‘Institutional critique’ is best known through the critical practice that developed in the late 1960s and early 1970s by artists who presented radical challenges to the museum and gallery system. Since then it has been pushed in new directions by new generations of artists registering and responding to the global transformations of contemporary life. The essays collected in this volume explore this legacy and develop the models of institutional critique in ways that go well beyond the field of art. Interrogating the shifting relations between ‘institutions’ and ‘critique’, the contributors to this volume analyze the past and present of institutional critique and propose lines of future development. Engaging with the work of philosophers and political theorists such as Michel Foucault, Judith Butler, Gilles Deleuze, Antonio Negri, Paolo Virno and others, these essays reflect on the mutual enrichments between critical art practices and social movements and elaborate the conditions for politicized critical practice in the twenty-first century.

Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand—artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them. ..

Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region. Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest.Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.

In the aftermath of the 2016 US elections, Brexit, and a global upsurge of nationalist populism, it is evident that the delirium and the crisis of neoliberal capitalism is now the delirium and crisis of liberal democracy and its culture. And though capitalist crisis does not begin within art, art can reflect and amplify its effects, to positive and negative ends...

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson...

How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity...

The Art of Couture Sewing, 2nd Edition is a practical guide to custom techniques in the construction of couture garments. Beginning with a brief history of haute couture, the book moves on to cover tools and supplies, matching fabrics with the appropriate needles and threads, pressing, and construction techniques. Basic draping skills, corset construction, and tailoring, as well as the variety of closures, hems and finishes used in couture are discussed. The text is filled with step-by-step techniques along with clear instructions and illustrations...

'Draping. Art and craftsmanship in fashion design' is a manual on draping or, as it is known in France, moulage. Draping is a three-dimensional design and production technique that generates a considerable degree of freedom. From time immemorial, draping has been a technique frequently used in couture. The current revival of the art of draping is the reason why the Arnhem Academy, whose trademark is production and finishing, decided to publish this book in collaboration with ArtEZ Press. Specialists Annette Duburg and Rixt van der Tol used their extensive collection of practical manuscripts to provide the book with a clear set of instructions for draping. There are only a limited number of people who are still able to teach the art of draping, which makes this manual decidedly indispensable. It opens up an area that functions as an interesting, supplementary design niche within today’s fashion design training.

Based on years of study of a huge range of fabrics produced by hand or by strictly limited mechanization, its essential strength is its universality. In this monumental work, the structures and the descriptive terms applied to them are clearly presented according to their logical relationships to each other, moving from the simplest to the most complex. The book is divided into three parts: the raw materials of fabric structures (filaments and fabric elements); the fabric structure themselves, whether felted or made from interworked yarns; and structures such as stitches or appliqué.

Die Digitalisierung der Welt scheint einen Abgleich mit der Hand zu benötigen. Allerorten wird gehäkelt, gestickt, gestrickt und gewebt. Die Grenzlinie zwischen Kunst und Kunsthandwerk scheint zu verwischen. Bereits 1878 beschrieb Gottfried Semper das Textile als Urform der Künste. Wiener Werkstätte und Bauhaus durchbrachen die Schranken, ein entscheidender Impuls für die Meister der Moderne. Faden, Gewebe, Netz und Muster sind gleichzeitig Grundlage, Ergebnis und Ideengeber, greifen auf Malerei, Skulptur, Installations- und Medienkunst über...

The possibilities for three-dimensional manipulation of fabric – gathering, pleating, tucking, shirring, and quilting woven materials – are seemingly endless. To describe them all would be to describe the entire history of sewing....

Draping—the art of using calico to design directly on a dress form—is an essential skill for fashion students. Starting with the basics of preparing the dress form and fabric, the book advances through pinning, trimming and clipping, and creating shape using darts and tucks, to adding volume using pleats and gathers, and handling complex curves. Advanced skills include how to use support elements and how to handle bias draping...