Jordana Pomeroy

Supremely talented and strategically charming, Élisabeth Vigée Le Brun (1755–1842) overcame tragedy and broke gender barriers to reach the height of success as a portrait painter, first in Paris, and then across Europe.

After losing her father at age twelve and facing financial insecurity, she fought to gain access to artistic training and opportunity. She was coerced into marriage at age twenty, to an art dealer who both helped and harmed her career. Vigée Le Brun deployed her intelligence and beauty to attract powerful clients, who relied on her to style the personal identities they projected to the world.

Vigée Le Brun's salons were the talk of Paris, and she became court painter to Marie Antoinette. Then came the French Revolution, when marginalized groups demanded change to centuries-old systems of oppression. Vigée Le Brun was forced to reexamine her alliances and run for her life, taking her young daughter but leaving her husband behind.

Making her way through the countrysides and capitals of Europe and Russia—including a stay at the imperial court of Catherine the Great—the artist conquered fear and adversity to refashion her life and her art.

Eldin Yellowhorn and Kathy Lowinger

For too long, stories and artistic expressions from Indigenous people have been written and recorded by others, not by the individuals who have experienced the events.

In Ours to Tell, sixteen Indigenous creators relate traditions, accounts of historical events, and their own lived experiences. Novelists, poets, graphic artists, historians, craftspeople, and mapmakers chronicle stories on the struggles and triumphs lived by Indigenous people, and the impact these stories have had on their culture and history.

Some of the profiles included are:

Indigenous poet E. Pauline Johnson
acclaimed novelist Tommy Orange
brave warrior Standing Bear
poet and activist Rita Joe

With each profile accompanied by rich visuals, from archival photos to contemporary art, Ours to Tell brilliantly spotlights Indigenous life, past and present, through an Indigenous lens. Because each profile gives an historical and cultural context, what emerges is a history of Indigenous people.

Jerry Faivish

How did Hitler and the Nazi Party convince millions of people that the murder of Jews during the Holocaust was not only justifiable but correct? What can we learn from one of the most horrific times in history? 

Can Posters Kill? uses rare, historical posters to take readers on a visual journey from medieval anti-Jewish artwork to the venomous Nazi propaganda of the Second World War. These posters show how powerful propaganda can be as a tool for spreading hate: how repetition, vivid imagery, and urgent messaging promote intense emotional reactions―fear, distrust, loyalty, revulsion―that can be used to create a coordinated campaign to impact the way we think. By understanding the visual language of propaganda from the past, we can learn to recognize and resist messages of hate―an essential skill in a digital world where information is spread in seconds.

Karen Valby

At the peak of the civil rights movement, Lydia Abarca was the first ballerina in a Black ballet company to grace the cover of Dance magazine. Alongside founding members Shelia Rohan and Gayle McKinney-Griffith and first-generation dancers Karlya Shelton and Marcia Sells, Abarca invited a bright light to shine on Black professional classical dancers. Grit, determination, and exquisite artistry propelled these swans of Harlem to dizzying heights as they performed around the world for audiences that included celebrities, dignitaries, and royalty.

Now, decades later, these trailblazing ballerinas and longtime friends are giving voice to their stories on- and offstage, reclaiming their past so that it is finally recorded, acknowledged, and lauded, never to be lost again.

Candace Fleming

How did Jim Jones, the leader of Peoples Temple, convince more than 900 of his followers to commit "revolutionary suicide" by drinking cyanide-laced punch? From a master of narrative nonfiction comes a chilling chronicle of one of the most notorious cults in American history.

Using riveting first-person accounts, award-winning author Candace Fleming reveals the makings of a monster: from Jones’s humble origins as a child of the Depression… to his founding of a group whose idealistic promises of equality and justice attracted thousands of followers… to his relocation of Temple headquarters from California to an unsettled territory in Guyana, South America, which he dubbed "Jonestown”… to his transformation of Peoples Temple into a nefarious experiment in mind-control.

And Fleming heart-stoppingly depicts Jones’s final act, persuading his followers to swallow fatal doses of cyanide—to “drink the kool-aid,” as it became known—as a test of their ultimate devotion.

Here is a sweeping story that traces, step by step, the ways in which one man slowly indoctrinated, then murdered, 900 innocent, well- meaning people. And how a few members, Jones' own son included, stood up to him... but not before it was too late.