstrate how games and play might reveal histories of slavery, genocide, and theft of Indigenous lands even as their structures obscure Indigenous spatial and embodied practices that prioritize relationships with land, water, plants, and spirits. With ground and relationality defined as key concepts, Byrd centers Indigenous visions of dystopias to reveal how game spaces encode settler structures of governance even as the design of games might yet provide vital modes of resistance to Indigenous erasure.

More than two dozen stories of Indigenous resistance to the privatization and allotment of Indigenous lands Land privatization has been a longstanding and ongoing settler colonial process separating Indigenous peoples from their traditional homelands, with devastating consequences. Allotment Stories delves into this conflict, creating a complex conversation out of narratives of Indigenous communities resisting allotment and other dispossessive land schemes.From the use of homesteading by nineteenth-century Anishinaabe women to maintain their independence to the role that roads have played in expropriating Guam's Indigenous heritage to the links between land loss and genocide in California, Allotment Stories collects more than two dozen chronicles of white imperialism and Indigenous resistance. Ranging from the historical to the contemporary and grappling with Indigenous land struggles around the globe, these narratives showcase both scholarly and creative forms of expression, constructing a multifaceted book of diverse disciplinary perspectives. Allotment Stories highlights how Indigenous peoples have consistently used creativity to sustain collective ties, kinship relations, and cultural commitments in the face of privatization. At once informing readers while provoking them toward further research into Indigenous resilience, this collection pieces back together some of what the forces of allotment have tried to tear apart.Contributors: Jennifer Adese, U of Toronto Mississauga; Megan Baker, U of California, Los Angeles; William Bauer Jr., U of Nevada, Las Vegas; Christine Taitano DeLisle, U of Minnesota-Twin Cities; Vicente M. Diaz, U of Minnesota-Twin Cities; Sarah Biscarra Dilley, U of California, Davis; Marilyn Dumont, U of Alberta; Munir Fakher Eldin, Birzeit U, Palestine; Nick Estes, U of New Mexico; Pauliina Feodoroff; Susan E. Gray, Arizona State U; J. Kēhaulani Kauanui, Wesleyan U; Rauna Kuokkanen, U of Lapland and U of Toronto; Sheryl R. Lightfoot, U of British Columbia; Kelly McDonough, U of Texas at Austin; Ruby Hansen Murray; Tero Mustonen, U of Eastern Finland; Darren O'Toole, U of Ottawa; Shiri Pasternak, Ryerson U; Dione Payne, Te Whare Wānaka o Aoraki-Lincoln U; Joseph M. Pierce, Stony Brook U; Khal Schneider, California State U, Sacramento; Argelia Segovia Liga, Colegio de Michoacán; Leanne Betasamosake Simpson; Jameson R. Sweet, Rutgers U; Michael P. Taylor, Brigham Young U; Candessa Tehee, Northeastern State U; Benjamin Hugh Velaise, Google American Indian Network.