Time (Whitechapel – Documents of Contemporary Art)

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Writers include Glenn Adamson, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Julia Bryan-Wilson, Joan Key, Ulrich Lehmann, Sarat Maharaj, Karl Marx, Sadie Plant, Rainer Maria Rilke, John Roberts, Jenni Sorkin. Dan Byrne-Smith is a Senior Lecturer in Fine Art Theory at Chelsea College of Arts, University of the Arts, London. His published work includes Traces of Modernity (2012). The MIT Press has been a leader in open access book publishing for over two decades, beginning in 1995 with the publication of William Mitchell’s City of Bits, which appeared simultaneously in print and in a dynamic, open web edition.

Lucy Steeds is an editor of the Exhibition Histories series for Afterall Books and pathway leader in Exhibition Studies at Central Saint Martins, University of the Arts, London. Tanya Harrod is our leading scholarly voice on craft. [This] invaluable anthology...is an ideal introduction to the intellectual landscape of craft, and an essential tool for those already invested in the topic."Petra Lange-Berndt is Lecturer in Modern and Contemporary Art at University College London and a leading researcher in the field of material studies in art history. She is co-editor of Sigmar Polke: We Petty Bourgeois! Contemporaries and Comrades, the 1970s (2011). Established in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design. This exciting collection is a pleasure to read from beginning to end...This is a welcome introduction to, and provocative rethinking of the object, in all its many formal and theoretical formations.' A definitive guide to the rising status of sound in art, through original critical writings and artists' statements. Writers include James Agee, Ariella Azoulay, Walter Benjamin, Adam Broomberg, Judith Butler, Oliver Chanarin, Georges Didi-Huberman, John Grierson, David Levi Strauss, Elizabeth McCausland, Carl Plantinga, Jacques Rancière, Martha Rosler, Jean-Paul Sartre, Allan Sekula, Susan Sontag, Hito Steyerl and Trinh T. Minh-ha.

Simon Morley is a British artist and art historian who has contributed to international art journals including Art Monthly, Untitled, Contemporary Visual Art, TATE Etc. and Tema Celeste. A lecturer at Winchester School of Art, England, he is the author of Writing on the Wall: Word and Image in Modern Art (2003). This anthology provides a definitive historical context for documentary, exploring its roots in modernism and its critique under postmodernism; it surveys current theoretical thinking about documentary; and it examines a wide range of work by artists within, around or against documentary through their own writings and interviews. MIT Press Direct is a distinctive collection of influential MIT Press books curated for scholars and libraries worldwide. With newly commissioned texts by artist Anna Zett, artist David Steans, and writer Mark Pilkington. In a world where technology, spectacle and excess seem to eclipse former concepts of nature, the individual and society, what might be the characteristics of a contemporary sublime? If there is any consensus it is in the notion that the sublime represents a taking to the limits, to the point at which fixities begin to fragment. This anthology examines how ideas of the sublime are explored in the work of contemporary artists and theorists, in relation to the unpresentable, transcendence, terror, nature, technology, the uncanny and altered states.

Julian Stallabrass teaches Art History at the Courtauld Institute of Art, London. His books include Gargantua: Manufactured Mass Culture (1996), High Art Lite: The Rise and Fall of Young British Art (1999) Internet Art: The Online Clash Between Culture and Commerce (2003) and Art Incorporated (2004). Documentary has undergone a marked revival in recent art, following a long period in which it was a denigrated and unfashionable practice. This has in part been led by the exhibition of photographic and video work on political issues at Documenta and numerous biennials and, since the turn of the century, issues of injustice, violence and trauma in increasing zones of conflict. Aesthetically, documentary is now one of the most prominent modes of art-making, in part assisted by the linked transformation and recuperation of photography and video by the gallery and museum world. Unsurprisingly, this development, along with the close attention paid to photojournalism and mainstream documentary-making in a time of crisis, has been accompanied by a rich strain of theoretical and historical writing on documentary. Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art. Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art.

Tracing its various emergences through the shadows of modernity, the circuitries of ritual media, and declarations of psychic self-defence, Magic deciphers the evolution of a ‘magical-critical’ thinking that productively complicates, contradicts and expands the boundaries of our increasingly weird present. Terry R. Myers is a Chicago and Los Angeles-based writer, educator and independent curator. A regular contributor since 1988 to numerous international journals, including The Brooklyn Rail, Art Review, Parkett, and Modern Painters, he is the author of Mary Heilmann: Save the Last Dance for Me (Afterall Books, 2007). He is Associate Professor of Painting & Drawing at The School of the Art Institute of Chicago. Writers include Giorgio Agamben, Emily Apter, Karen Archey, St Augustine, Mieke Bal, Geoffrey Batchen, Hans Belting, Franco ‘Bifo’ Berardi, Henri Bergson, Daniel Birnbaum, Yve-Alain Bois, Jorge Luis Borges, Italo Calvino, Gilles Deleuze, Georges Didi-Huberman, Brian Dillon, Elena Filipovic, Elizabeth Grosz, Boris Groys, Rachel Kent, Rosalind Krauss, George Kubler, Quinn Latimer, Bruno Latour, Doreen Massey, Jean-Luc Nancy, Michel Serres, Michel Siffre, Mark von Schlegell, Nancy Spector, Jan Verwoert and Dōgen Zenji.Part of the Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art.

I welcome this new book about materiality. It explores questions of embodiment in our age of virtuality, and that is no small matter.' Writers include Joseph A. Amato, Karen Barad, Judith Butler, Elizabeth Grosz, Hubert Damisch, Georges Didi-Huberman, Natasha Eaton, Briony Fer, Vil èm Flusser, Jens Hauser, Dieter Hoffmann-Axthelm, Tim Ingold, Wolfgang Kemp, Julia Kristeva, Esther Leslie, Jean François-Lyotard, Sadie Plant, Dietmar Rϋbel, Viktoria Schmidt-Linsenhoff, Simon Taylor, Hilke Wagner, Monika Wagner, and Gillian Whiteley.Artists surveyed include Marina Abramović, Joseph Beuys, Tacita Dean, Walter De Maria, A K Dolven, Olafur Eliasson, Andreas Gursky, Jitka Hanzlová, Gary Hill, Susan Hiller, Shirazeh Houshiary, Anish Kapoor, Mike Kelley, Anselm Kiefer, Yves Klein, Richard Long, Barnett Newman, Tony Oursler, Cornelia Parker, Gerhard Richter, Doris Salcedo, Lorna Simpson, Hiroshi Sugimoto, Fred Tomaselli, James Turrell, Luc Tuymans, Bill Viola and Zhang Huan. Amelia Groom is a London-based critic and curator who writes regularly for frieze and other publications. She held a teaching fellowship at the University of Sydney while she was writing her doctoral dissertation in the Art History and Theory department. Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art. For this collection, Dan Byrne-Smith brings together his acute aesthetic sense, his extensive knowledge of science fiction, and his engaged utopian hermeneutic to present this compelling array of artists and writers who break open the cage of neoliberal entrapment and engage in a revolutionary response to the dark times that immerse us all."