Peter Osborne

“A must-read book for anyone suffering from chronic pain” (Sara Gottfried, MD), No Grain, No Pain demonstrates the proven link between a gluten-heavy diet and chronic pain and discomfort—and offers a groundbreaking, 30-day, grain-free diet to help you heal yourself from the inside out.More than 100 million Americans suffer from chronic pain, according to an Institute of Medicine report released in 2011. For many, chronic pain is part of an autoimmune disease, but all too often doctors turn to the same solution: painkilling drugs. But all of this medication simply isn’t helping, and as Dr. Peter Osborne, the leading authority on gluten sensitivity and food allergies has found, the real solution often lies in what you eat. In No Grain, No Pain, Dr. Osborne shows how grains wreak havoc on the body by causing tissue inflammation, creating vitamin and mineral deficiencies, and triggering an autoimmune response that causes the body to attack itself. But he also offers practical steps to find relief. Using his drug-free, easy-to-implement plan, you will be able to eliminate all sources of gluten and gluten-like substances, experience significant improvement in fifteen days, and eliminate pain within thirty days. The first book to identify diet—specifically, grain—as a leading cause of chronic suffering, No Grain, No Pain provides you with the knowledge you need to improve your health. Based on extensive research and examples culled from thousands of his satisfied patients, Dr. Osborne recommends changing your diet to achieve the relief that millions of Americans have been seeking once and for all, leading to a healthier, happier life.

Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art's own constitutive crisis of form.

If, as Walter Benjamin claimed, "it is the function of artistic form.to make historical content into a philosophical truth" then it is the function of criticism to recover and to complete that truth. Never has this been more necessary or more difficult than with respect to contemporary art. Contemporary art is a point of condensation of a vast array of social and historical forces, economic and political forms and technologies of image production. Contemporary art expresses this condition, Osborne maintains, through its distinctively postconceptual form. These essays-extending the scope and arguments of Osborne's Anywhere or Not at All: Philosophy of Contemporary Art-move from philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zataari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.

This catalogue features works from throughout his career, including the collection of Moore’s sister, early carvings and some of the earliest recorded drawings some of which have never previously been exhibited. This catalogue includes an essay by David Mitchinson, former Head of Collections and Exhibitions at the Henry Moore Foundation.

Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA).Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that "contemporary art is postconceptual art," the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism.

If Aristotle sought to understand time through change, might we not reverse the procedure and seek to understand change through time? Once we do this, argues Peter Osborne, it soon becomes clear that ideas such as avant-garde, modern, postmodern and tradition-which are usually only treated as markets for empirically discrete periods, movements or styles-are best understood as categories of historical totalization. More specifically, Osborne claims, such ideas involve distinct "temporalizations" of history, giving rise to conflicting politics of time.His book begins with a consideration of the main aspects of modernity and develops though a series of critical engagements with the major twentieth-century positions in the philosophy of history. He concludes with a fascinating history of the avant-garde intervention into the temporality of everyday life in surrealism, the situationists and the work of Henri Lefebvre.

Emphasizing the Romantic heritage and modernist legacy of Karl Marx's writings, Peter Osborne presents Marx's thought as a developing investigation into what it means, concretely, for humans to be practical historical beings. Drawing on passages from a wide range of Marx's writings, and showing the links among them, Osborne refutes the myth of Marx as a reductively economistic thinker. What Marx meant by "materialism," "communism," and the "critique of political economy" was much richer and more original, philosophically, than is generally recognized. With the renewed globalization of capitalism since 1989, Osborne argues, Marx's analyses of the consequences of commodification are more relevant today than ever before. Extracts are taken from the full breadth of Marx's writings, including Notebooks on Epicurean Philosophy, the Economic and Philosophical Manuscripts, and The Communist Manifesto to Capital.

Philosophy in Cultural Theory boldly crosses disciplinary boundaries to offer a philosophical critique of cultural theory today. Drawing on the legacy of Walter Benjamin, Peter Osborne looks critically at central philosophical debates in cultural theory, such as:* the relationship between sign and image* the technological basis of cultural form* the conceptuality of art* the place of fantasy in human affairs.It will appeal to those in philosophy, cultural studies and art theory.

Philosophy in Cultural Theory boldly crosses disciplinary boundaries to offer a philosophical critique of cultural theory today. Drawing on the legacy of Walter Benjamin, Peter Osborne looks critically at central philosophical debates in cultural theory, such as:* the relationship between sign and image* the technological basis of cultural form* the conceptuality of art* the place of fantasy in human affairs.It will appeal to those in philosophy, cultural studies and art theory.