- 224 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
eBook - ePub
About this book
If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? What Comes After Farce? comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are "machine vision" (images produced by machines for other machines without a human interface),"operational images" (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.
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Please note we cannot support devices running on iOS 13 and Android 7 or earlier. Learn more about using the app.
Yes, you can access What Comes After Farce? by Hal Foster in PDF and/or ePUB format, as well as other popular books in Art & Art & Politics. We have over one million books available in our catalogue for you to explore.
Information
Index
bold denotes reference to an image or caption
Abramović, Marina, 35, 71
Abstract Expressionist, 82
academics, as drawn to critical theory, 69
Adler, Jerry, 4
Adolf the Superman Swallows Gold and Spouts Junk (Heartfield), 149
Adorno, Theodor, 12, 39, 113, 126
Adversarially Evolved Hallucinations (Paglen), 136
AEG, 148, 154
aesthetics
ethical aesthetics, 37
relational aesthetics, 37, 72
Aesthetic Theory (Adorno), 12, 126
Agamben, Giorgio, 23, 25, 26–7, 28, 61, 62
Agapē Agape (Gaddis), 99–100, 105, 106, 107
agnotology, 124
AI (artificial intelligence), 135, 136
algorithmic nonconscious, 122
Alpers, Svetlana, 86
al-Qaeda, 6
Althusser, Louis, 147
The Ambassadors (Holbein), 87, 93–4, 94
The American Religion (Bloom), 18
Anachronic Renaissance (Nagel and Wood), 9
anachronism, as virtue, 9
“The Analytical Language of John Wilkins” (Borges), 145, 146
Andre, Carl, 66
animal, difference between human and animal, 23–4
anti-establishment wind, 166n11
apophenia, 122
Appadurai, Arjun, 187n31
Arad, Michael, 164n1
Arbus, Diane, 7
architecture, forensic, 154–5, 189n15
Arendt, Hannah, 120
Aristotle, 25, 38
Arman, 5
art. See also specific genres of art
colonialist basis of many art collections, 91
as magical elixir, 55
memory-techniques as internal to, 8
traumatic events as altering, 7
artificial intelligence (AI), 135, 136
art institutions, neoliberal makeover of, viii
Atget, Eugène, 118
Attali, Jacques, 105
automation, 103, 117, 124
Autonomy Cube (Paglen), 134
The Avant-Garde Doesn’t Give Up (Jorn), 59, 60
Babbage, Charles, 102
...Table of contents
- Cover Page
- Half-Title Page
- Title Page
- Copyright Page
- Contents
- Preface
- I. Terror and Transgression
- II. Plutocracy and Display
- III. Media and Fiction
- Notes
- Index