In his contribution to this publication the Italian philosopher Paolo Virno argues that art has been dissolved in society like an effervescent tablet in water. The arts have become an essential component of the post-Fordist production process and have to a large degree lost their autonomy. Taking up the challenge of the views of Virno, Hardt and others concerning the place and function of art in society, this book's authors consult high-profile international figures from various artistic disciplines and endeavour to gain insight into the changing circumstances in which today's creative processes arise and take shape. "Arts in society" sketches a provocative impression of the manner in which prominent artists, theorists and art intermediaries relate to economic, political, social and ecological issues. It presents an instructive narrative about power and impotence, cynicism and utopia, and nihilism and engagement aimed at all those who presently dare to call themselves artists and everyone who wants to understand the importance of arts.

This book contemplates creativity education within the context of the neoliberal capitalist economy. In the current crisis of creativity, where we are required to be creative in an environment of entrepreneurialisation, the author analyses what creativity has become and what has been lost in various recent transitional periods. Calling for recommitment towards the politics of critical creativity for the public good, the author argues for an education that resists the ideologies of neoliberalism so that creativity may still be harnessed to rethink society. Inciting readers to conceive of alternate forms of creativity and associated education, this innovative book will appeal to educators, practitioners, creators and learners searching for inspiration beyond creative destruction.

Ungoverning Dance examines recent contemporary dance in continental Europe. Placing this in the context of neoliberalism and austerity, it argues that dancers are developing an ethico-aesthetic approach that uses dance practices as sites of resistance against dominant ideologies. It attests to the persistence of alternative ways of thinking and living.

The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist's work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.

Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against this irony, this book pits overidentification. This term has been taken to mean a kind of parodic mimicry of institutional power. Using a broad tapestry of sources, from political philosophers to art theorists, from post-Marxist critiques of labour to ethnographic studies, it proposes an interpretation of overidentification that does not collapse into ironic posturing. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. It is these forms of overidentification that destabilise the metastasis of liberal-democracy. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox.

9.5 Theses on Art and Class seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art's most persistent debates, from definitions of political art to the troubled status of "outsider" and street art to the question of how we maintain faith in art itself. Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.

In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, labor, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.