Following on the widely-read The Future of the Museum: 28 Dialogues, which explored how museums are changing through conversations with today's generation of museum directors, New York-based author and cultural strategy advisor Andras Szanto's new compilation turns its attention to architects. The conclusion of The Future of the Museum was that the "software" of art museums has evolved. Museum leaders are "working to make institutions more open, inclusive, experiential, culturally polyphonic, technologically savvy, attuned to the needs of their communities, and engaged in the defining issues of our time." It follows that the "hardware" of the art museum must also change. Conversations with a carefully selected group of architects survey current thinking in the field, engaging not only architects who have built some of the world's most iconic institutions, but also members of an emerging global generation that is destined to leave its mark on the museum of the future.

In collaboration with the sculptor Leelee Chan, a world- and time-spanning project has been selected for the 8th BMW Art Journey-an initiative of BMW and Art Basel. Chan explores old and new materials in order enter them into a dialogue with the present day. On her travels across Italy in 2020, she learned about traditional techniques used to extract and work marble, copper, iron, and bronze. In Switzerland and Germany, including at BMW's Munich headquarters, she met engineers and scientists in order to learn about nanotechnologies and postindustrial materials. This richly illustrated volume brings together essays, documentary photographs, and works inspired by the trip to examine the core questions of Chan's project: What does it mean to be a sculptor in the current time? What can we learn from the materials of yesterday? And how can tomorrow's materials ensure a more sustainable future?

"An artist, museum educator, and man about town (specifi cally, New York City), Helguera is an amateur anthropologist of the art world. ( . . . ) Helguera's] cartoons really do capture the foibles, ironies, and occasional stupidity of the art world with a clarity and economy that only a simple pen drawing and a short piece of text can achieve. They fi ll an important gap. Cartooning is rarely done in the art world ( . . . ) Maybe the problem isn't the humor, but the truth. It may take years of sleuthing for Helguera, the anthropologist, to fi gure out why this is so. In the meantime, Pablo's Artoons can do the talking for us." -From the foreword by Andrs Sznt ++++++++++++++++++++++++++++++++++++++++ Praise for The Pablo Helguera Manual of Contemporary Art Style: "Who but a genius would come up with a Manual of Contemporary Art Style?" -The Guardian ++++++++++++++++++++++++++++++++ "You will sob, even howl, with laughter." -Flash Art ++++++++++++++++++++++++++++++++++ "The balancing act between fl ippancy and gravity is neither easy to achieve nor to sustain, yet Helguera manages it with ease." -Art Review +++++++++++++++++++++++++++++++++++++++ Pablo Helguera is a visual artist. Some of his past art projects have included making a phonographic archive of dying languages, creating scripted symposia performed by actors (unbeknownst to the audience), building a memory theater, and founding a research institute exploring the global impact of Latin American soap operas. He is the author of � ve books, including The Pablo Helguera Manual of Contemporary Art Style (2007) and the novel The Boy Inside the Letter (2008), published by Jorge Pinto Books. In 2006 he drove from Anchorage to Tierradel Fuego with a collapsible schoolhouse, organizing discussions and civic ceremonies (The School of Panamerican Unrest). In 2008 he received a Guggenheim Fellowship.

Propaganda. Manipulation. Spin. Control. It has ever been thus--or has it? On the eve of the 60th anniversary of George Orwell's classic essay on propaganda ("Politics and the English Language"), writers have been invited to explore what Orwell didn't--or couldn't--know. Their responses, framed in pithy, focused essays, range far and wide: from the effect of television and computing, to the vast expansion of knowledge about how our brains respond to symbolic messages, to the merger of journalism and entertainment, to lessons learned during and after a half-century of totalitarianism. Together, they paint a portrait of a political culture in which propaganda and mind control are alive and well (albeit in forms and places that would have surprised Orwell). The pieces in this anthology sound alarm bells about the manipulation and misinformation in today's politics, and offer guideposts for a journalism attuned to Orwellian tendencies in the 21st century.

Providing information about developments in the visual arts world, this book promotes analysis of the sector, describing the characteristics of visual arts consumers (collectors and appreciators), artists, finances, and organizations. The third in a series that examines the state of the arts in America, this analysis shows, in addition to lines around the block for special exhibits, well-paid superstar artists, flourishing university visual arts programs, and a global expansion of collectors, developments in the visual arts also tell a story of rapid, even seismic change, systemic imbalances, and dislocation.