Sherry Turkle (ed.)

For more than two decades, in such landmark studies as The Second Self and Life on the Screen, Sherry Turkle has challenged our collective imagination with her insights about how technology enters our private worlds. In The Inner History of Devices, she describes her process, an approach that reveals how what we make is woven into our ways of seeing ourselves.

Sherry Turkle is Abby Rockefeller Mauzé Professor of the Social Studies of Science and Technology at MIT and Founder and Director of the MIT Initiative on Technology and Self.

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Patrice Flichy

In The Internet Imaginaire, sociologist Patrice Flichy examines the collective vision that shaped the emergence of the Internet—the social imagination that envisioned a technological utopia in the birth of a new technology.

Patrice Flichy is Professor in the Department of Sociology at the University of Marne de la Valleé, France.

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Nicholas Baume (ed.)

Anish Kapoor is one of a highly inventive generation of sculptors who emerged in London in the early 1980s. Since then he has created a remarkable body of work that blends a modernist sense of pure materiality with a fascination for the manipulation of form and the perception of space. This book--the first major American publication on Kapoor's work--surveys his work since 1979, with a focus on sculptures and installations made since the early 1990s. With more than ninety color images of these ambitious and complex works, three original essays, an extended interview with Kapoor, and selections from his sketchbooks, this book confirms Anish Kapoor's place as one of the most remarkable sculptors working today.

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Denise Markonish

Badlands, which accompanies an exhibition at MASS MoCA, approaches landscape as a theme with variations, grouping artists and their art (which is shown in 150 color illustrations) by category: Historians, who recontextualize the history of landscape depiction; Explorers, who explore the environment and our place within it; Activists and Pragmatists, who alert us to problems in the natural world and suggest solutions; and the Aestheticists, who look at the beauty found in nature.

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Darsie Alexander

West's distinctive vision has resulted in one of the most remarkable bodies of work produced since the 1960s. This book, with more than 160 color images, offers a comprehensive look at West's work from the 1970s to the present. A unique blend of illustration, essays, interviews, and artist's pages, it accompanies a major retrospective organized by The Baltimore Museum of Art, and includes a new piece created specifically for the exhibition.

Darsie Alexander is Senior Curator of Contemporary Art at The Baltimore Museum of Art.

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How will the world work in the post-oil, post-coal future? Our transition could take the form of disastrous collapses in economic, political, and economic systems--or of a radical reinvention of energy. We could relapse into a new Dark Ages, or we could shift to a new economic model and international order that's not based on (the appropriately named) "fossil" fuels but on renewable energy. In Fuel, writers and artists imagine the transition to a carbon-free future.

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Ann Goldstein and Lisa Gabrielle Mark

This book, which accompanies the first major U.S. retrospective exhibition of Kippenberger's work, at the Museum of Contemporary Art, Los Angeles, documents Kippenberger's extraordinary twenty-year career with works in many media--paintings, sculptures, works on paper, installations, photographs, collaborations with other artists, posters, postcards, books, and music.

Ann Goldstein is Senior Curator at The Museum of Contemporary Art, Los Angeles, where Lisa Gabrielle Mark is Director of Publications.

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Harald Falckenberg and Peter Weibel

These works chart Thek's journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek's works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him.

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Nicholas Baume (ed.)

New technology enables super vision--both superhuman visual powers and actual supervision by surveillance. In Super Vision, which accompanies the inaugural exhibit at the new Institute of Contemporary Art, Boston, a broad selection of important works in a variety of media expresses both the ecstatic and the threatening aspects of vision and reveals visual experience as a source of both pleasure and fear.

These works reflect the digital era's profound shift in the nature of visuality itself--as computer graphics and imaging, digitization, and virtuality have transformed both the nature of representation and our relationship to it.

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Trash: the emptied out, the used up, the broken, the outgrown, the obsolete; the dispossessed, the lost, the left behind. In Trash, writers, artists, and filmmakers look at how we are defined by what we waste and discover that we are what we throw away. Trash surveys a terrain that ranges from micro (a typology of dust bunnies) to macro (studies of landfill design and the trashed space of urban brownfield sites). It investigates the logic of trash as it is applied to humans and looks at lives intimately dependent on trash, taking us from the abducted girls of Juarez to the recycling communities of China.

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