"Comprehensive, clear-eyed books about the art world are few and far between ... [The Contemporaries] is a vital addition to that short reading list." --Andrew Russeth, ARTnews

Comprehensive, clear-eyed books about the art world are few and far between ... [The Contemporaries] is a vital addition to that short reading list ... White is an ideal guide to the scene ... The Contemporaries approaches the art world with equanimity, and a balanced measure of criticism and reporting. He is neither cynical nor craven. He gets it. The uninitiated can read it for a nuanced understanding of the art world's codes and rituals. Veterans can delight in the material White digs up and his expert rendering of it. -- Andrew Russeth ARTnews For those of us who are interested in art but far removed from its business, the art world can seem like an alien civilization, with incomprehensible mores, dictates that shift every week, and shibboleths apparently transmitted by telepathy. Into this murky situation rides Roger White, not to 'expose' anything, but to make sense of art's winding social and intellectual path, using clear language and concrete examples. This book may not make you embrace the art world, but at least you'll understand. -- Luc Sante If you've ever gone to a contemporary art gallery and hovered in front of some painting thinking, 'Egads, I have no clue what is going on here,' this slim volume can give you one. Strolling around various corridors of the modern art world, Roger White's The Contemporaries suggests just how far the business is from those romantic notions of a starving painter in his garret apartment, brush quivering. -- Colin Fleming The Washington Post [A]t a time when most of us probably find it more fulfilling to consider work by past generations, in part because so much of contemporary art can seem like unapproachable BS, White's book is an excellent foray into a world that is still worth our consideration. The Daily Beast The perambulatory, socio-anthropological genre of art writing receives a much-needed invigoration in Roger White's The Contemporaries ... Moving nimbly from the macro concerns of academy, studio, and marketplace to intimate engagements with the three artists, the titular 'contemporaries'--Dana Schutz, Mary Walling Blackburn, Stephen Kaltenback--White's essayistic reporting is even-keeled and lucid while maintaining an energetic curiosity. -- Mostafa Heddaya Blouin Artinfo As the 'travels' in the title suggests, The Contemporaries is not a comprehensive guide, but rather an in-depth look at some of the debates that animate the current art scene. These debates are big, complex topics like the rise of the MFA, the dominance of the art market and the ethics of art production when assistants are doing most of 'the work.' And to flesh them out, the book goes where the art is. T Magazine Blog Today's art ecosystem is utterly different from the one that intrigued so many of us in the 20th century: bigger, wealthier, and more corporate, while many an artist's garret has become someone's luxury pied-a-terre. Roger White's assessment of what this post-postmodern, post-bohemian scene means for artists is right on the mark and ultimately encouraging as he finds creators across the country working to avoid spectacle, stay rogue, and stay true. -- Cynthia Carr, author of FIRE IN THE BELLY: THE LIFE AND TIMES OF DAVID WOJNAROWICZ Funny, scary, unique, and exceptional, The Contemporaries told me so much that I had wanted to know about art today and much that I wouldn't have known to ask. It's an ingenious book, gracefully written, demonstrating Roger White's keen intelligence and real affection for our generation of artists, whether famous or unknown. Brilliant. -- Mark Greif, cofounder and coeditor of n+1 and author of THE AGE OF THE CRISIS OF MAN: THOUGHT AND FICTION IN AMERICA, 1933-1973

Roger White received an MFA in painting from Columbia University. His work is represented by the Rachel Uffner Gallery in New York, and he has exhibited in New York, Los Angeles, Chicago, and Tokyo. In 2007, he cofounded the art journal Paper Monument, and he has since coedited two Paper Monument pamphlets: I Like Your Work and Draw It With Your Eyes Closed. His writing has also appeared in The Brooklyn Rail, Artreview, and Modern Painters. White splits his time between Vermont and New York.