In most countries art education is not immune from a large-scale reorganization. Educational institutions are increasingly required to operate as enterprises that compete for the best or the largest number of students and to express their objective and results in financial and management terms. In short, the field of education has become a 'market'. 'Teaching Art in the Neoliberal Realm' investigates the effects of this setup on the content and practice of artistic education and the position of art and the artist.00.

After 1989, capitalism has successfully presented itself as the only realistic political-economic system - a situation that the bank crisis of 2008, far from ending, actually compounded. The book analyses the development and principal features of this capitalist realism as a lived ideological framework. Using examples from politics, films, fiction, work and education, it argues that capitalist realism colours all areas of contemporary experience. But it will also show that, because of a number of inconsistencies and glitches internal to the capitalist reality program capitalism in fact is anything but realistic.

A provocative exploration of photography's relationship to capitalism, from leading theorists of visual culture. Photography was invented between the publication of Adam Smith's The Wealth of Nations and Karl Marx and Frederick Engels's The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays in Capitalism and the Camera investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism's violence--and if so, how? Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera's potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and propose ways that the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge. With essays by Ariella Aïsha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam, and Jacob Emery.

In this book, Sam Contis presents a new window onto the work of the American photographer Dorothea Lange. Drawing from Lange's extensive archive, Contis constructs a fragmented, unfamiliar world centred around the figure of the day sleeper - at once a symbol of respite and oblivion. The book shows us one artist through the eyes of another, with Contis responding to resonances between her and Lange's ways of seeing. It reveals a largely unknown side of Lange, and includes previously unseen photographs of her family, portraiture from her studio, and pictures made in the streets of San Francisco and the East Bay. Day Sleeper will be featured alongside other works of Contis's in the exhibition Dorothea Lange: Words & Pictures at the Museum of Modern Art, February-May 2020.

Since its initial publication, this highly respected text has provided students with a critical review of the major research paradigms in the social sciences and the logics or strategies of enquiry associated with them. This second edition has been revised and updated.

From the time of its invention in 1839, photography had a crucial link to the Middle East. When Daguerre s invention was introduced, it was immediately hailed as a boon to Egyptologists and Orientalists wanting to document their archeological findings. The Middle East also beckoned European experimenters in this new medium for a simple technological reason: early photographs were more quickly and easily made in the intense light of the desert than in gloomy Paris or London. In Camera Orientalis, Ali Behdad examines the cultural and political implications of the emergence of photography in the Middle East. He shows that the camera proved useful to Orientalism, but so too was Orientalism useful to photographers, because it gave them a set of conventions by which to frame these exotic cultures in images for Western audiences. Behdad breaks with standard postcolonial approaches by showing that Orientalist photography was the product of contacts between the West and the East. Indeed, local photographers participated enthusiastically in exoticist representations of the region, adapting Orientalism to the taste of the local elite. Orientalist photography, we learn, was not a one-way street but rather the product of ideas and conventions that circulated between the West and the East."