Pedagogical and participatory art from the coauthor of Making and Being In Art, Engagement, Economy: the Working Practice of Caroline Woolard, this acclaimed New York-based artist and educator (born 1984) proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the Covid pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.

This groundbreaking examination of the intersection between artistic practice and capitalism in the 1960s explores art's capacity to reflect on and reimagine economic systems and our place within them.

Developing a new generation of engaged urban planners to revitalize U.S. cities

An unconventional socio-economic analysis of the economic position of the arts and artists

The book examines the contemporary art system with a broad and systematic approach, through the application of models of microeconomics and industrial organizations. By breaking down the traditional barriers between different academic disciplines such as art and economics, this book offers a unique opportunity to grasp the complexities of the contemporary art world and provides the tools to conduct a structural analysis of that market. The result is an in-depth analysis of the contemporary art market from an interdisciplinary perspective. While it is not a textbook in the strictest sense, the book offers a concise and effective overview of all actors in the art system, and provides supporting data and valuable information, both conceptual and practical. It is therefore a text that can be used by students wishing to better understand the complex dynamics that govern the contemporary art market, but also by cultural managers, collectors, potential art investors or simply art lovers who need a quick reference.​

Orthodox economics operates within a hypothesized world of perfect competition in which perfect consumers and firms act to bring about supposedly optimal outcomes. The discrepancies between this model and the reality it claims to address are then attributed to particular imperfections in reality itself. Most heterodox economists seize on this fact and insist that the world is characterized by imperfect competition. But this only ties them to the notion of perfect competition, which remains as their point of departure and base of comparison. There is no imperfection without perfection. In Capitalism, Anwar Shaikh takes a different approach. He demonstrates that most of the central propositions of economic analysis can be derived without any reference to standard devices such as hyperrationality, optimization, perfect competition, perfect information, representative agents, or so-called rational expectations. This perspective allows him to look afresh at virtually all the elements of economic analysis: the laws of demand and supply, the determination of wage and profit rates, technological change, relative prices, interest rates, bond and equity prices, exchange rates, terms and balance of trade, growth, unemployment, inflation, and long booms culminating in recurrent general crises. In every case, Shaikh's innovative theory is applied to modern empirical patterns and contrasted with neoclassical, Keynesian, and Post-Keynesian approaches to the same issues. Shaikh's object of analysis is the economics of capitalism, and he explores the subject in this expansive light. This is how the classical economists, as well as Keynes and Kalecki, approached the issue. Anyone interested in capitalism and economics in general can gain a wealth of knowledge from this ground-breaking text.

Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. This book critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to activism by artists, and activist forms of art. Author Gregory Sholette approaches his subject from the unusual dual perspective of commentator (as scholar and writer) and insider (as activist artist). He describes a new wave of activist art taking place not only within community-based protest groups, as it has for decades, but also amongst professionally trained, MFA-bearing art practitioners, many of whom, by choice or by circumstance, refuse to respect the conventional borders separating painting from protest, or art from utility. The book explores the subtle distinction between activist forms of art and protest by artists, and proposes that contemporary activist art and art activism constitute a broader paradigm shift that reflects the crisis of contemporary capitalism.