Search results for ""mit press""

"In the field of statistical decision theory, Raiffa and Schlaifer have sought to develop new analytic techniques by which the modern theory of utility and subjective probability can actually be applied to the economic analysis of typical sampling problems."—From the foreword to their classic work Applied Statistical Decision Theory. First published in the 1960s through Harvard University and MIT Press, the book is now offered in a new paperback edition from Wiley

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Matching problems with preferences are all around us: they arise when agents seek to be allocated to one another on the basis of ranked preferences over potential outcomes. Efficient algorithms are needed for producing matchings that optimise the satisfaction of the agents according to their preference lists.In recent years there has been a sharp increase in the study of algorithmic aspects of matching problems with preferences, partly reflecting the growing number of applications of these problems worldwide. The importance of the research area was recognised in 2012 through the award of the Nobel Prize in Economic Sciences to Alvin Roth and Lloyd Shapley.This book describes the most important results in this area, providing a timely update to The Stable Marriage Problem: Structure and Algorithms (D Gusfield and R W Irving, MIT Press, 1989) in connection with stable matching problems, whilst also broadening the scope to include matching problems with preferences under a range of alternative optimality criteria.

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Landmark is a collaborative body of photographic work generated over the last five years in Pontiac/Detroit, Michigan, and Toledo, Ohio. In this volume, photographers J.W. Fisher and J.T. Leonard focus on exchanges between individuals and communities, as well as interventions in the landscape. Joel W. Fisher has published, exhibited and taught around the world. His work has been published in multiple magazines and books, including his most recent collaborative publication, 'Landmark.' Fisher has shown in museums and galleries such as the Kiosk Gallery in Missouri, Wassaic Projects in New York, the HGB in Germany and the Fotomuseum in Switzerland. Currently, he is an assistant professor of Art at the Lewis & Clark College. Justin T. Leonard received his MFA in Photography from Yale University in 2009. Leonard has shown work nationally in both group and solo exhibitions. In 2013 he was the recipient of an Ohio Arts Council Individual Fellowship, and in the summer of 2014 was selected to participate in Review Santa Fe by Center Programs. Blake Stimson is Professor of Art History at the University of California, Davis. He is the author of The Pivot of the World: Photography and Its Nation (2004), and coeditor (with Alexander Alberro) of Conceptual Art: A Critical Anthology (2000), both published by the MIT Press. Lisa Larson-Walker is Slate's associate art director, based in Brooklyn. She also is the editor of Slate's Instagram account. She is a graduate of the Cooper Union School of Art, and previously worked at Newsweek and the Daily Beast.

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Mary Mattingly is a visual artist. She founded Swale, an edible landscape on a barge in New York City. Docked at public piers but following waterways common laws, Swale circumnavigates New York's public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. It's currently considered a pilot project. Mattingly recently launched Public Water with More Art and completed a two-part sculpture “Pull” for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. In 2018 she received a commission from BRIC Arts Media to build "What Happens After" which involved dismantling a military vehicle (LMTV) that had been to Afghanistan and deconstructing its mineral supply chain. A group of artists including performance artists, veterans, and public space activists re-envisioned the vehicle for BRIC. In 2016 Mattingly led a similar project at the Museum of Modern Art. In 2014, an artist residency on the water called WetLand launched in Philadelphia and traveled to the Parrish Museum. It was employed by the University of Pennsylvania’s Environmental Humanities program until 2017. Mary Mattingly’s work has also been exhibited at Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art News, Sculpture Magazine, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and on Art21. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled “Nature” and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is... published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc.

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Throughout his international career spanning more than thirty years, artist and writer David Batchelor has long been preoccupied with colour. ‘Colour is not just a feature of [my] sculpture or painting,’ he notes, ‘but its central and overriding subject.’ This new publication is devoted to an ongoing series of sculptures titled Concretos. First made in 2011, Concretos combine concrete with a variety of brightly coloured – and often found – materials.The publication features a text by Batchelor charting the origins and development of Concretos. He reveals that the first Concreto was made after encountering coloured glass shards embedded in a concrete wall in the back streets of Palermo. Over time these Concretos, their title a nod to the Latin American art movement to which Batchelor’s work is much indebted, have become more complex adventures in layering, pattern and process. Elements such as acrylic plastic, spray and household gloss paint, steel, fabric and found objects all find themselves set in a concrete base. The most recent works, titled Extra-Concretos (2019–) retain much of the simplicity of the early pieces while working on a much larger scale.In an essay commissioned for the publication, curator Eleanor Nairne considers Concretos in light of their material possibilities. Nairne’s vivid text draws connections between the sculptures and a wide range of art historical and literary references. Some of the playful and sensual characteristics of Batchelor’s artistic vocabulary are considered in relation to floral bouquets, sewing-machines, ice cream and poetry.Architectural historian Adrian Forty’s essay discusses concrete’s physical qualities and relationship with modernity. He notes that the imperfect nature and apparent neutrality of the material is key to its enduring place within architecture, design and in Batchelor’s case, contemporary sculpture. ‘In the Concretos,’ asserts Forty, ‘concrete plays a necessary part in allowing colour to be itself. Present, but at the same time part of the barely noticed, half-invisible infrastructure of the city, concrete’s very neutrality performs an unexpectedly active part in these works.’The publication is edited by David Batchelor and Matt Price, designed by Hyperkit, printed by Park, London, and published by Anomie, London. The publication coincides with the first large-scale survey exhibition of Batchelor’s work taking place at Compton Verney, Warwickshire in 2022. The publication has been supported by Goldsmiths’ College, University of London, and Arts Council England.David Batchelor was born in Dundee in 1955 and lives and works in London. In 2013, a major solo exhibition of Batchelor’s two-dimensional work, ‘Flatlands’, was displayed at Fruitmarket Gallery, Edinburgh and toured to Spike Island, Bristol. Batchelor’s work was included in the landmark group exhibition ‘Adventures of the Black Square: Abstract Art and Society 1915–2015’ at Whitechapel Gallery, London. ‘My Own Private Bauhaus’, a solo exhibition of sculptures and paintings by Batchelor was presented by Ingleby Gallery during the Edinburgh Art Festival, 2019. Between 2017 and 2020 a large-scale work by Batchelor was displayed in the collection of Tate Modern. He is represented by Ingleby Gallery, Edinburgh, and Galeria Leme, São Paulo. Batchelor’s portfolio also includes a number of major temporary and permanent artworks in the public realm including a chromatic clock titled ‘Sixty Minute Spectrum’ installed in the roof of the Hayward Gallery, London.‘Chromophobia’, Batchelor’s book on colour and the fear of colour in the West, was published by Reaktion Books (2000), and is now available in ten languages. His more recent book, 'The Luminous and the Grey' (2014), is also published by Reaktion. In 2008 he was commissioned to edit ‘Colour’ an anthology of writings on colour from 1850 to the present published by Whitechapel/MIT Press.

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