Bad New Days

Art, Criticism, Emergency

Nonfiction, Art & Architecture, General Art, Criticism, Art History
Cover of the book Bad New Days by Hal Foster, Verso Books
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Author: Hal Foster ISBN: 9781784781460
Publisher: Verso Books Publication: September 29, 2015
Imprint: Verso Language: English
Author: Hal Foster
ISBN: 9781784781460
Publisher: Verso Books
Publication: September 29, 2015
Imprint: Verso
Language: English

One of the world’s leading art theorists dissects a quarter century of artistic practice

Bad New Days examines the evolution of art and criticism in Western Europe and North America over the last twenty-five years, exploring their dynamic relation to the general condition of emergency instilled by neoliberalism and the war on terror.

Considering the work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa Genzken, and the writing of thinkers like Jacques Rancière, Bruno Latour, and Giorgio Agamben, Hal Foster shows the ways in which art has anticipated this condition, at times resisting the collapse of the social contract or gesturing toward its repair; at other times burlesquing it.

Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

One of the world’s leading art theorists dissects a quarter century of artistic practice

Bad New Days examines the evolution of art and criticism in Western Europe and North America over the last twenty-five years, exploring their dynamic relation to the general condition of emergency instilled by neoliberalism and the war on terror.

Considering the work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa Genzken, and the writing of thinkers like Jacques Rancière, Bruno Latour, and Giorgio Agamben, Hal Foster shows the ways in which art has anticipated this condition, at times resisting the collapse of the social contract or gesturing toward its repair; at other times burlesquing it.

Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”

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