The state of emergency, according to thinkers such as Carl Schmidt, Walter Benjamin, and Giorgio Agamben, is at the heart of any theory of politics. But today the problem is not the crises that we do confront, which are often used by governments to legitimize themselves, but the ones that political realism stops us from recognizing as emergencies, from widespread surveillance to climate change to the systemic shocks of neoliberalism. We need a way of disrupting the existing order that can energize radical democratic action rather than reinforcing the status quo. In this provocative book, Santiago Zabala declares that in an age where the greatest emergency is the absence of emergency, only contemporary art’s capacity to alter reality can save us. Why Only Art Can Save Us advances a new aesthetics centered on the nature of the emergency that characterizes the twenty-first century. Zabala draws on Martin Heidegger’s distinction between works of art that rescue us from emergency and those that are rescuers into emergency. The former are a means of cultural politics, conservers of the status quo that conceal emergencies; the latter are disruptive events that thrust us into emergencies. Building on Arthur Danto, Jacques Rancière, and Gianni Vattimo, who made aesthetics more responsive to contemporary art, Zabala argues that works of art are not simply a means of elevating consumerism or contemplating beauty but are points of departure to change the world. Radical artists create works that disclose and demand active intervention in ongoing crises. Interpreting works of art that aim to propel us into absent emergencies, Zabala shows how art’s ability to create new realities is fundamental to the politics of radical democracy in the state of emergency that is the present.

A candid guidebook about art-making in the midst of oppression—"a slim, necessary revelation" (Maggie Nelson, The Argonauts). Visiting the Andy Warhol Museum as a teenager, Beth Pickens realized that art was imperative for reflecting—and thus remaking—the world. As an adult, she has dedicated her life to arts nonprofits and consulting, helping marginalized artists traverse the world of MFAs, residences, and institutional funding. Writing in the aftermath of the 2016 election, Pickens reminds emerging artists that their art is more important than ever. She gives advice on fostering creativity and sustaining an innovative practice as conversations about grants, public programming, and arts funding in schools grow ever-more heated. Part political manifesto, part practical manual, this resource reminds us that art has always been a tool of resistance.

"Most folks probably don't learn about Alexis de Tocqueville in school anymore, but his seminal work, Democracy in America, is still surprisingly resonant. When he came to America in 1831 to study our great political experiment, he reported that the main issues were: religion, money, sex, death, love, gender inequality, work and politics. Clearly, we haven't come as far as one might hope. But it wasn't all doom and gloom. De Tocqueville not only cataloged our problems; he also provided a manual on how to solve them. In The Art of Being Free, journalist and scholar James Poulos parses de Tocqueville's advice for a modern audience, showing us how to live a sane, healthy, and happy life, regardless of the hectic world around us. Poulos dives into the original, beloved text to see what Tocqueville would say about our relationship to technology; our methods for coping with stress; our obsession with appearances; our workaholism; and our physical indolence. He explores how our uniquely American malaise might be alleviated, not by the next wellness or self-help craze, but by the kind of inner inventory-taking that has fallen out of fashion. Like Sarah Bakewell's How to Live or Alain de Botton's How Proust Can Change Your Life, The Art of Being Free offers a vital new twist on a collection of timeless wisdom--for Americans of all ages."--

"In the cozy den of the large but modest house in Omaha where he has lived since he started on his first billion, Warren Buffett watched the horrors of Hurricane Katrina unfold on television in early September 2005. . . . On the fourth day, he beheld in disbelief the paralysis of local, state, and federal authorities unable to commence basic operations of rescue and sustenance, not just in New Orleans, but in towns and villages all along the Gulf Coast. . . He knew exactly what he had to do. . ." So begins the vivid fictional account by political activist and bestselling author Ralph Nader that answers the question, "What if?" What if a cadre of superrich individuals tried to become a driving force in America to organize and institutionalize the interests of the citizens of this troubled nation? What if some of America's most powerful individuals decided it was time to fix our government and return the power to the people? What if they focused their power on unionizing Wal-Mart? What if a national political party were formed with the sole purpose of advancing clean elections? What if these seventeen superrich individuals decided to galvanize a movement for alternative forms of energy that will effectively clean up the environment? What if together they took on corporate goliaths and Congress to provide the necessities of life and advance the solutions so long left on the shelf by an avaricious oligarchy? What could happen? This extraordinary story, written by the author who knows the most about citizen action, returns us to the literature of American social movements—to Edward Bellamy, to Upton Sinclair, to John Steinbeck, to Stephen Crane—reminding us in the process that changing the body politic of America starts with imagination.

Is labor's day over or is this the big moment? Acclaimed author Geoghegan asserts that only a new kind of labor movement can help the country switch course toward a future that is fair and prosperous for all Americans.

A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.

This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as a diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space, and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies, and Latin American/Caribbean studies.

"With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — The Artist’s Way proposes an egalitarian view of creativity: Everyone’s got it."—The New York Times "Morning Pages have become a household name, a shorthand for unlocking your creative potential"—Vogue Over four million copies sold! Since its first publication, The Artist's Way phenomena has inspired the genius of Elizabeth Gilbert and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron's novel approach guides readers in uncovering problems areas and pressure points that may be restricting their creative flow and offers techniques to free up any areas where they might be stuck, opening up opportunities for self-growth and self-discovery. The program begins with Cameron’s most vital tools for creative recovery – The Morning Pages, a daily writing ritual of three pages of stream-of-conscious, and The Artist Date, a dedicated block of time to nurture your inner artist. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. She also offers guidance on starting a “Creative Cluster” of fellow artists who will support you in your creative endeavors. A revolutionary program for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.

Focusing on the aesthetic representation of trauma, George Smith outlines the nexus points between poetics and hermeneutics and shows how a particular kind of thinker, the artist-philosopher, practices interpretation in an entirely different way from traditional hermeneutics. Taking a transhistorical and global view, Smith engages artists, writers, and thinkers from Western and non-Western periods, regions, and cultures. Thus, we see that poetic hermeneutics reconstitutes philosophy and art as hybridizations of art and science, the artist and the philosopher, subject and object. In turn, the artist-philosopher's poetic-hermeneutic reconstitution of philosophy and art is meant to transform human consciousness. This book will be of interest to artists and scholars working in studio practice, art history, aesthetics, philosophy, cultural studies, history of ideas, history of consciousness, psychoanalytic studies, myth studies, literary studies, and creative writing.

In the shadow of a looming global environmental catastrophe humanity is at an unprecedented crossroad where crucial and difficult decisions must be made about how we are to live. This book questions where the desire for certainty and mastery is taking us and argues that reliance on technology and information alone cannot avoid an ecological catastrophe. It attends to an existential poverty of spirit that, it suggests, is at the root of contemporary problems. It tackles the association between a metaphysical void, with its growing sense of meaninglessness, and the ecological predicament. While many find the consolations of traditional religion increasingly untenable, a hunger for a spiritual dimension in life persists. In a rare excursion, yet one which continues the uniquely human search for a transcendent ground of being, the book explores an unfamiliar kind of thinking which shelters and liberates the poetic imagination that counters the modern malaise. In a scholarly yet accessible account van Leeuwen uncovers from Martin Heidegger's middle/late philosophy an extraordinary pathway of transformative thinking where this imagination is nurtured.