In this theoretical tour-de-force, renowned scholar Ariella A,sha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences.
In The Future of the Image, Jacques Ranci,re develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined.
In the Mind, But Not From There: Real Abstraction and Contemporary Art considers how the Marxian concept of Real Abstraction--originally developed by Alfred Sohn Rethel, and recently updated by Alberto Toscano--might help to define the economic, social, political, and cultural complexities of our contemporary moment.
A TLS Book of the Year 2017In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory.
A TLS Book of the Year 2017In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory.
Art/Commons is the first book to theorise the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism.
Art/Commons is the first book to theorise the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism.
From its foundation in 1957 to its self-dissolution in 1972, the Situationist International established itself as one of the most radical revolutionary organisations of the twentieth century.
From its foundation in 1957 to its self-dissolution in 1972, the Situationist International established itself as one of the most radical revolutionary organisations of the twentieth century.
Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker.
Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker.
Concentrationary Memories has, as its premise , the idea at the heart of Alain Resnais's film Night and Fog (1955) that the concentrationary plague unleashed on the world by the Nazis in the 1930s and 1940s is not simply confined to one place and one time but is now a permanent presence shadowing modern life.
Encounters Beyond the Gallery challenges the terms of their exclusion, looking to relational art, Deleuze-Guattarean aesthetics and notions of perception, as well as anthropological theory for ways to create connections between seemingly disparate worlds.
When the Enlightenment thinker Gotthold Ephraim Lessing wrote his treatise Laocoon: An Essay on the Limits of Painting and Poetry in 1766, he outlined the strengths and weaknesses of each art.
To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians?
Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity.
In the early sixties, crowds gathered to watch rites of destruction - from the demolition derby where makeshift cars crashed into each other for sport, to concerts where musicians destroyed their instruments, to performances of self-destructing machines staged by contemporary artists.
In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human.
When the Enlightenment thinker Gotthold Ephraim Lessing wrote his treatise Laoco n: An Essay on the Limits of Painting and Poetry in 1766, he outlined the strengths and weaknesses of each art.
To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians?
Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity.
In the early sixties, crowds gathered to watch rites of destruction - from the demolition derby where makeshift cars crashed into each other for sport, to concerts where musicians destroyed their instruments, to performances of self-destructing machines staged by contemporary artists.
Encounters Beyond the Gallery challenges the terms of their exclusion, looking to relational art, Deleuze-Guattarean aesthetics and notions of perception, as well as anthropological theory for ways to create connections between seemingly disparate worlds.
In his theory of the 'mirror stage', the psychoanalyst and psychiatrist Jacques Lacan argued that the female body is defined by its lack of male attributes.
In this unprecedented ‘fictive’ construction of the work of five imaginary artists from the 1980s, John Roberts produces an exhilarating theoretical encounter between futures past and futures present.
