New York, 1989 - a decade of activism around the urban housing crisis is coming to a close. Legendary graphic artist Seth Tobocman documents it in his bold comic style. In a collection of his most enduring images, Tobocman covers everything from the imprisonment of Mumia Abu-Jamal; the rise of Reaganomics; the struggle against apartheid and the Miami race riots. It is both a candid portrait of a decade of struggle to preserve basic human rights and a critical historical artefact.

"Seth Stephens-Davidowitz is more than a data scientist. He is a prophet for how to use the data revolution to reimagine your life. Don’t Trust Your Gut is a tour de force—an intoxicating blend of analysis, humor, and humanity.” — Daniel H. Pink, #1 New York Times bestselling author of When, Drive, and To Sell Is Human Big decisions are hard. We consult friends and family, make sense of confusing “expert” advice online, maybe we read a self-help book to guide us. In the end, we usually just do what feels right, pursuing high stakes self-improvement—such as who we marry, how to date, where to live, what makes us happy—based solely on what our gut instinct tells us. But what if our gut is wrong? Biased, unpredictable, and misinformed, our gut, it turns out, is not all that reliable. And data can prove this. In Don’t Trust Your Gut, economist, former Google data scientist, and New York Times bestselling author Seth Stephens-Davidowitz reveals just how wrong we really are when it comes to improving our own lives. In the past decade, scholars have mined enormous datasets to find remarkable new approaches to life’s biggest self-help puzzles. Data from hundreds of thousands of dating profiles have revealed surprising successful strategies to get a date; data from hundreds of millions of tax records have uncovered the best places to raise children; data from millions of career trajectories have found previously unknown reasons why some rise to the top. Telling fascinating, unexpected stories with these numbers and the latest big data research, Stephens-Davidowitz exposes that, while we often think we know how to better ourselves, the numbers disagree. Hard facts and figures consistently contradict our instincts and demonstrate self-help that actually works—whether it involves the best time in life to start a business or how happy it actually makes us to skip a friend’s birthday party for a night of Netflix on the couch. From the boring careers that produce the most wealth, to the old-school, data-backed relationship advice so well-worn it’s become a literal joke, he unearths the startling conclusions that the right data can teach us about who we are and what will make our lives better. Lively, engrossing, and provocative, the end result opens up a new world of self-improvement made possible with massive troves of data. Packed with fresh, entertaining insights, Don’t Trust Your Gut redefines how to tackle our most consequential choices, one that hacks the market inefficiencies of life and leads us to make smarter decisions about how to improve our lives. Because in the end, the numbers don’t lie.

The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of modern art only through catastrophic events cannot account for the subtle developments that lead to the profound confusion at the heart of contemporary art. In Industry and Intelligence, the artist Liam Gillick writes a nuanced genealogy to help us appreciate contemporary art's engagement with history even when it seems apathetic or blind to current events. Taking a broad view of artistic creation from 1820 to today, Gillick follows the response of artists to incremental developments in science, politics, and technology. The great innovations and dislocations of the nineteenth and twentieth centuries have their place in this timeline, but their traces are alternately amplified and diminished as Gillick moves through artistic reactions to liberalism, mass manufacturing, psychology, nuclear physics, automobiles, and a host of other advances. He intimately ties the origins of contemporary art to the social and technological adjustments of modern life, which artists struggled to incorporate truthfully into their works.

The national bestseller. Write. Burn. Repeat. Now with new covers to match whatever mood you’re in. "This book has made me laugh and cry, filled me with joy, and inspired me." -TikTok user camrynbanks Instagram, WhatsApp, Snapchat, TikTok, VSCO, YouTube...the world has not only become one giant feed, but also one giant confessional. Burn After Writing allows you to spend less time scrolling and more time self-reflecting. Through incisive questions and thought experiments, this journal helps you learn new things while letting others go. Imagine instead of publicly declaring your feelings for others, you privately declared your feelings for yourself? Help your heart by turning off the comments and muting the accounts that drive you into jealousy for a few moments a night. Whether you are going through the ups and downs of growing up, or know a few young people who are, you will flourish by finding free expression--even if through a few tears! Push your limits, reflect on your past, present, and future, and create a secret book that's about you, and just for you. This is not a diary, and there is no posting required. And when you're finished, toss it, hide it, or Burn After Writing.

This catalogue is the first comprehensive publication on Price's varied oeuvre. It offers an unflinching portrait of contemporary, mediated Western life. The exhibition at Stedelijk Museum is the first survey of the American artist's work.A key theme in Price's work is the self under technological pressure. This is often expressed in terms of the 'skins' of surface, packaging, and wrapping: a photographic study of a person's skin obtained through the technologies Google employs for mapping; a vacuum-formed plastic relief presenting a body part stranded in plastic; a large wall sculpture depicting the negative space between two people engaged in intimate action, greatly enlarged from a tiny internet jpeg.'Seth Price is a key figure in addressing technology and artistic authorship. His work traces an important art historical shift from the concept of collage, where chance played a major role and the image was constructed of multiple layers, to the concept of a unified image, which envelops us in an endless, undifferentiated, digital stream.' - Beatrix Ruf, Director of Stedelijk MuseumPublished on the occasion of the exhibition Seth Price: Social Synthetic, at Stedelijk Museum, Amsterdam (15 April - 3 September 2017), and at Museum Brandhorst, Munich (12 October 2017 - 18 March 2018).

Although best known for his influential work in sculpture, video, and writing, Seth Price has always made drawings and maquettes as a way to explore ideas developed in his other bodies of work. This book documents a group of these rarely seen works selected by curator Achim Hochdorfer for exhibition at Petzel East, New York. Spanning more than fifteen years, the art here encompasses media and materials that range from watercolor, airbrush and spray-paint, to collage and fabric. Examples include drawings of Depression-era landscapes, acetate and enamel maquettes, graffiti-marker paintings on shrink-wrapped palettes and research notes for an apocalyptic, Evangelical sci-fi novel. Price has made annotations throughout the book, recounting the context in which these works were made.

Through paintings, sculpture, video, and media work, Seth Price underlines the production strategies, dissemination modes, and valuation patterns of art. His appropriationist work, which he rather calls a 'redistribution' of (often) pirated materials, disrupts the operations of commodity culture. Among his formats and tactics one should mention the recycling of iconic illustrations, re-duplication (from digital to vacuum-formed techniques), the re-enactment of projects, and the collaborative actions with Continuous Project (formed in 2003 with Bettina Funcke, Wade Guyton, and Joseph Logan) or other artists. This first monograph dedicated to the artist includes an essay by Michael Newman as well as Price's own critical take on his practice, given in the form of a videotaped conference that structures the presentation of his works. Published with Kunsthalle Zurich, Zurich and the Kolnischer Kunstverein, Cologne.