Fiona Johnstone is Assistant Professor in the Institute for Medical Humanities at Durham University, UK.Allison Morehead is Professor of Art History and in the Graduate Program in Cultural Studies at Queen’s University, Canada.Imogen Wiltshire is Senior Lecturer in Art History and Visual Culture at the University of Lincoln, UK.

• ForewordAngela Woods (University of Durham, UK)IntroductionConfabulations: art practices, art histories, critical medical humanitiesFiona Johnstone (University of Durham, UK), Allison Morehead (Queen’s University, Canada), and Imogen Wiltshire (University of Lincoln UK).Part 1: Lived Experience1. Curating beyond science communication towards embodied expertise: creative collaborations with guts.Vanessa Bartlett (University of Melbourne, Australia).2. After images: technologies of the body and the archive.Silvia Casini (University of Aberdeen, UK), and Ilona Sagar (Goldsmiths University London, UK)3. ‘How close is too close?’ the practice and politics of lived experience in contemporary art, academic history and the medical humanities.Daniel Regan (Independent artist, UK; executive director of the Arts & Health Hub) and Chris Millard (University of Sheffield, UK)4. Cripistemology of the cabinet: Jesse Darling’s Epistemologies (shamed cabinet).Amanda Cachia (University of Houston, USA)5. Beads, breath and memory: Ruth Cuthand’s Surviving Covid-19.Skye Haggerty (University of Alberta, Canada)Part 2: Visualising Knowledge & Power6. Looking well: art historical interventions for a more equitable medicine.Kathleen Pierce (Smith College Northampton, USA)7. Punchlines and power: visual humour as a disruptive tool for the critical medical humanities.Katie Snow (University College Dublin), Christine Slobogin (University of Rochester Medical Center, USA) Laura Cowley 8. Two faces of the same object: borderline bodies in art & visual culture.Natasha Ruiz-Gómez (University of Essex, UK), Keren Hammerschlag (Australian National University, Canberra), Tania Cleaves (née Woloshyn) (University of Nottingham, UK)9. Between Mania and Melancholy: Thomas Lawrence's Mad Girl (1786).Anna Jamieson (University of Birmingham, UK)Part 3: Making & Remaking Medicalized Bodies10. Dissecting ‘mental images’: revisiting twentieth-century surgical illustration.Ashley Lazevnick (University of New Mexico, USA)11. Being an image: photography, ownership, language & power in the clinical encounterFiona Johnstone (University of Durham, UK) and Liz Orton (Independent artist, UK) 12. Engraving the fetal subject: William Smellie, A Set of Anatomical Tables (1754).Rebecca Whiteley (University of Birmingham, UK) 13. Re-mythologizing the (Re)Productive Body: Wangechi Mutu’s Cervical Hypertrophy (2004-5).Arya Thampuran (Durham University, UK)Part 4: Reproducing Reproduction14. In living colour: realism and abstraction in anatomical models of the female reproductive body 1880-1900.Jessica M. Dandona (Minneapolis College of Art and Design, USA)15. Making meanings from medicine: visual histories of medicine, race and reproductive healthAnna Arabindan-Kesson (Princeton University, USA) and Gabriella Nelson (Maternity Care Coalition, Philadelphia, USA)16. Reproductive resistance: Charmaine Watkis, The Return of the Seed Keeper (2021).Jessica Womack (Independent Scholar, USA)17. Marian Maternity and the Medieval Modern: engagements with contemporary un-reproductivityIsabel Davis (Natural History Museum, UK) and Anna Burel (Independent artist, UK)18. Birth knowledge and institutional experiences: Lyndsay Mann’s As You Were (2023).Camilla Mørk Røstvik (University of Agder, Norway)Part 5: Rethinking Art & Therapy19. Perpetual Custody.Suzanne Hudson (University of California, USA)20. Is There Room for Critical Studies in Art Therapy?Leah Gipson (School of the Art Institute of Chicago, USA) and Katharine Houpt (Psychotherapist, USA) 21. Beyond Therapy: Lula and Rogério’s estrutura viva.Kaira M. Cabañas (National Gallery of Art, Washington, DC, USA)Part 6: Caring, Collaborating, Curating22. Healthcare intimacies: Vanessa Bell and Dr Marie Moralt.Alison Syme (University of Toronto, Canada)23. Flight as method: a Sick Woman exchange in material encounters, and the time it takes to care.Gemma Blackshaw (Royal College of Art, UK) and Alice Butler (Royal College of Art, UK)24. Manual: broken bodies for broken landscapes.Cripxcess (Lorenzo Galgo and Maria Morata) (independent artists, Spain) 25. Lying in: a conversation from the bedside.Monika Ankele (Charité – Universitätsmedizin Berlin, Germany), Céline Kaiser (Hochschule für Künste im Sozialen, Ottersberg, Germany), Angela Alves (University of Arts Berlin, Germany)26. Simone Leigh’s sociality of self-care.Cera Smith (University of Oregon, USA)27. Kintsugi and the art of self-repair.Suzannah Biernoff (Birkbeck, University of London, UK)28. Being horizontal: a visual essay.Nora Heidorn (Independent artist, Germany) 29. Lifeblood – Edvard Munch: Towards a Curatorial Medical Humanities.Allison Morehead (Queen’s University, Canada)AfterwordTanya Sheehan (Colby College, USA)

An agenda-setting collection, committed to social justice and formal innovation in research, Art and the Critical Medical Humanities brings together a stimulating range of perspectives and approaches to the study of art practices and health. Anyone with an interest in art, humanities and health will surely find much of value here.