N Paradoxa

International feminist art journal.

Whether we're buying a pair of jeans, ordering a cup of coffee, selecting a long-distance carrier, applying to college, choosing a doctor, or setting up a 401(k), everyday decisions—both big and small—have become increasingly complex due to the overwhelming abundance of choice with which we are presented. As Americans, we assume that more choice means better options and greater satisfaction. But beware of excessive choice: choice overload can make you question the decisions you make before you even make them, it can set you up for unrealistically high expectations, and it can make you blame yourself for any and all failures. In the long run, this can lead to decision-making paralysis, anxiety, and perpetual stress. And, in a culture that tells us that there is no excuse for falling short of perfection when your options are limitless, too much choice can lead to clinical depression. In The Paradox of Choice, Barry Schwartz explains at what point choice—the hallmark of individual freedom and self-determination that we so cherish—becomes detrimental to our psychological and emotional well-being. In accessible, engaging, and anecdotal prose, Schwartz shows how the dramatic explosion in choice—from the mundane to the profound challenges of balancing career, family, and individual needs—has paradoxically become a problem instead of a solution. Schwartz also shows how our obsession with choice encourages us to seek that which makes us feel worse. By synthesizing current research in the social sciences, Schwartz makes the counter intuitive case that eliminating choices can greatly reduce the stress, anxiety, and busyness of our lives. He offers eleven practical steps on how to limit choices to a manageable number, have the discipline to focus on those that are important and ignore the rest, and ultimately derive greater satisfaction from the choices you have to make.

A pioneering account of the surging global tide of market power—and how it stifles workers around the world In an era of technological progress and easy communication, it might seem reasonable to assume that the world’s working people have never had it so good. But wages are stagnant and prices are rising, so that everything from a bottle of beer to a prosthetic hip costs more. Economist Jan Eeckhout shows how this is due to a small number of companies exploiting an unbridled rise in market power—the ability to set prices higher than they could in a properly functioning competitive marketplace. Drawing on his own groundbreaking research and telling the stories of common workers throughout, he demonstrates how market power has suffocated the world of work, and how, without better mechanisms to ensure competition, it could lead to disastrous market corrections and political turmoil. The Profit Paradox describes how, over the past forty years, a handful of companies have reaped most of the rewards of technological advancements—acquiring rivals, securing huge profits, and creating brutally unequal outcomes for workers. Instead of passing on the benefits of better technologies to consumers through lower prices, these “superstar” companies leverage new technologies to charge even higher prices. The consequences are already immense, from unnecessarily high prices for virtually everything, to fewer startups that can compete, to rising inequality and stagnating wages for most workers, to severely limited social mobility. A provocative investigation into how market power hurts average working people, The Profit Paradox also offers concrete solutions for fixing the problem and restoring a healthy economy.

"In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... "--Amazon.

Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor's most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism's fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle's depiction of women, Wet is a fascinating and informative collection. Complemented by over twenty illustrations, the essays in Wet reveal Schor's remarkable ability to see and to make others see art in a radically new light.

This book harnesses the expertise of women academics who have constructed innovative approaches to challenging existing sexual disadvantage in the academy. Countering the prevailing postfeminist discourse, the contributors to this volume argue that sexism needs to be named in order to be challenged and resisted. Exploring a complex, intersectional and diverse arrangement of resistance strategies, the contributors outline useful tools to resist, subvert and identify sexist policy and practice that can be deployed by organisations and collectives as well as individuals. The volume analyses pedagogical, curriculum and research approaches as well as case studies which expose, satirise and subvert sexism in the academy: instead, embodied and slow scholarship as political tools of resistance are introduced. A call for action against the propagation of sexism and gender disadvantage in the academy, this important book will appeal to students and scholars of sexism in higher education as well as all those committed to working towards gender e/quality.

Women Mobilizing Memory, a transnational exploration of the intersection of feminism, history, and memory, shows how the recollection of violent histories can generate possibilities for progressive futures. Questioning the politics of memory-making in relation to experiences of vulnerability and violence, this wide-ranging collection asks: How can memories of violence and its afterlives be mobilized for change? What strategies can disrupt and counter public forgetting? What role do the arts play in addressing the erasure of past violence from current memory and in creating new visions for future generations? Women Mobilizing Memory emerges from a multiyear feminist collaboration bringing together an interdisciplinary group of scholars, artists, and activists from Chile, Turkey, and the United States. The essays in this book assemble and discuss a deep archive of works that activate memory across a variety of protest cultures, ranging from seemingly minor acts of defiance to broader resistance movements. The memory practices it highlights constitute acts of repair that demand justice but do not aim at restitution. They invite the creation of alternative histories that can reconfigure painful pasts and presents. Giving voice to silenced memories and reclaiming collective memories that have been misrepresented in official narratives, Women Mobilizing Memory offers an alternative to more monumental commemorative practices. It models a new direction for memory studies and testifies to a continuing hope for an alternative future.

Mary Kelly (born 1941) is known for her project-based work, addressing questions of sexuality, identity, and historical memory in the form of large-scale narrative installations. Mary Kelly: Projects, 1973-2010 has been published to accompany the most comprehensive exhibition of the American artist’s work ever presented internationally, at the Whitworth Art Gallery, The University of Manchester. Over a hundred color images illustrate the trajectory, force and relevance of Kelly’s artistic vision. This collection of new essays and interviews by seven scholars and curators surveys forty years of projects. New light is shed on Kelly’s early career and a newly commissioned work; Habitus (2010, produced with Ray Barrie) is discussed and beautifully illustrated for the first time. This book brings together exciting new analysis of Mary Kelly’s influential career by significant art historians, as well as providing a beautiful visual survey of Kelly’s art practice to date.