This issue features a range of contemporary views on modernist painting: T. J. Clark addresses images of labor from Menzel to Burtynsky; Julian Bell discusses the nature of “escapism” in Bonnard; John Elderfield looks at Frankenthaler’s special attitude to the past of painting; Larissa Dätwyler considers Matisse’s treatment of pentimenti; and Gordon Hughes interprets Max Beckmann’s Falling Man. We also reprint a little-known essay by Meyer Schapiro on Race and Nationalism in art with an introduction by Todd Cronan and Marnin Young. Finally, Adolph Reed considers the life and death of Jesse Jackson and what it means for politics today. This issue was edited by Todd Cronan.

In this issue, Samuel C. Wheeler considers the status of design intention in LLMs, Walter Michaels and Pawel Kaczmarski discuss books by Jensen Suther and Timothy Bewes, Touré Reed is interviewed on “Black History from the Civil Rights Movement to BLM,” Vincent Hiscock discusses the function of idealization in socialist realist photography, and Michael Fried interviews Luc Delahaye.

This double issue invites readers to come to terms with how New Orleans has been remade in the interests of the investor class—a shifting constellation of local and national corporations, developers, government officials, think tanks, and pundits—even as they’ve leveraged authenticity and nostalgia to placate dissent, and how the battle for a more just city is yet to be won or even waged in any sustained way. As a collection of essays, written in response to recovery efforts over the last two decades, When the Investor Class Goes Marching In is addressed explicitly to questions of political economy, describing how a recovery project driven by propertied interests has fostered an extreme housing affordability crisis, and makes the case for why decommodification of housing should be the centerpiece of popular left politics in the Crescent City and beyond.

This double issue invites readers to come to terms with how New Orleans has been remade in the interests of the investor class—a shifting constellation of local and national corporations, developers, government officials, think tanks, and pundits—even as they’ve leveraged authenticity and nostalgia to placate dissent, and how the battle for a more just city is yet to be won or even waged in any sustained way. As a collection of essays, written in response to recovery efforts over the last two decades, When the Investor Class Goes Marching In is addressed explicitly to questions of political economy, describing how a recovery project driven by propertied interests has fostered an extreme housing affordability crisis, and makes the case for why decommodification of housing should be the centerpiece of popular left politics in the Crescent City and beyond.

In this issue, Adolph Reed looks at a range of mid-century compromises that reshaped the nature of American politics; Touré Reed addresses the question of racial resentment in contemporary politics; José Arellano shows how the film Ex Machina figures the convergence of neoliberal economics and aesthetics; Pawel Kaczmarksi clarifies the role of Marxist notions of base and superstructure through a critique of Vivek Chibber’s writings; and Stephen Schryer critiques ecocritical readings of Richard Powers’s The Overstory as missing the point of the book’s critique of capital.

In memory of the radical ambition and extraordinary achievement of the painter Joseph Marioni, this issue brings together four contributions in four different forms: poems by Michael Fried, photographs by James Welling, a film by Joe De Francesco, and an essay by Joseph Staten.

This issue is structured around contemporary political and aesthetic debates focused on three books: The Fall and Rise of American Finance: From JP Morgan to BlackRock by Stephen Maher and Scott Aquanno; The Global Rules of Art: The Emergence and Divisions of a Cultural World Economy by Larissa Buchholz; and Anna Kornbluh’s Immediacy, or The Style of Too Late Capitalism. Included here are a range of responses to these books in the hope of generating more discussion around finance capital, the global art world, and the accelerated rate of consumption under capital. Also featured is an essay by novelist Sunjeev Sahota on class politics and publishing.

In this issue we draw upon historical, political, and artistic reflections on the New Deal era in ways that both offer a richer understanding of that historical moment and provide a fuller basis for reflecting on our current crossroads in American life. Standing at another moment of crisis, facing once again economic hardship and political division, the importance of this historically themed discussion is palpable.

In this issue, part of an ongoing series co-edited by Bridget Alsdorf and Marnin Young, we feature new scholarship on nineteenth-century European art, including Michael Fried on Géricault, Balzac, and “the limit case of absorption”; Laura Kalba on Rossetti, Ruskin, and political economy; Claire Moran on Morisot and the plein-air interior; Stephanie O’Rourke on John Martin and infrastructure; and Harmon Siegel on subjectivity and style. Also featured is the first English-language version of Fritz Novotny’s essay “Das Problem des Menschen Cézanne im Verhältnis zu seiner Kunst” (1932), translated by Carmen Rosenberg-Miller as “The Problem of Cézanne the Person in Relation to His Art.”

“Signature Event Context” has proved to be Derrida’s most enduring essay. New fields have been founded on its basis, and it is his only work to address at length a text by a philosopher not from the Continental tradition. Occasioned by the passing of “Signature’s” fiftieth anniversary, the present issue, edited by Joshua Kates, includes essays from scholars with a range of sympathies to Derrida’s project. Their articles focus less on purely scholarly concerns and instead on the truth about questions raised by Derrida’s essay: of textual identity, the role of intention and citation, the status of fictional and historical discourses, and the work of interpretation. A series of interchanges between Walter Benn Michaels, Henry Staten, and Joshua Kates, commenting on Michaels’s essay, are also included, which pursue further this attempt to get at the things themselves.

In this issue we feature a series of interlocking essays on the self-imposed limitations on political thinking by Sam Gindin, Mike Macnair, Adolph Reed with an introduction by John-Baptiste Oduor. In addition is a feature on the Shards by Willard Boepple with an essay by Michael Fried as well as two essays on problems in contemporary art theory by Ian Verstegen—on aesthetic ideologies of “vibrant matter”—and Diarmuid Costello on Thierry de Duve’s account of Kant.

Essays on race and labor, then and now, by Adolph Reed, Thomas J. Mann and Oliver Cox as well as a series of ongoing studies of Modern Architecture in California by Alex Ross, Christopher Long and Pierluigi Serraino.

In this issue scholars address the underexamined writings of literary critic Hugh Kenner.

Inside the issue

This issue is devoted to new approaches to lesser-known architecture and design at mid-century. Examining a range of practices at mid-century, all of them within a highly politicized landscape, these essays explore Otto Neurath’s studies in scientific management, Bruno Mathsson’s Solar Architecture, reconceptions of building art for the uninhabited wilderness, the incredible story of the intersection of the work of Alden B. Dow and Dow Chemical, and a study of the contrasting approaches to architectural photography in the work of Julius Shulman and Ezra Stoller. Finally, Adolph Reed cuts through the ideological jargon of Afropessimism.

Inside the issue You May Also Like Issue #39: Art/Race/Theory/Practice

The second in a pair of issues featuring new scholarship and essays on contemporary art, a professional-managerial enterprise. Edited by Elise Archias.

The first in a pair of issues featuring new scholarship and essays on contemporary art, a professional-managerial enterprise. Edited by Elise Archias.

In this issue we focus on debates—new and old—in the legal and literary sphere, examining topics ranging from birtherism, plea bargaining, forensic architecture and evidence, and robotic free speech. Edited by Lisa Siraganian and Rachel Watson.

This is the third in a series of issues featuring new scholarship on nineteenth- and eighteenth-century art.

Essays on the current state of politics in Brazil, Racial ideology in the NFL, and the prospects of Deneocolonizing the University.

Essays on Kleist, Impressionism, Adorno, and Racism as Disorder.

In “The Trouble with Disparity” Reed and Michaels critique the normative approach to politics today; Responses to Michaels on Anscombe and Art; Michael Fried on Thomas Struth’s Technology Photographs; Ken Warren on the poetics of BLM; Dani Follett on John Cage; and Nicholas Brown enters The Tank.

Inside the issue You May Also Like Issue #24: The Neoliberal Coup

In this second installment of work inspired by the example of Judith Stein we include essays by Preston Smith II on New Urban Renewal, Touré Reed on Lester Granger, Thomas Adams on Stein, Cedric Johnson on David Roediger, and Anton Jaeger on David Graeber.