Launched in 1994 by Laurence Ng, and morphing quickly from a "how-to" magazine tutoring its readership in the intricacies of new design technologym, into a "what to" magazine aiming to inspire and reflect the booming community around it, "IdN" is at the forefront of contemporary design. Today it is well established as a global meeting place for designers. The "IdN 15th Anniversary Edition: What Do You Love?" is a massive 452-page hardcover featuring specially commissioned work from over 250 of the highly talented creators who have collaborated with the magazine over the last decade and a half, sharing their thoughts on the past; and their visions of the future. These include Aiden Kelly, Baku Maeda, Creative Time, Exopolis, Head Gear Animation, Jon Burgerman, Live Evil Empire, Lost in Space, Mark Jenkins, Musa Collective, Neubau, Nikosono, Onesize, Paris Hair, Pomme Chan, Shilo, Tomato, Slingshot London, Sweden Graphics, The Designers Republic, Via Grafik, Wonksite, YOK, Linda Zacks, Zetka and Zip Design. A DVD supplies more than 100 minutes of motion graphics with over 80 animations, short films, TV commercials, interviews, studio tours and music videos.

William Morris is perhaps best known today for the beautiful textile designs he created under the banner of Morris & Co, which continue to decorate homes around the globe. As one of the leading lights of British socialism, however, he is less well known, and this series of Morris's Manifestos seeks to highlight his extraordinary contribution to the literary canon on subjects socialist and artistic. Based on a lecture given at the Manchester Royal Institution in 1883, Art, Wealth and Riches is a thought-provoking essay that considers art as having educative and aesthetic value that should be shared with the many, rather than financial value that should be hoarded by the few. Morris asks: 'Is art to be limited to a narrow class who only care for it in a very languid way, or is it to be the solace and pleasure of the whole people?'

A critical analysis of contemporary art collections and the value form, this book shows why the nonprofit system is unfit to administer our common collections, and offers solutions for diversity reform and redistributive restructuring. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in "public trust" on behalf of the nation, if not humanity. The public serves as alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. This structure allows for wealthy individuals at the helm to gain financial benefits from, and ideological control over, what is at its core purpose a public system. The dramatic growth of the art market and the development of financial tools based on art-collateral loans exacerbate the contradiction between the needs of museum leadership versus that of the public. Indeed, a history of private support in the US is a history of racist discrimination, and the common collections reflect this fact. A history of how private collections were turned public gives context. Since the late Renaissance, private collections legitimized the prince's right to rule, and later, with the great revolutions, display consolidated national identity. But the rise of the American museum reversed this and re-privatized the public collection. A materialist description of the museum as a model institution of the liberal nation state reveals constellations of imperialist social relations.