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This chapter discusses the history of bicycle art, examining how artists from the early twentieth century onwards have used the bicycle as a device for exploring issues of identity, injustice and inequality. The discussion considers work by a number of artists from around the world, but the principal case studies are contemporary artists Ai Weiwei and Rainer Ganahl. This chapter examines the way these artists have used the bicycle as the symbolic device through which to explore questions of contemporary capitalism and technology, political repression and freedom of movement, economic inequality and nationhood, as well as masculinity, sexuality and individual identity. Both artists have also used the bicycle as a tool with which to make art in a variety of media, and this chapter argues that their work invites us to reflect upon cycling cultures and the bicycle's transformative political potential as a device that enables us to see and experience the world differently.

The focus of the article is twofold. It scrutinizes the marketing strategies of the traditional musicians of the Republic of Sakha, in the Russian Far East. In the last 10 years musicians who had performed pop, rock or jazz now focus on the global world music scene in order to develop their international career and earn money. Simultaneously, the article discusses the role of the media in the local music business of the Republic of Sakha. The local media puts artists under heavy pressure to gain success outside of their home region and Russia. Artists are turned into political activists and role models for young musicians. In order to respond to these expectations and thrive in the global music business, Sakha artists have developed interesting methods of modifying Sakha tradition. The article is critical to the post-colonial reading of the world music business and argues that artists are not always manipulated by managers but that artists develop strategies to fit the expectations of the audience and managers.

This article analyses the social conditions that lead up to modes of entry into the field of art, as experienced by two of the most representative artists of the first and second avant-garde: Marcel Duchamp and Jackson Pollock. Differences in the degree to which the two artists possessed social and cultural capital, born of their respective trajectories, influenced the mediating structure each employed. In contrast to Pollock, Duchamp did not have a profuse or organized network of intermediaries. He was able to convert capital he inherited into a distancing of himself from opportunities made easily available to him. Duchamp achieved a high degree of formal experimentation, opting not to expose his work to the demands of the field of modern art. Both artists embody ideal types, between which many avant-garde artists of the first half of the 20th century would fluctuate. While Duchamp was to be considered the great precursor of contemporary art, Pollock would occupy the place of prototypical avant-garde artist.

This article investigates the extent to which economic markets have incorporated mainstream artistic acceptance of African American art. Prices of oil paintings sold at auction from 1972 to 2004 for African American artists are compared to their contemporaries. Gross means between the two groups reveal averages significantly lower for African American artists throughout the time period. Hedonic regressions, used to refine the statistical analysis by controlling for factors characterizing the painting and auction environment, also reveal that African American artists fetch lower prices. The hedonic regressions, however, reveal a narrowing gap between the two groups since price appreciation has been higher for works by African American artists. The high investment returns have made investment in paintings by African American artists a relatively profitable niche in recent years comparing well with traditional investments such as stocks and bonds. This profitability may continue since painting prices for African Americans have not completely caught up to those of contemporaries.

During the 1960s and 1970s, the Uruguayan and Brazilian states clashed with politically and culturally contestatarian artistic movements. While counter-cultural artists built their images and created art against the grain of accepted cultural norms, politically engaged artists supported and participated in the struggle for social change, serving as mouthpieces for social movements by using their songs to transmit political messages. Not all artists fell squarely into one camp or the other, and career trajectories more often delved into more than one type of expression. Still, identifying artists with one or the other category according to the predominant tendencies in musical production contributes to the analysis of the period. Both types of artists encountered varying forms of repression which transformed their art aesthetically and according to communicative necessities. The movements to which they belonged accordingly re-shaped themselves. The state responded to these transformations and adjusted its approach to cultural movements in turn, participating in a dialogue charged with different and unequal power relations.

The electro-chemical black swan / Nav Haq -- A glossary of rave -- Baroque sunbursts / Mark Fisher -- Festival Club. Where nothing happens, 2013 / Irene de Andrés -- Artists: Jacques André, Irene de Andrés, Cory Arcangel, George Barber, Jef Cornelis -- Horse power: interview with Renaat Vandepapeliere -- Artists: Jeremy Deller, Denicolai & Provoost, Rineke Dijkstra, Aleksandra Domanović, Andreas Gursky -- Hard beat: interview with Water Van Beirendonck -- Artists: Dan Halter, Henrik Plenge Jakobsen, Ann Veronica Janssens, Martin Kersels, Mark Leckey -- Without borders: interview with Wolfgang Voigt -- Artists: The Otolith Group, Daniel Pflumm, Sergey Shutov, Matt Stokes, Walter Van Beirendonck -- Score for acide brass, 1997 / Jeremy Deller -- Fear of a wet planet / Kodwo Eshun -- Legislature -- List of works -- Contributors' biographies -- Colophon

"OpTrek in Transvaal. On the role of public art in urban development" reflects on the position of artists in areas of urban transformation and on the concept of urban curating. The articles present a survey of the commissions and research in the field of art and architecture initiated by mobile project office OpTrek in Transvaal between 2002 and 2010. Experts from home and abroad, such as 2012architecten from Rotterdam, the Japanese artist Tadashi Kawamata and the Austrian artists' group WochenKlausur were invited to comment on the changes in the district with their work in the built environment. With this publication OpTrek contributes to the international discussion among artists, architects, urban planners, politicians and policy makers on the future development of urban spaces

Between 1966 and 1976, American artist Nancy Spero completed some of her most aggressively political work. Made at a time when Spero was a key member of the anti-war and feminist arts-activism that burgeoned in the New York art world during the period, her works demonstrate a violent and bodily rejection of injustice. Considering the ways in which anti-war and feminist art used emotion as a means to persuade and protest, Pain and Politics in Postwar Feminist Art examines the history of this crucial decade in American art politics through close attention to Spero's practice. Situating her work amongst the activism that defined the era, this book examines the ways in which sensation and emotion became political weapons for a generation of artists seeking to oppose patriarchy and war. Exemplary of the way in which artists were using metaphors of sensation and emotion in their work as part of the anti-Vietnam war and feminist art movements in the late 1960s and early 1970s, Spero's practice acts as a model for representing how politics feels. By exploring Spero's political engagement anew, this book offer a profound recontextualization of the important contribution that Spero made to Feminist thought, politics and art in the US

Analysing a panel of paintings by Danish painters suggests that the conditional life expectancy of the artist at the time of sale has a negative impact on the sale price. This is consistent with the idea that artists share some of the characteristics of durable monopolists and that the ageing and ultimately the death of the artist represent acceptable forms of commitment not to 'overproduce'. In addition interest in an artist's work begins to wane after their death.

Manufacturers, architects, artists, and others are now doing 3-D printing, using computer-generated designs to command devices loaded with plastics, carbon, graphite, and even food materials to construct three-dimensional products. With 4-D printing, manufacturers take the next crucial step: self-assembly or self-replication. What begins as a human idea, hammered out intellectually on a computer, is then sent to a 3-D printer, resulting in a creation capable of making copies of and transforming itself. Governance is focused on the old world of biology, in which scientists observed life from the outside, puzzling over its details and behavior by tinkering with its environment and then watching what happened. But in the new biology world, scientists can now create life themselves and learn about it from the inside. In the last two years, the World Health Organization has held two summits in the hopes of finding a global solution to the Pandora's box opened by the H5N1 experiments. Adapted from the source document.

"After the Counter-Reformation, the Papal State of Bologna became a hub for the flourishing of female artistic talent. The eighteenth-century biographer Luigi Crespi recorded twenty-three women artists working in the city, although many of these, until recently, were lost and ignored by modern art criticism, despite the fame they attained during their lifetimes. What were the factors that contributed to Bologna's unique confluence of women with art, science, and religion? The Devout Hand explores the work of two generations of Italian women artists in Bologna, from Lavinia Fontana (1552-1614), whose career emerged during the aftermath of the Counter -Reformation, to her brilliant successor, Elisabetta Sirani (1638-1665), who organized the first school for women artists. Patricia Rocco further sheds light on Sirani's students and colleagues, including the little-known engraver Veronica Fontana and the innovative but understudied etcher Giuseppe Maria Mitelli. Combining analysis of iconography, patronage, gender, and reception studies, Rocco integrates painting, popular prints, book illustration, and embroidery to open a wider lens onto the relationship between women, virtue, and the visual arts during a period of religious crisis. A reminder of the lasting power of images, The Devout Hand highlights women's active role in sixteenth- and seventeenth-century Christian reform and artistic production."--

Meriwan Abdullah interviews Kurdish artist Ismail Khayat about the importance of documenting the work of Kurdish artists and how art can express the stories and record the histories of the Kurdish people.

Between 'role' as artist and 'status' as woman, she (the woman artist) experiences a provoking undercurrent of tension engendered by the polarized forces of freedom and (traditional) restriction that exist in her life»

"In Dismantling the Patriarchy, Bit by Bit, Judith K. Brodsky makes a ground-breaking intellectual leap by connecting feminist art theory with the rise of digital art. Technology has commonly been considered the domain of white men but-unrecognized until this book-female artists, including women artists of color, have been innovators in the digital art arena as early as the late 1960s when computers first became available outside of government and university laboratories." (éditeur)

The arts sector in South Africa is portrayed as a multiracial, emancipatory and inclusive sector that promises to reduce youth unemployment and to mitigate inequality. In post- apartheid art institutions, artistic merit and perseverance are deemed to be sufficient in order to access the art sector and its market. The paths of individual black artists from poor areas who have succeeded in accessing the institutional art circuit are praised by the media, policymakers and curators. A romanticisation of their efforts is coupled with identifying them as role models for younger generations.
Despite emphasis on the inclusivity of the art sector and the hailing of successful paths, black artists report a long-standing difficulty in gaining access to, and being fully accredited in, the institutional art circuit. The ambiguity of the art sector, which claims to be inclusive in word but is de facto exclusionary, deeply affects young black artists whose first steps into the art sector are often accompanied by a feeling of uneasiness and bewilderment.
Drawing on the multivocal accounts of the everyday life of young black artists who work in the field of performance art in Gqeberha, this article unveils the 'entrance fees' that black artists have to negotiate in order to access the institutional art circuit, i.e. the obstacles they have to overcome, but also the deals and concessions they have to make in order to build their career and be fully recognised as artists.
Moreover, the article sheds light on a double invisibility in the performing arts sector: on one side the economic, spatial and reputational obstacles that artists deal with are dismissed as part of the everyday life of individuals coming from marginal areas; on the other side, the performing arts and spaces that young black artists create within alternative or complementary circuits are not considered part of the city's artistic production.