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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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A leading art theorist analyses the global style in art and architecture Hal Foster, author of the acclaimed Design and Crime, argues that a fusion of architecture and art is a defining feature of contemporary culture. He identifies a “global style” of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. More than any art, today’s global style conveys both the dreams and delusions of modernity. Foster demonstrates that a study of the “art-architecture complex” provides invaluable insight into broader social and economic trajectories in urgent need of analysis.

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Tras los paradigmas del arte-como-texto de los años setenta y el arte-como-simulacro de los ochenta, Hal Foster sostiene que somos testigos de un retorno de lo real, un retorno del arte y la teoría que buscan asentarse en los cuerpos reales y en los sitios sociales. El libro presenta una lectura original del arte y de la teoría de las tres últimas décadas, con especial atención a las polémicas conexiones entre ambos, y repiensa la relación entre las vanguardias históricas y las neovanguardias. El resultado es una genealogía acreditada del arte y la teoría, desde el minimalismo y el pop hasta el presente. El texto se completa con abundantes ilustraciones.

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