A critical analysis of contemporary art collections and the value form, this book shows why the nonprofit system is unfit to administer our common collections, and offers solutions for diversity reform and redistributive restructuring. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in “public trust” on behalf of the nation, if not humanity. The public serves as alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. This structure allows for wealthy individuals at the helm to gain financial benefits from, and ideological control over, what is at its core purpose a public system. The dramatic growth of the art market and the development of financial tools based on art-collateral loans exacerbate the contradiction between the needs of museum leadership versus that of the public. Indeed, a history of private support in the US is a history of racist discrimination, and the common collections reflect this fact. A history of how private collections were turned public gives context. Since the late Renaissance, private collections legitimized the prince's right to rule, and later, with the great revolutions, display consolidated national identity. But the rise of the American museum reversed this and re-privatized the public collection. A materialist description of the museum as a model institution of the liberal nation state reveals constellations of imperialist social relations.

Angelic Troublemakers is the first detailed account of what happens when religious ethics, political philosophy, and the anarchist spirit intermingle. Wiley deftly captures the ideals that inspired three revered heroes of nonviolent disobedience-Henry Thoreau, Dorothy Day, and Bayard Rustin. Resistance to slavery, empire, and capital is a way of life, a transnational tradition of thought and action. This book is a must read for anyone interested in religion, ethics, politics, or law.

Presenting sociological as well as historical perspectives, this book supplies readers with a fascinating, unprecedented look at the most successful organized-crime family they've probably never heard of. From the 1920s until the early 21st century, one Sicilian mob family defied everyone from the California attorney general to J. Edgar Hoover to chart their own American Dream. Unlike their flashier rivals in New York and Chicago who met their end by the knife, the bullet, or a judge's gavel, this crime family prospered and grew alongside their adopted home of San Francisco. This book tells how they did it. Readers will learn how the Lanzas managed to retain control of their patch from the end of Prohibition through the Summer of Love and into the beginnings of the dot-com era, gaining insight into not only what the west-coast branch of the Mob did, but also why they did it. The documentation of how this mostly unknown crime syndicate formed, evolved, and eventually folded is set against the backdrop of the city of San Francisco transforming itself from a gritty port and manufacturing hub dominated by Italian- and Irish-Americans into the multicultural intellectual and services capital it is today.

A kaleidoscopic tribute to San Francisco by a life-long Bay Area resident and co-founder of Salon explores specific city sites including the Golden Gate Bridge and the Land's End sea cliffs while tying his visits to key historical events. By the author of Shadow Knights. 30,000 first printing.

This collection of original essays takes a multi-disciplinary approach to explore the theme of failure through the broad spectrum of public art and social practice. The anthology brings together practicing artists, curators, activists, art writers, administrators, planners, and educators from around the world to offer differing perspectives on the many facets of failure in commissioning, planning, producing, evaluating, and engaging communities in the continually evolving field of art in the public realm. As such, this book offers a survey of currently unexplored and interconnected thinking, and provides a much-needed critical voice to the commissioning of public and participatory arts. The volume includes case studies from the UK, the US, China, Cuba, and Denmark, as well as discussions of digital public art collections. The Failures of Public Art and Participation will be of interest for students and scholars of visual arts, design and architecture interested in how art in the public realm fits within social and political contexts.