[The following was announced on the windows of a small blue house at dOCUMENTA (13)] : The "60 wrd/min art critic" is available. Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be published in the Hessische/-NiedersächsischeAllgemeine (HNA) weekly, and will remain on view here throughout - dOCUMENTA (13). This book collects together all 241 reviews written during the d13 performance.

NATIONAL BESTSELLER • From the National Book Award–winning author of Just Kids: a “sublime collection of true stories … and wild imaginings that take us to the very heart of who Patti Smith is” (Vanity Fair), told through the cafés and haunts she has worked in around the world. Patti Smith calls this bestselling work “a roadmap to my life.” M Train begins in the tiny Greenwich Village café where Smith goes every morning for black coffee, ruminates on the world as it is and the world as it was, and writes in her notebook. Through prose that shifts fluidly between dreams and reality, past and present, we travel to Frida Kahlo’s Casa Azul in Mexico; to the fertile moon terrain of Iceland; to a ramshackle seaside bungalow in New York’s Far Rockaway that Smith acquires just before Hurricane Sandy hits; to the West 4th Street subway station, filled with the sounds of the Velvet Underground after the death of Lou Reed; and to the graves of Genet, Plath, Rimbaud, and Mishima. Woven throughout are reflections on the writer’s craft and on artistic creation. Here, too, are singular memories of Smith’s life in Michigan and the irremediable loss of her husband, Fred Sonic Smith. Braiding despair with hope and consolation, illustrated with her signature Polaroids, M Train is a meditation on travel, detective shows, literature, and coffee. It is a powerful, deeply moving book by one of the most remarkable multiplatform artists at work today. Featuring a postscript with five new photos from Patti Smith

From the early decades of the twentieth century until the 1980s, Marxist art history was at the forefront of radical approaches to the discipline. But in the last two decades of the century and into the next, Marxist art historians found themselves marginalized from the vanguard by the rise of postmodernism and identity politics. In the wake of the recent global crisis there has been a resurgence of interest in Marx. Now available in paperback, this collection of essays, a festschrift in honor of leading Marxist art historian Andrew Hemingway, brings together 30 academics who are reshaping art history along Marxist lines. The essayists include Matthew Beaumont, Warren Carter, Michael Corris, Gail Day, Paul Jaskot, Stewart Martin, Frederic J. Schwartz, Caroline Arscott, Steve Edwards, Charles Ford, Brian Foss, Tom Gretton, Alan Wallach, Michael Bird, Martin I. Gaughan, Barnaby Haran and Fred Orton, among others.

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.

Art criticism is spurned by universities, but widely produced and read. It is seldom theorized and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history and poses the question of whether criticism may become a university subject. Contributors include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett and Boris Groys.

The New York Times bestselling work of undercover reportage from our sharpest and most original social critic, with a new foreword by Matthew Desmond, author of Evicted Millions of Americans work full time, year round, for poverty-level wages. In 1998, Barbara Ehrenreich decided to join them. She was inspired in part by the rhetoric surrounding welfare reform, which promised that a job—any job—can be the ticket to a better life. But how does anyone survive, let alone prosper, on $6 an hour? To find out, Ehrenreich left her home, took the cheapest lodgings she could find, and accepted whatever jobs she was offered. Moving from Florida to Maine to Minnesota, she worked as a waitress, a hotel maid, a cleaning woman, a nursing-home aide, and a Wal-Mart sales clerk. She lived in trailer parks and crumbling residential motels. Very quickly, she discovered that no job is truly "unskilled," that even the lowliest occupations require exhausting mental and muscular effort. She also learned that one job is not enough; you need at least two if you int to live indoors. Nickel and Dimed reveals low-rent America in all its tenacity, anxiety, and surprising generosity—a land of Big Boxes, fast food, and a thousand desperate stratagems for survival. Read it for the smoldering clarity of Ehrenreich's perspective and for a rare view of how "prosperity" looks from the bottom. And now, in a new foreword, Matthew Desmond, author of Evicted: Poverty and Profit in the American City, explains why, twenty years on in America, Nickel and Dimed is more relevant than ever.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Shortlisted for the 2019 Booker Prize Named a Best Book of the Year by Bookpage, NPR, Washington Post, and The Economist A moving novel on the power of friendship in our darkest times, from internationally renowned writer and speaker Elif Shafak. In the pulsating moments after she has been murdered and left in a dumpster outside Istanbul, Tequila Leila enters a state of heightened awareness. Her heart has stopped beating but her brain is still active-for 10 minutes 38 seconds. While the Turkish sun rises and her friends sleep soundly nearby, she remembers her life-and the lives of others, outcasts like her. Tequila Leila's memories bring us back to her childhood in the provinces, a highly oppressive milieu with religion and traditions, shaped by a polygamous family with two mothers and an increasingly authoritarian father. Escaping to Istanbul, Leila makes her way into the sordid industry of sex trafficking, finding a home in the city's historic Street of Brothels. This is a dark, violent world, but Leila is tough and open to beauty, light, and the essential bonds of friendship. In Tequila Leila's death, the secrets and wonders of modern Istanbul come to life, painted vividly by the captivating tales of how Leila came to know and be loved by her friends. As her epic journey to the afterlife comes to an end, it is her chosen family who brings her story to a buoyant and breathtaking conclusion.

At the intersection of feminism, science fiction, and disco, "Mothernism" aims to locate the mother-shaped hole in contemporary art and discourse.