In 9.5 Theses on Art and Class, Ben Davis takes on a broad array of contemporary art's most persistent debates: How does creative labor fit into the economy? Is art merging with fashion and entertainment? What can we expect from political art? Davis argues that returning class to the center of discussion can play a vital role in tackling the challenges that visual art faces today, including the biggest challenge of all--how to maintain faith in art itself in a dysfunctional world.

This compelling narrative goes behind the scenes with the world’s most important living artists to humanize and demystify contemporary art. The best-selling author of Seven Days in the Art World now tells the story of the artists themselves—how they move through the world, command credibility, and create iconic works. 33 Artists in 3 Acts offers unprecedented access to a dazzling range of artists, from international superstars to unheralded art teachers. Sarah Thornton's beautifully paced, fly-on-the-wall narratives include visits with Ai Weiwei before and after his imprisonment and Jeff Koons as he woos new customers in London, Frankfurt, and Abu Dhabi. Thornton meets Yayoi Kusama in her studio around the corner from the Tokyo asylum that she calls home. She snoops in Cindy Sherman’s closet, hears about Andrea Fraser’s psychotherapist, and spends quality time with Laurie Simmons, Carroll Dunham, and their daughters Lena and Grace. Through these intimate scenes, 33 Artists in 3 Acts explores what it means to be a real artist in the real world. Divided into three cinematic "acts"—politics, kinship, and craft—it investigates artists' psyches, personas, politics, and social networks. Witnessing their crises and triumphs, Thornton turns a wry, analytical eye on their different answers to the question "What is an artist?" 33 Artists in 3 Acts reveals the habits and attributes of successful artists, offering insight into the way these driven and inventive people play their game. In a time when more and more artists oversee the production of their work, rather than make it themselves, Thornton shows how an artist’s radical vision and personal confidence can create audiences for their work, and examines the elevated role that artists occupy as essential figures in our culture.

Did Martin Luther wield his hammer on the Wittenberg church door on October 31, 1517? Did he even post the Ninety-five Theses at all? This collection of documents sheds light on the debate surrounding Luther's actions and the timing of his writing and his request for a disputation on the indulgence issue. The primary documents in this book include the theses, their companion sermon ("A Sermon on Indulgence and Grace", 1518), a chronoloical arrangement of letters pertinent to the theses, and selections from Luther's Table Talk that address the Ninety-five Theses. A final section contains Luther's recollections, which offer today's reader the reformer's own views of the Reformation and the Ninety-five Theses.

"Rejecting the antiquated and stultifying models in textbooks on method, in courses on methodology, championed by the self-appointed gatekeepers of a narrow and parochial political science, Norton opens the gates to more new practices, new principles, new questions, more methods, and more demanding ethical and scientific criteria.

By almost any reckoning, the Ninety-Five Theses ranks as the most important text of the Reformation, if not in substance at least in impact. As the anniversary of its posting on the church door in Wittenberg approaches, what better way to remember and recognize the occasion than to make this important text more easily understood by twenty-first-century readers? Timothy J. Wengert, one of the best-known interpreters of Luther and Lutheranism active today, sets his newly translated Ninety-Five Theses in its historical context with a detailed introduction and illuminating study notes. To help the reader understand the context and the import of the Ninety-Five Theses more deeply, Wengert provides two more related and essential documents: Luthers Letter to Archbishop Albrecht of Mainz (to which he appended a copy of the Theses) and Luthers 1518 Sermon on Indulgences and Grace (written to inform the German-speaking public of his view of indulgences). The book is simply constructed with introductions and notes for each of the writings, as well as a study guide with questions for individual or group reflection and conversation.

It is a peculiar moment for art, as it becomes both increasingly rarefied and associated with elite lifestyle culture, while simultaneously ubiquitous, with the boom of "creative" industries and the proliferation of new technologies for making art. In these important essays, Ben Davis covers everything from Instagram to artificial intelligence, eco-art to cultural appropriation. Critical, insightful, and hopeful even in the face of the apocalyptic, this is a must read for those looking to understand the current art world, as well as the role of the artist in the world today.

The Manifesto Handbook is an insider's guide to an incendiary genre that has sparked the most important revolutionary movements in history.

In 1517, Martin Luther nailed his 95 theses to the wall of Wittenberg church. He argued that the Church’s internally consistent but absurd doctrines had pickled into a dogmatic structure of untruth. It was time for a Reformation. Half a millennium later, Steve Keen argues that economics needs its own Reformation. In Debunking Economics, he eviscerated an intellectual church – neoclassical economics – that systematically ignores its own empirical untruths and logical fallacies, and yet is still mysteriously worshipped by its scholarly high priests. In this book, he presents his Reformation: a New Economics, which tackles serious issues that today's economic priesthood ignores, such as money, energy and ecological sustainability. It gives us hope that we can save our economies from collapse and the planet from ecological catastrophe. Performing this task with his usual panache and wit, Steve Keen’s new book is unmissable to anyone who has noticed that the economics Emperor is naked and would like him to put on some clothes.

Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look." This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.