Edited by one of the world’s foremost authorities on the subject, Arte Povera is the most complete overview of this movement ever published.

This expanded second edition of Reclaiming Artistic Research explores artistic research in dialogue with 24 artists worldwide, reclaiming it from academic associations of the term. Embracing artists' dynamic engagement with other fields, it foregrounds the material, spatial, embodied, organizational, choreographic, and technological ways of knowing and unknowing specific to contemporary artistic inquiry. The second edition features a new text by the author and four new artist dialogues to reflect on the changing stakes of artistic research in the wake of the global pandemic, a widespread reckoning with social justice, the growing role of artificial intelligence, and the urgent reality of climate change. LUCY COTTER (*1973, Ireland) is a writer, curator, and artist. She was Curator of the Dutch Pavilion, 57th Venice Biennale, 2017, and Curator in Residence at Oregon Center for Contemporary Art 2021–22. The inaugural director of the Master Artistic Research, Royal Academy of Art, The Hague, Cotter has lectured internationally, most recently at Portland State University. She holds a project residency at Stelo Arts and Culture Foundation 2023-24.

A major figure in eighteenth-century Christianity, John Wesley sought to combine the essential elements of the Catholic and Evangelical traditions and to restore to the laity a vital role in church life. He began one of the most dynamic movements in the history of modern Protestantism, a movement which eventually produced the Methodist churches. This volume offers a representative selection of theological writings by Wesley and includes historically oriented introductions and footnotes which indicate Wesley's Anglican, patristic, and biblical sources.

Emotion with direct and raw energy.

"'Thinking contemporary curating' is the first publication to comprehensively explore what is distinctive about contemporary curatorial thought. In five essays, art historian, critic, and theorist Terry Smith surveys the international landscape of current discourse; explores a number of exhibitions that show contemporaneity in present, recent, and post art; describes the enormous growth world-wide of exhibitionary infrastructure and the instability that haunts it; re-examines the phenomenon of artist-curators and curator-artists; and assesses a number of key tendencies in curating - such as the reimagined museum, the expanded exhibition, historicization and recuration, infrastructural activism, and engaged spectatorship - as responses to contemporary conditions." -- book cover.

"Taking Edouard Manet as its starting point and moving through the work of major painters and sculptors such as Ensor, Boccioni, Duchamp, Kollwitz, Kirchner, Beckmann, Magritte, Picasso, Hopper, Warhol, Hamilton, Pistoletto, Richter, Acconci, Sherman, Schutte, Ofili and Kentridge, as well as photographers such as Atget, Brassai, Evans, Levitt, Arnold, Weegee, Giacomelli, Goldin and Keita, Faces in the Crowd traces a history of avant-garde figuration from the 1870s to today through the works of one hundred artists." "The great revolutions in twentieth century art tend to be associated with abstraction. Yet there is a parallel history, which is equally radical. Manet's vividly realist scenarios or Jeff Wall's cinematic tableaux offer a compelling pictorial illusion of the modern. By contrast, Edvard Munch or Francis Bacon present a tortured or exhilarated inner life. For Alexander Rodchenko, the figure can be an agent of social change, revolutionary transgressive or symbolic." "This catalogue accompanies the exhibition organised by the Whitechapel Gallery and the Castello di Rivoli Museum of Contemporary Art."--BOOK JACKET.

Now that we ‘curate’ even lunch, what happens to the role of the connoisseur in contemporary culture?

"Thomas Ruff has created a substantial photographic oeuvre, in which he draws our attention to all fields of contemporary life: petit bourgeois homes ... modernist and current architectural arts; the ... faces of our fellow human beings ... outer space; studies of local neighborhoods by night; the news industry's non-stop invention of pictures [photographs from German-language newspapers reproduced and printed by Ruff with no words of explanation in order to find out what information was left when the picture was isolated from its function] ... our bodies; and modifications in perception through the pictorial explosion on the Internet"--Page 7.

[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.

In her Letter to a Friend, dOCUMENTA (13)'s artistic director Carolyn Christov-Bakargiev gives an insight into her working process, outlining some of the key issues around the 2012 exhibition. In shifting voices, such as storytelling, theoretical speculation, travel diary, press release, or critical reflection, she describes dOCUMENTA (13) as something more than an exhibition—for her it is a state of mind. It is a constellation of artistic acts and gestures that are already taking place as well as an exhibition that will open on June 6, 2012, and that will run for 100 days. Given the heterogeneity of the audience it addresses and the historical development of group exhibitions as "a non-commercial place to intensely aggregate," what can this exhibition be today? Opening the boundaries of disciplines and fields of knowledge and emphasizing the procedural questions, dOCUMENTA (13) is coming together by thinking through a number of composite entangled ontologies instead of following a defined curatorial concept. Language: German/English