While style has all but disappeared from art historical and art critical discourse, artistic practice since the 1960’s onwards has seemed increasingly focused on the stylistics of the life-environment, the way in which everyday life itself is formed, designed or stylized. This development calls for a new reading of the relationship between art and the question of style.

With its 100 questions and answers from major practitioners of the art world and beyond, this book helps to examine the various parameters for a new institutional model.

Since the mid-1990s, contemporary art has been booming like never before. There is more of everything—more artists, more collectors, more galleries, more art fairs, more museums, more biennials … with one exception: criteria with which the art of the moment can be understood, judged, praised and, if need be, damned.

The alienation between modern high culture and its public is a fundamental conflict of art. This book develops a theory of contemporary art in response to our moment, when artists and critics must respond to art’s unprecedented popularity.

This volume is a collection of dynamic and engaged writings by art historian John C. Welchman on a range of contemporary European artists. Anchored in concerns that emerged in the late 1960s and 1970s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work.

Selected Maria Lind Writing brings together twenty-two essays selected by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr.

Over the past quarter century, artists have made powerful interventions in debates around globalization, addressing various dimensions of cross-border exchange, from mass migration to the dynamics of translation, and devising new ways of conceptualizing them. Marcus Verhagen’s Flows and Counterflows tells the story of those interventions, dwelling on projects that draw out both the dangers and the tangible or imaginable benefits of global exchange.

First presented in lecture format at Witte de With, Center for Contemporary Art, these essays reflect the wealth of the exchange that exists between theoretical writing and artistic thinking, sharing the fascination that each of these authors has with both the work of an artist and how this work functions in relation to larger contexts and broader ideas.

Through the contribution of internationally renowned artists and scholars, this anthology explores how the aesthetics of new media technology and its spatial implementations affect the judicial system in relation to fundamental concepts such as truth and representation.

In recent years, debates surrounding the concept of art have focused in particular on installation art, as its diverse manifestations have proven to be incompatible with the modern idea of aesthetic autonomy. Here, Juliane Rebentisch asserts that installation art does not, as is often assumed, dispute aesthetic autonomy per se, and rather should be understood as calling for a fundamental revision of this very concept.