Andras Szanto

The third in a series of books investigating the future of the museumThe third in a series of books investigating the future of the museum, following on The Future of the Museum: 28 Dialogues (2020) and Imagining the Future of the Museum: 21 Dialogues With Architects (2022). Rounding out the previous volumes, which examined the "software" and the "hardware" of the museum, the 40 dialogues in the third installment of the trilogy survey the social, cultural, economic, institutional, and technological conditions of the wider ecology in which museums operate. The conversations include leading figures from around the world, engaging voices not heard in the prior volumes: artists, curators, collectors, members of the art trade, sociologists, entrepreneurs, and others. Together, they offer a portrait of an art world seeking to adapt to a rapidly changing society.

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.