Lippard, one of America's most influential art writers, weaves together cultural studies, history, geography, photography, and contemporary public art to provide a fascinating exploration of our multiple senses of place. Expanding her reach far beyond the confines of the art world, she discusses community, land use, perceptions of natures, how we produce the landscape, and how the landscape affects our lives.

    But at what cost? In this urgent and revelatory excavation of our Information Age, leading technology thinker Adam Greenfield forces us to reconsider our relationship with the networked objects, services and spaces that define us. It is time to re-evaluate the Silicon Valley consensus determining the future.We already depend on the smartphone to navigate every aspect of our existence. We're told that innovations--from augmented-reality interfaces and virtual assistants to autonomous delivery drones and self-driving cars--will make life easier, more convenient and more productive. 3D printing promises unprecedented control over the form and distribution of matter, while the blockchain stands to revolutionize everything from the recording and exchange of value to the way we organize the mundane realities of the day to day. And, all the while, fiendishly complex algorithms are operating quietly in the background, reshaping the economy, transforming the fundamental terms of our politics and even redefining what it means to be human.Having successfully colonized everyday life, these radical technologies are now conditioning the choices available to us in the years to come. How do they work? What challenges do they present to us, as individuals and societies? Who benefits from their adoption? In answering these questions, Greenfield's timely guide clarifies the scale and nature of the crisis we now confront --and offers ways to reclaim our stake in the future.

    Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs.In counseling the reader against common pitfalls—such as jargon and poor structure—Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk.Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today.

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.   “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum

    “A tantalizing whodunit” (Boston Globe) and a “riveting, wonderfully vivid account [that] takes you into the underworld of obsessed art detectives, con men, and thieves” (Jonathan Harr, author of The Lost Painting), The Gardner Heist is true crime history at its most spellbinding.

    Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.

    Scott McCloud's Understanding Comics is a seminal examination of comics art: its rich history, surprising technical components, and major cultural significance. Explore the secret world between the panels, through the lines, and within the hidden symbols of a powerful but misunderstood art form.

    Kathleen Rooney draws on her own experiences working as an artists’ model, as well as the famous, notorious, and mysterious artists and models through the ages. Through a combination of personal perspective, historical anecdote, and witty prose, Life Nude Girl reveals that both the appeal of posing nude for artists and the appeal of drawing the naked figure lie in our deeply human responses to beauty, sex, love, and death.

    In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

    The great psychologist dreamed that his work was understood by a wide public, rather than just by psychiatrists, and therefore he agreed to write and edit this fascinating book. Here, Jung examines the full world of the unconscious, whose language he believed to be the symbols constantly revealed in dreams. Convinced that dreams offer practical advice, sent from the unconscious to the conscious self, Jung felt that self-understanding would lead to a full and productive life. Thus, the reader will gain new insights into himself from this thoughtful volume, which also illustrates symbols throughout history. Completed just before his death by Jung and his associates, it is clearly addressed to the general reader.

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    But what of its opposite -- the moment when it becomes clear that things are indisputably over? Dumped is a survey of every type of romantic crack-up, a group of stories full of the hilarity, wisdom, insight, and sometimes, yes, fierce revenges of some of the most memorable broken hearts in recent literature. Dumped sheds light on what can be the toughest part of human relations -- whether newly elucidating the misery we've all endured, or merely reminding us that others have had it far worse -- from the mother in Elizabeth Berg's Open House absurdly attempting to tell her son his father has left, to the betrayed wife in Roald Dahl's "Lamb to Slaughter," who beats her husband to death with a leg of lamb, then cooks it for the police. With contributions from such notable authors as Will Self, Saul Bellow, Alice Munro, Raymond Carver, Lorrie Moore, Dorothy Parker, Andre Dubus, and Tobias Wolff, as well as rising stars like Lucinda Rosenfeld and Steve Almond, Dumped spans every variety of romantic catastrophe and every possible response to it; from the wise to the hilarious, the bitter to the bittersweet. This book is the panacea for problems of the heart.

    

    This unique selection of illustrations with commentaries and source texts guides us on a fascinating journey through the representations of the secret arts.