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 Ran...
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.”
作者简介
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Hal Foster is Townsend Martin Professor of Art and Archaeology at Princeton University and a 2014–15 fellow at the Cullman Center for S cholars and Writers at the New York Public Library. A co-editor of October magazine and books, he is the editor of The Anti-Aesthetic and the author of Design and Crime, Recording, The Return of the Real, Compulsive Beauty and The Art-Architect...
Hal Foster is Townsend Martin Professor of Art and Archaeology at Princeton University and a 2014–15 fellow at the Cullman Center for S cholars and Writers at the New York Public Library. A co-editor of October magazine and books, he is the editor of The Anti-Aesthetic and the author of Design and Crime, Recording, The Return of the Real, Compulsive Beauty and The Art-Architecture Complex.
原文摘录
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In 1933, as the Nazis came to power, the Austrian novelist Hermann Broch referred kitsch to an emergent bourgeoisie caught between contradictory values, an asceticism of work on the one hand and an exaltation of feeling on the other. As a compromiseformation, this early kind of kitsch tended toward a blend of prudery and prurience, with sentiment at once chastened and heightened (a representative instance is the painting of Arnold Böcklin). Broch was categorical about the disastrous effects of this kitsch: he called it “the evil in the value-system of art.” Clement Greenberg agreed. In another momentous year, 1939, he underscored its capitalist dimension. “A product of the industrial revolution,” his kitsch was an ersatz version of “genuine culture,” which the bourgeoisie, now dominant, so... (查看原文)
ABAGo快乐大胖
0 有用 豆友65040403 2021-03-31 00:24:49
https://journals.openedition.org/marges/1329
0 有用 yesh 2020-02-25 06:41:43
清楚
0 有用 零二 2019-09-01 10:57:59
Foster還是很能寫
0 有用 韭子 2022-07-30 17:09:12
很合时宜的阅读。不再有good old days了，扑面而来尽是bad new days，而我们在夹缝间支撑和选择什么。
0 有用 舜华X 2018-08-10 19:16:29
it is written in very fluent writing style. The first chapter follows Hal Foster's theory in The Return of the Real.
0 有用 :) 2024-03-19 10:07:21 浙江
115页有句话感触很深：Yet the result is less a robust pluralism than a debilitating relativism. 其他基本看不懂
0 有用 coorpo 2023-12-07 02:10:32 美国
反覆研讀。。
0 有用 Lapono 2023-04-30 16:47:35 江苏
看起来有点像The reurn of Real再版，加了后来的一些发展历程，对最后的行为艺术表演的批评比较有意思
0 有用 Dhsbwnsjf 2022-08-15 04:45:53
好看
0 有用 韭子 2022-07-30 17:09:12
很合时宜的阅读。不再有good old days了，扑面而来尽是bad new days，而我们在夹缝间支撑和选择什么。