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"A dazzlingly original reassessment of women's stories, bodies and art, and how we think about them. For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it? Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body, calling attention to a radical heritage of feminist work that not only reacts against patriarchy but redefines its own aesthetic aims. Writing in the tradition of Susan Sontag, Hel ne Cixous and Maggie Nelson, Lauren Elkin demonstrates her power as a cultural critic, weaving daring links between disparate artists and writers, from Julia Margaret Cameron's photography to Kara Walker's silhouettes, Vanessa Bell's portraits to Eva Hesse's rope sculptures, Carolee Schneemann's body art to Theresa Hak Kyung Cha's trilingual masterpiece DICTEE, and shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political"--Publisher's description

"This book discusses how art can affect the world of business. As art has gained greater acceptance as an investment, it is appearing in a variety of transactions that expand the traditional dealer-gallery-auction house sale form. Art transactions increasingly include many art-secured lending, securitization, and commercial transactions. The presence of art in these transactions is frequently novel to the parties involved, who may be unfamiliar with the unique issues and challenges of the art world. Insurance plays a more significant role in art transactions than it has in the past, including title insurance. Some of the topics include: culture (such as the Elgin Marbles); fakes and forgeries; questions of titles (such as Nazi-looted art); restrictions on materials (such as the ban on ivory); forms of art-secured transactions (such as consignments and secured loans); express and implied warranties on art; and copyright."--

Body art, practiced across the world cultures and throughout history, is the most intimate art form, linking the self, the senses, and the social and political. In recent years, it has proliferated in an unprecedented way, borrowing motifs and practices from many different traditions. Explore their role in expressing personal and cultural identity; their longstanding associations with ritual, theatricality, criminality and beauty; and their recent resurgence via the Modern Primitabe movement and the work of contemporary artists such as Marc Quinn and Rebecca Belmore. The diversity of body arts is chronicled here: from Australian and African traditions of painting and scarification to Chinese footbinding, Russian prison tattoos, Harlem drag balls and the inked designs worn by celebrities such as Tupac Shakur and David Beckham

The transition to post-industr'ism is marked by increasing pol'al concern for the quality of life. The arts, an important determinant of the quality of life, are affected by this transition in the following ways: growth of mass participation in cultural activities; elaboration of the instit'al framework of the arts; formation of a 'culture lobby'; & pol'alization. Decisionmakers in gov, business, res, & educ must begin to take into account, as one entry in their cost-benefit ledgers, the cultural consequences of their actions. A cultural data system is needed to provide information for rational policy-making in the cultural field & to assist those outside the field in understanding their impact on it. A tentative model is constructed to facilitate the monitoring of qualitative, as well as quantitative, changes in the arts in contemporary society. 15 variables are suggested, which, taken together, comprise an index of the state of health of a nation's culture. Ways are proposed by which changes in these variables can be statistically measured. HA.