I interview authors of new books in art, critical theory, creative industry studies, and philosophy.
You can listen to the shows here, or find them in podcast form alongside hundreds of shows covering a wide range of new academic writing in many disciplines on the New Books Network.
Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy.
Artists from Kurt Cobain to Amy Winehouse command fascination not only for their work but also foe their drug addictions and the manner of their death. Communions is an attempt to understand the role that opiates play in the artistic lives of those who are gripped by addiction.
Investigative Aesthetics draws on theories of knowledge, ecology, and technology; evaluates the methods of citizen counter-forensics, micro-history and art.
“History is the study of past events.” “Biology is the study of living organisms.” But art? Is art a discipline? Is it a practice? Who gets to answer this most fundamental of questions, and why do we prefer not to try?
What is creativity? While our traditional view of creative work might lead us to think of artists as solitary visionaries, the creative process is profoundly influenced by social interactions even when artists work alone.
Crisis? What Crisis? The lack of a single dominant voice in criticism is not a weakness, but a strength.
Art, the law, and justice have had a long history together. But we shouldn’t see their relationship benign. Indeed art, with its 'call for justice' ca be 'annoying'.
From the mirror and the watch tower, the scientific revolution, Jane Austen, to the shape of contemporary capitalism – with booms, manias, busts, and bubbles along the way.
It is now just over a decade since protests in Cairo's Tahrir Square started Egypt's chapter in the events of the Arab Spring. How have artists responded personally and artistically to the political transformation?
What makes a woman 'bad' is commonly linked to certain 'qualities' or behaviours seen as morally or socially corrosive, dirty and disgusting. Gemma Commane speaks to Pierre d'Alancaisez about her study of neo-burlesque, queer performances, and explicit entertainment as sites of power, possibility, and success.
It is almost twenty years since contemporary art took a ‘participation turn’. How can we reconcile the somewhat forgotten history – and ongoing practice – of the community arts with the recent rise of participatory art, social practice, or outreach and engagement?
The activist performances of Grupo de Arte Callejero, Etcétera, and International Errorista rooted in the political histories of Latin America show how experimental practices in the visual arts have been influenced by and articulated with leftist movements and popular uprisings.
What forms of knowledge do artists produce in their often speculative and yet purposeful approach to generating research? Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems.
Labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks.
In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself.
In the middle of the twentieth century, the production of America's consumer culture was centralised in New York. Every day tens of thousands of writers, editors, artists, performers, and technicians made the culture that shaped the consumer economy. But this was far from a smoothly running machine.
Has ‘migrant’ become an unshakeable identity for some people? How does this happen and what role does the media play in classifying individuals as ‘migrants’ rather than people? How Media and Conflicts Make Migrants challenges the idea of the ‘migrant’, pointing instead to the array of systems and processes that force this identity on individuals.
How to understand propaganda art in the post-truth era — and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon — delivers a message.
The last twenty years have seen a rise of new forms of socially engaged art aimed. Leigh Claire La Berge's Wages Against Artwork addresses what she calls decommodified labor – the slow diminishment of wages – and the increasing presence of animals and children in contemporary art.
What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Tom Holert's Knowledge Beside Itself delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.”