First published in Spanish in 2010, Art beyond Itself is Néstor García Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, García Canclini is attentive to particular artworks; to artists including Francis Alÿs, León Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium. Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in 2013—focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity. Myriad conceptions of the medium and its specificity are explored by an international group of scholars, critics, and artists. Painting beyond Itself is a forum for rich historical, theoretical, and practice-grounded conversation. Contributors Carol Armstrong, Benjamin H. D. Buchloh, Sabeth Buchmann, René Démoris, Isabelle Graw, David Joselit, Jutta Koether, Ewa Lajer-Burcharth, Jacqueline Lichtenstein, Julie Mehretu, Matt Saunders, Amy Sillman Institut für Kunstkritik Series

How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised ‘elsewhere’ and ‘otherwise’. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe’s reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

“Intertwines history, philosophy, and science . . . A powerful challenge to conventional notions of individual responsibility” (Publishers Weekly). Few concepts are more unshakable in our culture than free will, the idea that individuals are fundamentally in control of the decisions they make, good or bad. And yet the latest research about how the brain functions seems to point in the opposite direction . . . In a work of breathtaking intellectual sweep and erudition, Heidi M. Ravven offers a riveting and accessible review of cutting-edge neuroscientific research into the brain’s capacity for decision-making—from “mirror” neurons and “self-mapping” to surprising new understandings of group psychology. The Self Beyond Itself also introduces readers to a rich, alternative philosophical tradition of ethics, rooted in the writing of Baruch Spinoza, that finds uncanny confirmation in modern science. Illustrating the results of today’s research with real-life examples, taking readers from elementary school classrooms to Nazi concentration camps, Ravven demonstrates that it is possible to build a theory of ethics that doesn’t rely on free will yet still holds both individuals and groups responsible for the decisions that help create a good society. The Self Beyond Itself is that rare book that injects new ideas into an old debate—and “an important contribution to the development of our thinking about morality” (Washington Independent Review of Books). “An intellectual hand-grenade . . . A magisterial survey of how contemporary neuroscience supports a vision of human morality which puts it squarely on the same plane as other natural phenomena.” —William D. Casebeer, author of Natural Ethical Facts

Schiller, Hegel and Marx looked back to ancient Greek culture, viewing it as the historical embodiment of certain ideals central to aesthetic theory. This volume investigates their viewpoints and how they use Greek culture as an ideal model for remaking t

Refuting the assumption that art is a representational practice, this book engages with the work of Heidegger, Deleuze and Guattari, C.S. Pierce and Judith Butler. It argues for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and Francis Bacon, the transubstantiation of the Catholic sacrament, and Wilde's novel "The Picture of Dorian Gray", she challenges the metaphor of light as entertainment. She suggests that too much "light" may in fact reveal nothing. Finally, she asks: how does an "embodied" practice fare within the culture of conceptual art?

A multidisciplinary introduction to the field of computational creativity, analyzing the impact of advanced generative technologies on art and music. As algorithms get smarter, what role will computers play in the creation of music, art, and other cultural artifacts? Will they be able to create such things from the ground up, and will such creations be meaningful? In Beyond the Creative Species, Oliver Bown offers a multidisciplinary examination of computational creativity, analyzing the impact of advanced generative technologies on art and music. Drawing on a wide range of disciplines, including artificial intelligence and machine learning, design, social theory, the psychology of creativity, and creative practice research, Bown argues that to understand computational creativity, we must not only consider what computationally creative algorithms actually do, but also examine creative artistic activity itself.