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'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
The Routledge Companion to Art and Politics offers a thorough examination of the complex relationship between art and politics, and the many forms and approaches the engagement between them can take. The contributors - a diverse assembly of artists, activists, scholars from around the world – discuss and demonstrate ways of making art and politics legible and salient in the world. As such the 32 chapters in this volume reflect on performing and visual arts; music, film and new media; as well as covering social practice, community-based work, conceptual, interventionist and movement affiliated forms. The Companion is divided into four distinct parts: Conceptual Cartographies Institutional Materialities Modalities of Practice Making Publics Randy Martin has assembled a collection that ensures that readers will come away with a wider view of what can count as art and politics; where they might find it; and how it moves in the world. The diversity of perspectives is at once challenging and fortifying to those who might dismiss political art on the one hand as not making sufficient difference and on the other to those embracing it but seeking a means to elaborate the significance that it can make in the world. The Routledge Companion to Art and Politics brings together a range of issues and approaches and encourages critical and creative thinking about how art is produced, perceived, and received.
In the context of critical museology, museums are questioning their social role, defining the museum as a site for knowledge exchange and participation in creating links between past and present. Museum education has evolved as a practice in its own right, questioning, expanding and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? This question is addressed by international contributors from different types of museums. For anyone interested in the future of museums, it offers insights into the diversity of positions and experiences of translating the »grand designs« of museology into practice.
Essays in the theology of poetry, with special reference to the contemporary theological predicament.
The economic crisis has squeezed the cultural sector across the world. But cut-backs, closed theatres and moth-balled arts centres are only half of the story. When critics and historians look back to our times, they’ll be less preoccupied with the art that wasn’t made and more with the art that was. Art that could explain how we arrived here, art that could do something about it and art that showed the possibility of different ways of living. Not for the art that was shaped by the economy, but art that forged alliances with the people and forces that could reshape it. That’s what this paper is about. Inside IETM and beyond we found artists keen to explore what people value and whether the economy actually reflects it. We found fringe-institutions, networks and conferences attempting to open up a space to question and attack judgements made by politicians in the name of economy. We found artists active in their communities experimenting and rehearsing with their own ‘micro economies’ as co-operatives, time-banks and demonstrations of different forms of community. Where politics has been asphyxiated by a cadre of economists, art is administering a kiss of life. But neither artists nor the cultural sector are separate from the economy. The answer to inequality, democratic disengagement and climate change is not simply more art. But rather a different place for art. Artists who question values of the economy, inevitably end up questioning the values of the cultural sector. In the face of more politically-engaged, socially curious art, new networks, institutions and approaches are needed to support it. Art not just as an input or output of an economy, but art that challenges the assumptions on which the economy is based.
In recent decades, the dialogue between art and anthropology has been both intense and controversial. Art, Anthropology and the Gift provides a much-needed and comprehensive overview of this dialogue, whilst also exploring the reciprocal nature of the two subjects through practice, theory and politics. Fully engaging with anthropology and art theory, this book innovatively argues that art and anthropology don't just share methodologies, but also deeper intellectual, theoretical and even political concerns, inviting scholars and students alike to look at this contentious relationship in a more critical light. One of the central arguments of the book is that the problem of the 'gift' has been central to both anthropological and artistic practice. This very idea connects the different chapters on topics including aesthetics, politics, participation and fieldwork.

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