When art hits the headlines, it is usually because it has caused offence or is perceived by the media to have shock-value. Over the last fifty years many artists have been censored, vilified, accused of blasphemy and obscenity, threatened with violence, prosecuted and even imprisoned. Their work has been trashed by the media and physically attacked by the public.

In Art & Outrage, John A. Walker covers the period from the late 1940s to the 1990s to provide the first detailed survey of the most prominent cases of art that has scandalised. The work of some of Britain’s leading, and less well known, painters and sculptors of the postwar period is considered, such as Richard Hamilton, Bryan Organ, Rachel Whiteread, Reg Butler, Damien Hirst, Jamie Wagg, Barry Flanagan and Antony Gormley. Included are works made famous by the media, such as Carl Andre’s Tate Gallery installation of 120 bricks, Rick Gibson’s foetus earrings, Anthony-Noel Kelly’s cast body-parts sculptures and Marcus Harvey’s portrait of Myra Hindley. Walker describes how each incident emerged, considers the arguments for and against, and examines how each was concluded. While broadly sympathetic to radical contemporary art, Walker has some residual sympathy for the layperson’s bafflement and antagonism. This is a scholarly yet accessible study of the interface between art, society and mass media which offers an alternative history of postwar British art and attitudes.

The publication of Pope Francis’ post-synodal apostolic exhortation, Amoris Laetitia started the most important theological debate in the Catholic Church since the end of the Second Vatican Council. The cardinals, bishops, theologians, priests, lay Catholics found themselves on the opposite sides of this crucial and complicated discussion. This book attempts to shed some light on this debate by tracing its genealogy. Since Amoris Laetitia is a post-synodal document, the large part of the book is devoted to the theological analysis of the two Synods of Bishops convoked by Pope Francis in the first years of his pontificate: the extraordinary in October 2014 and the ordinary that took place a year later. The main topics for the two synods were determined, however, in the speech given by Cardinal Walter Kasper during the cardinals consistory in February 2014 whose main aim was to prepare the possibility of admitting divorced persons who live in second unions to Holy Communion. The arguments of Cardinal Kasper are presented in the first chapter of the book and confronted with the most significant statements of the Magisterium of the Church on the issue of admittance to the Holy Communion. This book is a study at the intersection of Church history, the history of theology, and systematic theology: dogmatic and moral. Kupczak is interested in the chronology of the events connected to the two synods on the family but in the context of theological problems discussed therein: the theological significance of contemporary cultural changes; the relation of the Church to the world; the understanding of the indissolubility of the sacramental marriage and the Eucharist; the methods of ethically assessing human acts, particularly the concept of so-called intrinsically evil acts (intrinsece malum); and the relation of conscience to the general moral norm. The non-partisan ambition of this book is to serve as a “road map”— a help in navigation for the reader in the complicated discussions leading to publication of Amoris Laetitia. The uniqueness of this book consists in combining the historical analysis of the events leading to the publication of Amoris Laetitia with research of the theological discussion that ensued. Since Amoris Laetitia is a post-synodal exhortation, this book rests on the assumption that crucial for its understanding is a thorough analysis of its genealogy. Only in the light of this historical and theological perspective the debates surrounding Amoris Laetitia may be understood.

Many studies have shown that images—their presence in the daily lives of the faithful, the means used to control them, and their adaptation to secular uses—were at the heart of the Reformation crisis in northern Europe.  But the question as it affects the art of Italy has been raised only in highly specialized studies.

In this book, Alexander Nagel provides the first truly synthetic study of the controversies over religious images that pervaded Italian life both before and parallel to the Reformation north of the Alps. Tracing the intertwined relationship of artistic innovation and archaism, as well as the new pressures placed on the artistic media in the midst of key developments in religious iconography, The Controversy of Renaissance Art offers an important and original history of humanist thought and artistic experimentation from one of our most acclaimed historians of art.

The cross stirs intense feelings among Christians as well as non-Christians. Robin Jensen takes readers on an intellectual and spiritual journey through the two-thousand-year evolution of the cross as an idea and an artifact, illuminating the controversies—along with the forms of devotion—this central symbol of Christianity inspires.

Jesus’s death on the cross posed a dilemma for Saint Paul and the early Church fathers. Crucifixion was a humiliating form of execution reserved for slaves and criminals. How could their messiah and savior have been subjected to such an ignominious death? Wrestling with this paradox, they reimagined the cross as a triumphant expression of Christ’s sacrificial love and miraculous resurrection. Over time, the symbol’s transformation raised myriad doctrinal questions, particularly about the crucifix—the cross with the figure of Christ—and whether it should emphasize Jesus’s suffering or his glorification. How should Jesus’s body be depicted: alive or dead, naked or dressed? Should it be shown at all?

Jensen’s wide-ranging study focuses on the cross in painting and literature, the quest for the “true cross” in Jerusalem, and the symbol’s role in conflicts from the Crusades to wars of colonial conquest. The Cross also reveals how Jews and Muslims viewed the most sacred of all Christian emblems and explains its role in public life in the West today.

Months before Alma López's digital collage Our Lady was shown at the Museum of International Folk Art in 2001, the museum began receiving angry phone calls from community activists and Catholic leaders who demanded that the image not be displayed. Protest rallies, prayer vigils, and death threats ensued, but the provocative image of la Virgen de Guadalupe (hands on hips, clad only in roses, and exalted by a bare-breasted butterfly angel) remained on exhibition.

Highlighting many of the pivotal questions that have haunted the art world since the NEA debacle of 1988, the contributors to Our Lady of Controversy present diverse perspectives, ranging from definitions of art to the artist's intention, feminism, queer theory, colonialism, and Chicano nationalism. Contributors include the exhibition curator, Tey Marianna Nunn; award-winning novelist and Chicana historian Emma Pérez; and Deena González (recognized as one of the fifty most important living women historians in America).

Accompanied by a bonus DVD of Alma López's I Love Lupe video that looks at the Chicana artistic tradition of reimagining la Virgen de Guadalupe, featuring a historic conversation between Yolanda López, Ester Hernández, and Alma López, Our Lady of Controversy promises to ignite important new dialogues.

—Char Miller, from the introduction