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The fantasized artist-as-origin began as the quintessential figure manifesting Enlightenment European concepts of individual autonomy and sovereign subjectivity—and thus of identity and meaning as these come to define and situate human expression as well as securing educated, middle-class, European white male hegemony in the Euro-American context. While we think of this conventional figure of the straight white male artist as old-fashioned, as having been relentlessly critiqued since the mid-twentieth century by artists, often from a feminist, queer, anti-racist, or decolonial perspective, this article asserts that the artistic author still drives much of the discourse as well as underlying the money and status attached to visual art today. Citing key works by a range of contemporary artists who have challenged these value systems—Cassils, rafa esparza, James Luna, Guillermo Gómez-Peña, and Susan Silton—this article foregrounds the critique of whiteness and masculinity and the interrogation of capitalism and neoliberalism necessary to interrogating these structures of value attached to artistic authorship.

Obesity affects more than one-quarter of adults in the United Kingdom and is a leading cause of preventable disease and health care costs. Digital behavior change programs can provide scalable weight management support, but maintaining engagement is challenging, and engagement is strongly associated with weight loss success. Tailoring interventions to cognitive-behavioral phenotypes, distinct patterns of thinking and behavior, offers one strategy to improve adherence. Although such approaches show promise in controlled settings, evidence from real-world digital programs is limited. This study evaluated whether phenotype-tailored weekly advice improved engagement and weight loss in a national digital weight management program. Secondary aims were to assess correlations between advice use and outcomes, explore moderation by socioeconomic status, and capture participants' perceptions of the advice. We conducted a quasi-experimental study among UK adults enrolled in a free 12-week program commissioned by the National Health Service. Eligible participants were aged 18-80 years with a BMI greater than 25 kg/m². The phenotype group (n=148; mean age 48 years; 127/148, 86% female; mean BMI 39 kg/m²) completed a 17-item questionnaire, were classified into one of 4 phenotypes, and received weekly tailored advice for 7 weeks. Comparators included a historical cohort enrolled 1 year earlier without phenotype advice (n=241; mean age 44 years; 171/241, 71% female) and nonresponders who did not complete the questionnaire (n=394; mean age 44 years; 299/394, 76% female). Primary outcomes were program engagement (any in-app activity such as meal logging, activity tracking, content reading, or coach messaging) and self-reported weight. The phenotype group recorded a mean of 257 (SD 232) engagements over 7 weeks, significantly higher than both the historical cohort (mean 159, SD 187; P<.001) and nonresponders (mean 135, SD 198; P<.001), representing 62%-90% greater activity. All engagement types were significantly elevated (P<.001 for all). Mean weight loss was -2.23 kg (SD 7.97) in the phenotype group, compared with -1.60 kg (SD 5.39; P=.29) in the historical cohort and -0.69 kg (SD 13.23; P=.23) in nonresponders. The number of phenotype-specific advice documents opened correlated with engagement (r=0.48; P<.001) but not with weight loss (P=.42). Socioeconomic status did not moderate outcomes. Posttrial interviews (n=16) provided mixed feedback: many participants described the advice as clear, relevant, and motivating, whereas others considered it too general or poorly matched. Phenotype-tailored weekly advice was associated with substantially higher engagement in a real-world digital program, although short-term weight differences were not statistically significant. While limited by a nonrandomized design, short follow-up, and reliance on self-reported weight, this study suggests phenotype-based tailoring may be a scalable strategy to strengthen adherence in digital weight loss interventions. Larger randomized trials with longer follow-up are warranted to determine whether increased engagement translates into clinically meaningful weight loss.

\"I write four times here, around painting.\" So states Jacques Derrida in section four of the first chapter, \"Passe-partout,\" of his book \"Truth in Painting,\" published in 1978 in French and in 1987 in English. Drawing on Derrida's insights and his quadrilateral conceit for the rest of this brief piece, I will 'write four times' around my intellectual and pedagogical debt to Donald Preziosi, framing (incompletely) my thoughts and memories; I contain them in this way, but aspects of desire and longing will inevitably seep out, oozing across the beveled edges of the passe-partout (beveled, they lead the eye and the mind from inside to outside, showing us there is no strict dividing line). The desire and longing will be evident in my shifts to \"Donald\" from the more formal \"Preziosi,\" a choice I make deliberately to dislocate the honorific and to implicate my feelings in my framing operation. In this way I will enact my awareness of the fact that my framing both constitutes and describes four aspects of what I believe to be the most important contributions of the work of Donald Preziosi. [Publication Abstract]

Ron Athey is one of the most important, prolific and influential performance artists of the past four decades. A singular example of lived creativity, his radical performances are at odds with the art worlds and art marketplaces that have increasingly dominated contemporary art and performance art over the period of his career. Queer Communion, an exploration of Athey's career, refuses the linear narratives of art discourse and instead pays homage to the intensities of each mode of Athey's performative practice and each community he engages. Emphasizing the ephemeral and largely uncollectible nature of his work, the book places Athey's own writing at its centre, turning to memoir, memory recall and other modes of retrieval and narration to archive his performances. In addition to documenting Athey's art, ephemera, notes and drawings, the volume features commissioned essays, concise 'object lessons' on individual objects in the Athey archive, and short testimonials by friends and collaborators including Dominic Johnson, Amber Musser, Julie Tolentino, Ming Ma, David Getsy, Alpesh Patel and Zackary Drucker, among others. Together they form Queer Communion, a counter history of contemporary art.

This book investigates baroque architecture through the lens of San Gennaro’s miraculously liquefying blood in Naples. This vantage point allows a bracing and thoroughly original rethink of the power of baroque relics and reliquaries. It shows how a focus on miracles produces original interpretations of architecture, sanctity and place which will engage architectural historians everywhere. The matter of the baroque miracle extends into a rigorous engagement with natural history, telluric philosophy, new materialism, theory and philosophy. The study will transform our understanding of baroque art and architecture, sanctity and Naples. Bristling with new archival materials and historical insights, this study lifts the baroque from its previous marginalisation to engage fiercely with materiality and potentiality and thus unleash baroque art and architecture as productive and transformational.

Social practice and dematerialization are often cited as the most radical innovations in Euro-American contemporary art since the late 1960s, but rarely have historians acknowledged the crucial role of experimental pedagogy in this shift of art towards performance, conceptualism, and activism. The practice of Los Angeles–based performance artist Suzanne Lacy radically extended the ideas of her teachers and mentors Allan Kaprow and Judy Chicago into revised structures of artmaking towards activist social practice performances driven by conceptual, political, and embodied concerns.

A new genre of hybrid artworks involving elements of performance, conceptualism, sculpture, and installation practices evokes complex art experiences that are performative yet exist in various material forms—including, implicitly or explicitly, that of the artist's laboring body. These works call for new ways of engaging that do not dwell on final objects or celebrate \"authentic\" presence but understand the relational tensions and seductions between human and nonhuman.

The most complex and productive works from the 1960s and ‘70s crossed over conceptual and embodied concerns in ways that began to transform the basic question of art’s value, meaning, significance, and role in society. Attending to the tensions among concept, body, event, and “art” that surface around 1960 in the Western world is thus the most effective way to understand how art becomes “event” in the sense of potentially shifting larger ways of thinking and being.

Springing off from the recent obsession over performance histories in the performance and art domains, \"The Artist is Present\" takes on claims for authenticity and \"presence\" by examining the series of recent re-enactments and events featuring Marina Abramović.