Illustrated with 200 stunning photographs and encompassing objects from furniture and ceramics to jewelry and metal, this definitive work from Jo Lauria and Steve Fenton showcases some of the greatest pieces of American crafts of the last two centuries. Potter Craft

A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

Ellen Harvey's inspiring guerilla art project feels fresher and more relevant than ever Between 1999 and 2001, small old-fashioned landscapes painstakingly executed in oil started to appear on graffiti sites across New York City. The paintings were the work of the well-known Brooklyn-based artist Ellen Harvey (born 1967). Documented in this reprint of the sold-out first edition are both the works themselves and Harvey's diaristic accounts of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and hilarious. It touches on such issues as who is allowed to make art in our society, and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.

Since 1980, the number of people in U.S. prisons has increased more than 450%. Despite a crime rate that has been falling steadily for decades, California has led the way in this explosion, with what a state analyst called "the biggest prison building project in the history of the world." Golden Gulag provides the first detailed explanation for that buildup by looking at how political and economic forces, ranging from global to local, conjoined to produce the prison boom. In an informed and impassioned account, Ruth Wilson Gilmore examines this issue through statewide, rural, and urban perspectives to explain how the expansion developed from surpluses of finance capital, labor, land, and state capacity. Detailing crises that hit California’s economy with particular ferocity, she argues that defeats of radical struggles, weakening of labor, and shifting patterns of capital investment have been key conditions for prison growth. The results—a vast and expensive prison system, a huge number of incarcerated young people of color, and the increase in punitive justice such as the "three strikes" law—pose profound and troubling questions for the future of California, the United States, and the world. Golden Gulag provides a rich context for this complex dilemma, and at the same time challenges many cherished assumptions about who benefits and who suffers from the state’s commitment to prison expansion.

Dit geïllustreerde boek presenteert Ellen Harveys gloednieuwe installatie in het Groeningemuseum in Brugge. Ellen Harvey linkt de relatie van Brugge met het water en de zee aan de collectie van het museumdepot. Voor vijf wanden met een selectie van 17de- tot vroeg 20ste-eeuwse schilderijen uit de museumreserves brengt ze een spiegelwand aan waarin openingen zijn uitgewerkt. Die nodigen de bezoeker uit tot contact met deze zelden getoonde kunstwerken. Qua thematiek spiegelen de klassieke schilderijen (stads-, kanaal- en zeegezichten) aan de overkant met het nieuwe panorama dat Ellen Harvey schilderde op basis van satellietbeelden van Brugge. In zijn totaliteit van 21 bij bijna 3 meter geeft dat schilderij een beeld van Brugge tot en met de Brugse zeehaven en de zee. De in spiegelglas uitgewerkte waterwegen tonen het belang van rivieren en kanalen voor deze stad, ook en vooral in de huidige economische havencontext. Exhibition: Groeningemuseum, Brugge, Belgium (2.10.2014-1.2.2015).

Alcohol use by young people is extremely dangerous - both to themselves and society at large. Underage alcohol use is associated with traffic fatalities, violence, unsafe sex, suicide, educational failure, and other problem behaviors that diminish the prospects of future success, as well as health risks â€" and the earlier teens start drinking, the greater the danger. Despite these serious concerns, the media continues to make drinking look attractive to youth, and it remains possible and even easy for teenagers to get access to alcohol. Why is this dangerous behavior so pervasive? What can be done to prevent it? What will work and who is responsible for making sure it happens? Reducing Underage Drinking addresses these questions and proposes a new way to combat underage alcohol use. It explores the ways in which may different individuals and groups contribute to the problem and how they can be enlisted to prevent it. Reducing Underage Drinking will serve as both a game plan and a call to arms for anyone with an investment in youth health and safety.