This book draws on extensive first-hand material to provide a fresh and detailed analysis of a decade that was highly significant in shaping the new perceptions of Chinese contemporary art at home and abroad. Written in a language that is both poetic and philosophically insightful, it offers a meaningful exploration of a language of criticism indigenous to the Chinese art community, which won Zhu Zhu, the author, the 2011 CCAA Art Critic Award.

Why do some nations and cities attain high levels of economic and social prosperity? What makes them so successful? The kinds of factors habitually cited in answer to these questions explain why nations improve their economic and social performance but not why a small group of nations (or cities) perform much better than the rest. Economists stress efficient markets, effective industries and functional factors like transport, health, education, and infrastructure. Political scientists emphasize honest and democratic government. This book argues that three further factors are key: paradoxes, patterns, and portals. To an unusual degree, the world’s most prosperous economies and societies think and act paradoxically. At their core are enigmatic, puzzle-like belief systems that elicit cooperation via abstract patterns rather than personal connections. They are often accompanied by high levels of autodidactic self-directed learning and intense creation in the arts and sciences. These factors, when combined, facilitate large-scale interactions between strangers and, in so doing, they energize markets, industries, cities, and publics. Pattern-based political economies are especially prominent in the portal cities, regions, and nations that are concentrated along the world’s maritime circumference in North America, East Asia, North-Western Europe, and Australasia. It is only by integrating additional cognitive, cultural, creative, and geographic elements that we can truly understand the successes of prosperous economies. This book represents a significant contribution to the literature on political economy, economic growth, and prosperity.

A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power. Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today's mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself—by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.

Chinese art has experienced its most profound metamorphosis since the early 1950s, transforming from humble realism to socialist realism, from revolutionary art to critical realism, then avant-garde movement, and globalized Chinese art. With a hybrid mix of Chinese philosophy, imported but revised Marxist ideology, and western humanities, Chinese artists have created an alternative approach – after a great ideological and aesthetic transition in the 1980s – toward its own contemporaneity though interacting and intertwining with the art of rest of the world. This book will investigate, from the perspective of an activist, critic, and historian who grew up prior to and participated in the great transition, and then researched and taught the subject, the evolution of Chinese art in modern and contemporary times. The volume will be a comprehensive and insightful history of the one of the most sophisticated and unparalleled artistic and cultural phenomena in the modern world.

The Routledge Dictionary of Modern American Slang and Unconventional English offers the ultimate record of modern American Slang. The 25,000 entries are accompanied by citations that authenticate the words as well as offer lively examples of usage from popular literature, newspapers, magazines, movies, television shows, musical lyrics, and Internet user groups. Etymology, cultural context, country of origin and the date the word was first used are also provided. This informative, entertaining and sometimes shocking dictionary is an unbeatable resource for all language aficionados out there.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.