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Superfine: Tailoring Black Style

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by Ashley Parry

Monday 5th May saw the opening of the Metropolitan Museum of Art’s latest Costume Institute exhibition – Superfine: Tailoring Black Style – and with it, another Met Gala! Like the Met, we at the Art Library have decided to celebrate Black fashion with a display of items from across the Bodleian’s collections.

Superfine: Tailoring Black Style book display. Image Credit: Iona Spark

As a topic, this is extremely fertile ground for exploration, combining history of fashion, decorative arts, fine art, social history, philosophy, and literature. Nowhere is this more apparent than in Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity by Monica L. Miller. This book – which serves as the main inspiration for the Met’s exhibition – is a rich, nuanced and fascinating examination of key moments in the development of the Black dandy as a popular cultural figure and explores the tensions that this figure evokes. As Miller states, ‘the dandy is a figure who exists in the space between masculine and feminine, homosexual and heterosexual, seeming and being, even when not specifically racialized’.1

Book cover for Slaves to Fashion, depicting Iké Udé posing in profile upon a chaise, wearing a dark frock coat with light gloves and a buttonhole

One person who consciously plays with these boundaries and who is intimately tied up with the Met’s exhibition is Nigerian artist, Iké Udé. Not only is his work featured in the exhibition and not only did he contribute an epilogue to the exhibition catalogue, but one of his photographic self-portraits graces the cover of Miller’s book. This photo provides an excellent example of how Udé practices the ‘discipline’ of dandyism – as he calls it2 – in both his art and his appearance. He is further represented in the display through the sartorial photography catalogue Beyond Decorum: The Photography of Iké Udé. In this collection, Udé explores the boundaries between his subjects’ outward seeming and inner worlds as deep, dark secrets are stitched to the insides of their clothes.

Furthermore, as a Nigerian artist who largely resides and practices in the US, Udé is in some ways representative of another ‘thread’ of Miller’s exploration – namely, the complex relationship between blackness and Africa as cultural constructs. She discusses how racialised colonialism can lead to a perceived collapsing of many African diasporic experiences, but how, at the same time, Black people in the diaspora have been able to use these constructs in order to build their own styles and identities. This could be seen at the Met Gala through the inclusion of subtle cowrie detailing on Lewis Hamilton’s outfit, and in the books of the display through Mickaël Kra: Jewellery Between Paris Glamour and African Tradition, for which Kra takes inspiration from the jewellery-making practices of various hunter-gatherer peoples of southern Africa.

Then, in African Dress: Fashion, Agency and Performance, the opposite side of this exchange is presented through essays detailing the style experiences of a variety of communities throughout the African continent, and in the issue of African Arts on the display, including an article about the Sapeuses – the feminine equivalent of the more famous, besuited Sapeur Congolese subculture. Also, I have included here a photo by Kinshasa-based photographer Justin Makangara of a man whose striking combination of Congolese adornment with western-style garments and accessories illustrates the ways that some African communities are forging their own style paths.

Photo of a Congolese Sapeur wearing a suit jacket, cap and sunglasses, decorated heavily with beads and shells. Image Credit: Justin Mkangara. Via Wikimedia Commons

Yinka Shonibare – represented here through catalogues for his Fabric-ation and Double Dutch exhibitions – similarly uses his sculptural dioramas, sumptuously dressed in African wax prints and often recreating the silhouettes and poses of famous white historical figures and events, to push past the boundaries and stereotypes created by colonialist narratives. Shonibare’s use of wax prints is a symbolically loaded one, not only because of the contrast between the stereotypically African patterns and the Europeanness of the clothing, but because that fabric contains within it a complex but often overlooked story of colonial appropriation and adoption. Wax prints originated in Indonesia, were then mass-produced first by the Dutch and then even more prolifically by the British, and finally sold to West African buyers.

Photo of Shonibare’s sculpture Big Boy from Double Dutch, page 62

Through these works he makes statements about identity construction, cultural appropriation and consumerism in ways that play out interestingly with Miller’s work on Black dandyism. For example, her exploration of the fraught nature of using extravagance for defiance is echoed by Shonibare when discussing his work: ‘In order to have aristocratic freedom to indulge, others need to be colonised. Fine art is excess par excellence. It is not going to emancipate you in any direct way.3 He also addresses the interplay of dandyism, race and class directly in Double Dutch through the photograph series ‘Diary of Victorian Dandy’.

In Afro-Fabulations: The Queer Drama of Black Life by Tavia Nyong’o– available as an ebook via SOLO and via the QR code in the display – the author discusses the same problem of high art, but with a fashionable twist. In the chapter ‘Critical Shade: The Angular Logics of Black Appearance’, Nyong’o dissects Trajal Harrell’s solo dance piece Twenty Looks or Paris Is Burning at the Judson Church, Size Small. Harrell, in this piece, incorporates and dissects elements of both high fashion catwalks and the New York ballroom culture inspired by the same. Nyong’o in turn highlights the tensions of Harrell ‘performing in the avant-garde milieu that was once the stuff of vogueing fantasy4’ and explores possible interpretations of this tension.

Online book cover for Afro-Fabulations

In The Politics of Black Joy: Zora Neale Hurston and Neo-Abolitionism, Lindsey Stewart similarly examines the trials and limits of liberation – for example, how both Black joy and Black tragedy can be weaponised by white institutions to simplify African-American narratives into either abject tragedies or enchanting fables. Stewart uses the works of Zora Neale Hurston, blended with the art of famous contemporary figures such as Beyoncé and stories from her own experience as jumping-off points, and I thought this a fitting addition to this display as the 1934 Zora Neale Hurston essay, “The Characteristics of Negro Expression” was one of the inspirations for the Met’s exhibition. As Stewart details, one of Hurston’s key preoccupations was, in ways sometimes controversial, challenging the ‘tradition of tragic southern Black representation’5

Saint Adeline by Kehinde Wiley, a stained-glass work depicting a haloed young black man in light-coloured denim, on a dark blue background.

Kehinde Wiley likewise challenges pervading narratives applied to African Americans – especially their exclusion from the canon of western art. In his portraits, he poses his black subjects in imitation of a variety of famous ‘Old Master’ paintings and stained-glass windows, constructing new meanings from their symbolic resonances. However, I thought Wiley’s art particularly works in a display on Black style and especially dandyism because of his keen interest in Black masculine identity – and especially how young Black men construct themselves. This can be seen in the participatory nature of some of his paintings and glassworks, in which he invited his models to choose their own outfits and which paintings they would like to copy. In this way, while the streetwear of these men might seem completely divorced from the flamboyance of a dandy, the two can be brought into conversation in Wiley’s art through a mediated process of self-fashioning and evidence of assertive masculine vanity. Furthermore, Wiley’s paintings also evoke connection with dandyism through his use of floral designs for his backgrounds, inspired by the prints of William Morris, a key contributor to the English Aesthetic movement.

The cover of Fashioning Masculinities with a photo of Omar Victor Diop in Regency era clothing.

Unfortunately, there isn’t space to write in-depth about every book in a single blog post, and I wish I could do so to recommend these fantastic books even further, but here I will quickly emphasise just a few. The exhibition catalogue for the V+A’s Fashioning Masculinities exhibition, while its focus is menswear more generally, pays tribute to the indispensability of Black male style, and features black men literally front and centre with a portrait of Omar Victor Diop on the front cover and other famous figures such as Marcus Rashford and Prince inside. Then, in The Birth of Cool, Carol Tulloch, like Monica Miller uses a key central idea – in this case, the concept of “cool” –to organise a tracing of Black style narratives through time, and, like Lindsey Stewart, she also draws upon personal experience in examining these narratives.

The cover of The Woman in the Zoot Suit, depicting three Pachuca women being arrested.

Finally, no display on Black style would be complete without the iconic zoot suit, represented here not only through Zoot Suit: The Enigmatic Career of an Extreme Style, but also through The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory which focuses specifically on the style’s proliferation into the Pachuco subculture and specifically among Pachuca women.

I hope you have enjoyed this exploration of Black fashion inspired by these books and by the Met Gala as much as I enjoyed researching them. These are just a selection of the books available on Black history, art, and style in the Bodleian Libraries and I hope you will use it as a launch pad for further research on the subject.

Bibliography

A. Braun, M. Kra, and F. Vormese, Mickaël Kra: Jewellery Between Paris Glamour and African Tradition (Stuttgart: Arnoldsche, 2006).

S. Coulson, Lilley, C., and Y. Shonibare, Yinka Shonibare MBE: Fabric-ation Exhibition Guide (Wakefield: Yorkshire Sculpture Park, 2013).

N. Gainer, Vintage Black Glamour: Gentlemen’s Quarters (London: Rocket 88, 2016).

T. Garrard, African Gold: Jewellery and Ornaments From Ghana, Cote d’Ivoire, Mali and Senegal in the Collection of the Gold of Africa Barbier-Mueller Museum in Cape Town (Munich: Prestel, 2011).

R. Garelick, ‘America’s Premier Dandy Doesn’t Want the Title’, The New York Times, New York, The New York Times Company, 2025. https://www.nytimes.com/2025/04/28/style/met-gala-ike-ude-black-dandyism.html (Accessed: 07 May 2025).

T. Golden, Black Male: Representations of Masculinity in Contemporary American Art (New York: Whitney Museum of American Art, 1994)

K. Hansen and M. Soyini (eds.), African Dress: Fashion, Agency and Performance (Oxford: Berg, 2013)

J. King, ‘The Art of Masculinity’, Colorlines, Oakland, CA; New York City, Race Forward, 2015, https://colorlines.com/article/art-masculinity/ (Accessed: 07 May 2025).

K. Laciste, ‘Practical Work: Sapeuses (Women Sapeurs) in Kinshasa, Democratic Republic of the Congo’, African Arts, vol. 56, no. 4, 2023, pp.62-79.

G. Lamia (ed.), Kehinde Wiley: Peintre de L’Épopée (Gand: Snoeck, 2020).

J. Makangara, ‘Justin Makangara’, Congo in Conversation, Hyères, Fondation Carmignac  2021 https://congoinconversation.fondationcarmignac.com/en/journalists/justin-makangara (Accessed: 08 May 2025).

J. Marsh, Black Victorians: Black People in British Art, 1800-1900 (Aldershot: Lund Humphries, 2005).

M. McCollom, The Way We Wore: Black Style Then (New York: Glitterati Incorporated, 2006).

M. McCurdy, Kehinde Wiley: A Portrait of a Young Gentleman (San Marino, California: The Huntington Library, Art Museum, and Botanical Gardens, 2022).

R. McKever and C. Wilcox (eds.), Fashioning Masculinities: The Art of Menswear (London: V&A Publishing, 2022).

K. Mercer, ‘Art That is Ethnic in Inverted Commas’, Frieze, London, Frieze Publishing Ltd., 1995, https://www.frieze.com/article/art-ethnic-inverted-commas (Accessed: 07 May 2025).

T. Muriu, Camo (Los Angeles, California: Chronicle Chroma, 2024).

T. Nyong’o, Afro-Fabulations: The Queer Drama of Black Life (New York: New York University Press, 2019)

K. Peiss, Zoot Suit: The Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011).

R. Powell, Cutting a Figure: Fashioning Black Portraiture (Chicago, Ill.; London: University of Chicago Press, 2008).

C. Ramírez, The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, Durham; London: Duke University Press, 2009).

L. Roach, How to Build a Fashion Icon: Notes on Confidence From the World’s Only Image Architect (New York: Abrams Image, 2024).

D. Rodgers, ‘Everything You Need To Know About The Met Gala 2025’, Vogue, Condé Nast, New York, 2025 https://www.vogue.co.uk/article/met-gala (Accessed: 07 May 2025).

Y. Shonibare and others, Yinka Shonibare: Double Dutch (Rotterdam : Museum Boijmans Van Beuningen ; [Vienna] : Kunsthalle Wien ; Rotterdam : NAi Publishers ; New York : D.A.P./Distributed Art Publishers, 2004).

L. Stewart, The Politics of Black Joy: Zora Neale Hurston and Neo-Abolitionism, (Evanston, Illinois : Northwestern University Press, 2021).

E. Tsai, C. Choi, and K. Wiley, Kehinde Wiley: A New Republic (Munich: DelMonico, 2015).

C. Tulloch, Black Style (London: V&A Publications, 2004).

C. Tulloch, The Birth of Cool: Style Narratives of the African Diaspora, Oxford: Bloomsbury Academic, 2016).

Victoria and Albert Museum, An introduction to the Aesthetic Movement, https://www.vam.ac.uk/articles/an-introduction-to-the-aesthetic-movement?srsltid=AfmBOop4qQvK1h4Jr7J5AGtwvgeHxKr_XFZjWxmsxcVbtyl-5WvKEGdF (Accessed: 07 May 2025).

S. White and G. White, Stylin’: African American Expressive Culture From its Beginnings to the Zoot Suit (Ithaca, N.Y.; London: Cornell University Press, 1998).

K. Wiley, Kehinde Wiley: Saint Louis, (Culver City, California: Roberts Projects, 2019).

  1. Miller, Monica L., Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity (Durham ; London: Duke University Press, 2009), p. 6.
    ↩︎
  2. R. Garelick, ‘America’s Premier Dandy Doesn’t Want the Title’, The New York Times, New York, The New York Times Company, 2025. https://www.nytimes.com/2025/04/28/style/met-gala-ike-ude-black-dandyism.html (Accessed: 07 May 2025). ↩︎
  3. K. Mercer, Art That is Ethnic in Inverted Commas, Frieze, London, Frieze Publishing Ltd., 1995, https://www.frieze.com/article/art-ethnic-inverted-commas (Accessed: 07 May 2025). ↩︎
  4. T. Nyong’o, Afro-Fabulations: The Queer Drama of Black Life (New York: New York University Press, 2019), p.30 ↩︎
  5. L. Stewart, The Politics of Black Joy: Zora Neale Hurston and Neo-Abolitionism, (Evanston, Illinois : Northwestern University Press, 2021), p.47 ↩︎

Ukraine: Three Years On (22/02/2025)

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Ukraine Book Display

By Jamie Copeland

As the third anniversary of the Russian invasion has arrived I have arranged a new display of some of the books held by the Bodleian Libraries regarding Ukraine, with a particular focus on the subject areas held by the Art, Architecture and Ancient World Library. Previous displays initially covered a general overview of material, from Scythian golden artifacts, medieval church architecture, and modernist artists. A second display concerned questions raised by competing narratives of Ukrainian history, and the effect of this on Ukrainian people and cultural traditions. This issue was particularly problematised by the shifting aims of Russian Imperialism and the interactions of the state with both it’s subjects and a wider diaspora of artists with a Ukrainian heritage. A third attempted to highlight contemporary artists and promote the recent acquisitions of the library.

The main aim of the current display is, in light of recent events, in an attempt to use the material to look back over the contemporary period since the Russian invasion of the Donbas and Crimea and to centre the experience of the Ukrainian people, while contesting attempts to recreate a narrative of the last few years by providing a source of context.

The initial part of the display is focused upon recent acquisitons to the ART Library’s collections and an attempt to use the periodical collections to give an indication of the reaction to them.  The increasing prominence of the Odessa born Sonia Delauney is indicated by the recently published ‘Sonia Delaunay : living art’ by Waleria Dorogova and Laura Microulis.

The recently published Ukraine addition to the ‘World of Art’ series shares its cover image with a review of the exhibition on the artists linked to the communities formed by the art schools of Kyiv, Kharkov, and Odessa in the early 20th century. The accompanying book, although part of a previous display has also been included.

An article from the Burlington Magazine on the deliberate theft and destruction of Ukraine’s cultural heritage acts as a form of bridge between the new Art books and the books documenting, and to some degree, aestheticizing the impact of Russian aggression.  Forming a kind of core are a series of books describing both the resistance to the Donbas occupation, with journals and letters from the Ukrainian forces opposing the Russian occupation in the face of international resignation while establishing an artistic link, both to their past as a culture, and their present as a nation. As mentioned above, the second Ukraine display had attempted to examine, through the work and biography of a variety of artists some of the problems raised by the competing claims of Ukrainian nationhood.

An artist such as the ex-serf Taras Shevchenko, born near Kiev and dying in St Petersburg, living in the Russian Empire period; could be contrasted with a figure such as the avant-garde painter Kazimir Malevich who shared his place of birth and death. Although one died just before the liberation of the serfs and the other near the advent of the Stalinist purges, they had a common history, both alternately feted and repressed, establishing connections and a range of influences in the face of a system determined to establish a coercive process of control.

Supplementing these personal histories was the inclusion of material discussing the geographies affecting Ukrainian people. Whether artists influenced by a change of borders or the establishment of institutions, such as the art schools and movements founded in Ukrainian cities, or their experiences as part of an exiled diaspora whose work echoed memories of alienated childhood landscapes and separated families.

Part of the criteria for the selection of the material in the display was to show the record of responses to ongoing events, no longer part of an established trauma such as the Holodomor or the Executed Renaissance, but as a contested narrative of unknown outcome, contextualised by the artistic narratives of both direct experience and processed works.

During the breakup of the Soviet Union, following an attempted coup by the Communists, a referendum was called by the Ukrainian Rada in order to approve the Act of Declaration of Independence on the 1st December 1991. After winning by 92% Ukraine’s independence was recognised both globally and by the USSR which officially dissolved itself days later. As Putin succeeded to the presidency various methods from political pressure to financial coercion were used to exert Russian control. Various political scandals, including the collusion of President Kuchma in the murder of a journalist and repeated vote-rigging allegations culminated in the 2004 Orange Revolution. After the Ukrainian president Yanukovych refused to sign an Association Agreement with the EU large protests erupted in several cities, the largest being in the Maidan in Kyiv. Despite attempts to suppress the demonstrations by denouncing them as the result of Western interference and the use of increasing violence from security services and militias the demonstrations ended with the flight and deposition of the president. Russia responded by annexing Crimea and sending troops and equipment over the Ukraine border in support of ‘separatists’ such as the Russian Nationalist Igor Girkin, later charged with the shooting down of Flight MH17. Ukraine, under the new President Poroshenko, reacted by strengthening their armed forces, calling for international mediation, and the introduction of legislation intended to decentralise political authority, part of which established Ukrainian as the sole national language whilst leaving the status of Russian and minority languages up to their districts administrations.

The Donbas war continued more or less at a stalemate while various peace plans were mooted. Russia complained about Ukrainian ‘Russo-phobia’ citing attacks on Russian speaking civilians, the use of Nationalist forces such as the Azov Brigade, and the removal and renaming of monuments commemorating Russian and Soviet figures. In 2019 President Zelensky was elected, and began efforts to incorporate Nationalist fighters into the regular army and remove restrictions on the official use of the Russian language. In late 2021, as the Covid crisis receded and supply chains were rebuilt Russia began a large-scale deployment on Ukraine’s border.

On the 22nd of February 2022 Russia initiated a full invasion, bombarding cities and infrastructure throughout Ukraine, and launching attacks intended to surround and seize the capital. The invasion was accompanied by a variety of claims, headed by Putin’s “Address concerning the events in Ukraine”, denying the nationhood of Ukraine and the concept of a culture separate from Russia.

Sketch of abandoned miliatry vehicles.
Ukraine, remember also me , Illustration
Sky Above Kharkiv

A large part of this display has focused on the response of Ukrainians to these actions, either in written narratives and journals, or documented in photography and art produced to record the reaction of people under physical and existential assault.  Images, such as the flight of refugees, the rubble of cities, and the day to day lives of civilians and soldiers has been mixed with longer narratives such as the struggle between workers at the Chernobyl power plant and the occupying forces, or the struggle over Bakhmut.

The girlfriend of a Ukrainian soldier trapped in the Avozstahl Steelworks protests in Kyiv.
Chernobyl Maternity Hospital. Points Between…Up Till Now

The question over the ‘truth’ of a photograph has existed since the invention of the medium. One of the earliest practitioners of war photography was Roger Fenton, whose work in the Crimean War was used in a prior display. Contemporary images, such as the protestor holding an English language sign against a background of rubble, have elements of staging and selection even without requiring lengthy exposure times or expensive equipment. The use of such products is inextricably a contested territory. The hand-coloured panoramic photographs of non-staged scenes in the work of Viktor and Sergiy Kochetov is an alternative approach to the question.

That ‘all art is propaganda’ may be almost a truism but the necessity of promoting an idea, whether of a self-hood or of an experience, is a right I have tried to use this display to centre. That a diversity of permitted speech can exist is as much of a conflict as any struggle over territory. The inclusion of scholarly works by Ukrainian authors donated to the AAWL collections on subjects unrelated to the war are intended to represent this, by highlighting a cultural life beyond the mere present and include material outside of the art collection.

There were also several books that were not available in time for the creation of the display but the content was too relevant to the themes of the display to be left out. The first of these, ‘Lviv-God’s Will’,
is a collection of photographs of mundane objects that have been aesthetically altered by by Ukrainian citizens. The objects, painted street debris. have been altered by unknown people but otherwise left untouched by the photographer. The only alteration, other than the standards of photographic composition has been the removal of the street setting which has been replaced with a gallery style background. Complementing this are two other books, one ‘Invicta: Unconquered’ is a selection of the works of Urainian artists that were made in the first months of the war, accompanied by short narratives of the artists experience of the invasion. The second, ‘”ARTBOOK CRYONES’ is a collection of works created at a therapeutic camp for child survivors. The entries, designed by the children assisted by the counsellors, contain a variety of pieces created by the children as they process the war and the common experiences of enduring shelling and the loss of relatives. They vary in media, from military badge collections, to drawings and journal entries but have a repeated aim of interactivity with the reader, who is encouraged to physically engage with the book..


‘Lviv-God’s Will’ cover
Introduction

Finally, one of the challenges presented by collecting this is the difficulty in presenting work that is absent. There are several books that have been purchased by the Bodleian Libraries that were ordered to strengthen the Bodleian collections regarding Ukraine. That works such as ‘Off the beaten track: urban regeneration of hidden world heritage in L’viv’ or ‘Decommunized, Ukrainian Soviet mosaics’ are absent is an invisible loss. Paper shortages, the economic stresses and the diversion of efforts may not be as visible as a shattered museum but still has lasting consequences on the production and dissemination of cultural works. Donations to the Bodleian of books to complement our collections can be made, and reader.services@bodleian.ox.ac.uk can be contacted who can provide the details of the relevant Subject Librarian. Conversely if you are aware of a publication that the library should obtain you can use https://www.bodleian.ox.ac.uk/collections-and-resources/recommend-a-purchase to provide us with details.

There is also the ongoing attempt to present work by Ukrainian artists outside of the published form. As with previous displays I have used the publicity material to promote their work, this time an image by Maxim Dondyuk whose work as a visual artist explores subjects such as Chernobyl, the Maidan protests, and the aftermath of armed conflict in eastern Ukraine. Their website can be found at https://maximdondyuk.com/.

A list of the publications used in the display may be found in the bibliography at the end of this post.

Bibliography

Apollo (2024 Apr)

Artforum International (2024 Dec)

Artforum International (2025 Feb)

Bakhmut / Myroslav Lai︠u︡k.

Chernobyl : a stalkers’ guide / Darmon Richter

Chernobyl roulette : a war story / Serhii Plokhy.

Cryones : zbirka zovsim nedytiachykh dytiachykh istoriĭ = a collection of not-at-all childish children’s stories / Oksana Lebedieva, Ivan Holub, Polina Klibus [editors]

Icons on ammo boxes : painting life on the remnants of Russia’s war in Donbas, 2014-2021 / Sonya Atlantova and Oleksandr Klymenko

Ikonohrafii︠a︡ skifsʹkoï eskhatolohiï = Iconography of Scythian Eschatology / Hanna Vertii︠e︡nko

In isolation : dispatches from occupied Donbas / Stanislav Aseyev ; translated by Lidia Wolanskyj.

In the eye of the storm : modernism in Ukraine, 1900-1930s / edited by Konstantin Akinsha

Invicta : unconquered : stories of Ukrainian artists and their paintings created in the first 111 days of the war against Russia 24.02.22 to 14.06.22 / Timonti︠e︡i︠e︡va, O. (Olʹha), editor.

 Istorii͡a ukrainskoĭ fotografii XIX-XXI veka / avtor Oleksandr Trachun

Lviv-God’s Will / Poliakov, Viacheslav

Papirusnyĭ svitok na vinʹetkakh drevneegipetskoĭ Knigi mërtvykh / N.A. Tarasenko.

Points between … up till now / [Robert Polidori

Relentless courage : Ukraine and the world at war.

Sky Above Kharkiv : dispatches from the Ukrainian front / Serhiy Zhadan.

Sonia Delaunay : living art / Waleria Dorogova and Laura Microulis, editors.

Studies on the vignettes from chapter 17 of the Book of the Dead. I, The image of MS.W Bdšt in ancient Egyptian mythology / Mykola Tarasenko.

Take my grief away : voices from the war in Ukraine / edited by Katerina Gordeeva.

The art of Ukraine / Alisa Lozhkina.

The art of Ukrainian sixties / editors, Olha Balashova

The Burlington magazine. (2022 July)

Ukraine rising : contemporary creative culture from Ukraine / co-creator: Lucia Bondar

Ukraine, remember also me : testimonies from the war / George Butler.

Viktor Kochetov = Kochetov / photography  Victor and Sergey Kochetov ; editor Sergiy Lededynskyy ; text Victor Kochetov

‘Ode to Independence’ from Istorii͡a ukrainskoĭ fotografii XIX-XXI veka / avtor Oleksandr Trachun