Our public spaces are not designed for female bodies. There is little consideration for women as mothers, workers or carers. The urban streets often are a place of threats rather than community. Gentrification has made the everyday lives of women even more difficult. What would a metropolis for working women look like? A city of friendships beyond Sex and the City. A transit system that accommodates mothers with strollers on the school run. A public space with enough toilets. A place where women can walk without harassment.In Feminist City, through history, personal experience and popular culture Leslie Kern exposes what is hidden in plain sight: the social inequalities built into our cities, homes, and neighborhoods. Kern offers an alternative vision of the feminist city. Taking on fear, motherhood, friendship, activism, and the joys and perils of being alone, Kern maps the city from new vantage points, laying out an intersectional feminist approach to urban histories and proposes that the city is perhaps also our best hope for shaping a new urban future. It is time to dismantle what we take for granted about cities and to ask how we can build more just, sustainable, and women-friendly cities together.

    It might seem easy, but it is actually very complicated.When Adam Smith proclaimed that all our actions were motivated by self-interest and the world turned because of financial gain he laid the foundations for 'economic man'. Selfish and cynical, 'economic man' has dominated our thinking ever since, the ugly rational heart of modern day capitalism. But every night Adam Smith's mother served him his dinner, not out of self-interest, but out of love.Even today, the unpaid work of mothering, caring, cleaning and cooking is not part of our economic models. All over the world, there are economists who believe that if women are paid less, then that's because their labour is worth less.In this engaging, popular look at the mess we're in, Katrine Marçal charts the myth of 'economic man', from its origins at Adam Smith's dinner table to its adaptation by the Chicago School and finally its disastrous role in the 2008 Global Financial Crisis.

    A loosely formed autobiography by Andy Warhol, told with his trademark blend of irony and detachmentIn The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, “the complex confluence of identities—race, class, gender, and sexuality—systemic to women of color oppression and liberation.”

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the pioneers of modern abstraction.

    Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.

    Reflecting on our increasingly diet and body-obsessed society, Susie Orbach's new introduction explains how generations of women and girls are growing up absorbing the eating anxieties around them. In an age where women want to be sexy, nurturing, domestic goddesses, confident at work, and feminine too, the twenty-first-century woman is poorly armed for survival. Never before has the Fat Is A Feminist Issue revolution been more in need of revival.Exploring our love/hate relationship with food, Susie Orbach describes how fat is about so much more than food. It is a response to our social situation; the way we are seen by others and ourselves. Too often food is a source of anguish, as are our bodies. But Fat Is A Feminist Issue discusses how we can turn food into a friend and find ways to accept ourselves for who and how we are. Following the step-by-step guide, and you too can put an end to food anxieties and dieting.

    With all the revolutionary zeal, laugh-out-loud humour and intelligence of Laura Bates, Caitlin Moran and Bell Hooks, Emer O'Toole explores what it really means to 'act like a girl'.Being a woman is, largely, about performance - how we dress and modify our bodies, what we say, the roles we play, and how we conform to expectations. Gender stereotypes are still deeply embedded in our society, but Emer O'Toole is on a mission to re-write the old script and bend the rules of gender - and she shows how and why we should all be joining in.With game-changing ideas and laugh-out-loud humour, this book will open your mind and revolutionise the way that you think about gender.

    Women deal with them every day. Take the common truism that women who sleep around are sluts while men are studs. Why is it that men grow distinguished and sexily gray as they age while women just get saggy and haggard? Have you ever wondered how a young woman is supposed to be both virginal and provocatively enticing at the same time? Isn’t it unfair that working moms are labeled “bad” for focusing on their careers while we shake our heads in disbelief when we hear about the occasional stay-at-home dad?In 50 Double Standards Every Woman Should Know, author Jessica Valenti calls out the double standards that affect every woman. Whether Valenti is pointing out the wage-earning discrepancies between men and women or revealing all of the places that women still aren’t equal to their male counterparts—be it in the workplace, courtroom, bedroom, or home—she maintains her signature wittily sarcastic tone. With sass, humor, and in-your-face facts, this book informs and equips women with the tools they need to combat sexist comments, topple ridiculous stereotypes (girls aren’t good at math?), and end the promotion of double standards.

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    In the 1st edition, published in 1962, he spoke to that perennial reader he gently called "the troubled layman." His opening paragraph revealed his sympathy: "Why is this supposed to be art?" he quoted rhetorically. "How often have we heard this question asked--or asked it ourselves, perhaps--in front of one of the strange, disquieting works that we are likely to find nowadays in the museum or art exhibition?" Keeping that curious, questioning perspective in mind, he wrote a history of art from cave painting to Picasso that was singularly welcoming, illuminating & exciting. Sojourning thru this book, a reader is offered every amenity for a comfortable trip. Because he never assumes knowledge on the part of the reader, a recent immigrant from Mars could comprehend Western art from this text. The only assumption the Jansons have made is that with a little guidance everyone can come to understand the artifacts that centuries of architecture, sculpture, design & painting have deposited in our paths. Countless readers have proven the Jansons right & found their lives enriched in the process.

    Young women live by feminism's goals, yet feminism itself is undeniably at a crossroads; "girl power" feminists appear to be obsessed with personal empowerment at the expense of politics while political institutions such as Ms. and NOW are so battle weary they've lost their ability to speak to a new generation. In Manifesta, Jennifer Baumgardner and Amy Richards show the snags in each feminist hub--from the dissolution of riot grrrls into the likes of the Spice Girls, to older women's hawking of young girls' imperiled self-esteem, to the hyped hatred of feminist thorns like Katie Roiphe and Naomi Wolf--and prove that these snags have not, in fact, torn feminism asunder. In an intelligent and incendiary argument, Baumgardner and Richards address issues instead of feelings and the political as well as the personal. They describe the seven deadly sins the media commits against feminism, provide keys to accessible and urgent activism, discuss why the ERA is still a relevant and crucial political goal, and spell out what a world with equality would look like. They apply Third Wave confidence to Second Wave consciousness, all the while maintaining that the answer to feminism's problems is still feminism.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.