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"A collection of Hal Foster's writing as a critic, since 1993"--

From the distinguished art critic and historian, vital essays on key artists and critics, revealing how they redefined art and criticism over the last six decades. “Serious art anticipates the future as much as it reflects the present,” Hal Foster remarked in a 2015 interview. “By the same token serious art history is driven by the present as much as it is informed by the past.” In Fail Better, Foster, an art critic and historian whose influential work spans disciplines and decades, brings this peripatetic perspective to contemporary art, art criticism, art history, and his own work over the past 50 years. In these 40 texts, Foster reviews artists from Richard Hamilton and Jasper Johns to Gerhard Richter and Ed Ruscha; considers contemporaries from Louise Lawler and Cindy Sherman to Jeremy Deller and Adam Pendleton; and traces the development of criticism since the early 1960s, with essays on such influential figures as Susan Sontag and Rosalind Krauss and institutions like Artforum magazine and the Whitney Museum Independent Study Program. Taking his title from Beckett—“try again, fail again, fail better”—Foster notes that, etymologically, an essay is always an attempt, more or less failed. Critics fail artworks, because there can never be a definitive reading; art fails its historical moment, because it cannot resolve the contradictions that prompt it. But in these failures Foster finds historical consciousness, and with it the promise of future work, future illumination. In his “reckonings” he turns his own long history of criticism to account, and succeeds in conveying shifting concepts of art and criticism, the work of key artists and critics, and the relationships between criticism, theory, history, and politics over the last six decades.

Foster H: Fail Better

Fail Better

Reckonings with Artists and Critics

Introduction I Some Antecedents 1. A Painter of Pop Life (Richard Hamilton) 2. Watchman and Spy (Jasper Johns) 3. Every Sidewalk is a Ray Gun Beach (Claes Oldenburg) 4. Andy Paperbag (Andy Warhol) 5. Object Lessons (Donald Judd) 6. Blank Magic (Dan Flavin) 7. To Support (Richard Serra) 8. Serial and Fused (Eva Hesse) 9. The Underside of Things (Bruce Nauman) 10. Cultural Studies (Dan Graham) 11. In a Glass Darkly (Gerhard Richter) 12. The Culture of the Raster (Sigmar Polke) 13. Evening in America (Ed Ruscha) 14. Blasted Allegories (John Baldessari) 15. The Writing on the Wall (Lothar Baumgarten) Some Contemporaries 16. Oblique Looking (Louise Lawler) 17. Direct Address (Barbara Kruger) 18. The Sex Appeal of the Inorganic (Sarah Charlesworth) 19. I Could Be Me (Cindy Sherman) 20. A Passenger in My Own Psyche (Matt Mullican) 21. Imaginary Tableaux (James Casebere) 22. Third Nature (Thomas Demand) 23. Perverse Pantomime (John Miller) 24. Inexplicable Things (Robert Gober) 25. Philosophical Objects (Charles Ray) 26. Lost and Found (Cornelia Parker) 27. Civil Wars and Pop Utopias (Jeremy Deller) 28. Happy Days (Rachel Harrison) 29. How Not To (Mungo Thomson) 30. Media Corpsing (Ed Atkins) 31. The Artist as Anthologist (Adam Pendleton) Some Critics 32. A Certain Practice of Life (Guy Debord) 33. Radical Style (Susan Sontag) 34. Hyperbolic Criticism (Artforum) 35. Made for Cutting (Rosalind Krauss) 36. An Inventory of Encounters (Yve-Alain Bois) 37. Antinomic Modernism (T. J. Clark) 38. The Ruins of Spectacle (Jonathan Crary) 39. Interdependent Study (the Whitney Program) 40. The Anti-Aesthetic Then and Now Acknowledgments Notes Index

Joss Marsh's stirring book traces the international phenomenon that is cinema's Dickens obsession, from its origins in Dickens's celebrity, through Dickens impact on the pioneers, first masters, and later innovators of the cinema and his enmeshment in the complex of technologies and cultural formations that made up the world of late-Victorian fantasy - from the photograph to the magic lantern, from celebrity to time travel.

As Joss Marsh observes in her stirring book on Dickens and cinema, Dickens was the first mass-mediated photographic celebrity of the modern era, more intimately "familiar" than any person in Britain besides the royal family. Suggesting Dickens's celebrity, as much as his work, contributed to the international phenomenon that is cinema's Dickens obsession, Marsh begins with  J. J. E. Mayall's famous celebrity portraits to trace Dickens's impact on the pioneers, first masters, and later innovators of the cinema. At the same time, Marsh uncovers a larger issue: to understand Dickens's place in cinema is to understand his enmeshment in the whole complex of technologies and cultural formations that made up the world of late-Victorian fantasy-from the photograph to the magic lantern, from celebrity to time travel.  Each of the six chapters unfolds a century-long cultural story that maps the Dickensian points of inspiration in the history of cinema. Marsh's cinematic geography of Dickensland transports the reader from Dickens's experiences with the early-Victorian portraitist's camera to Sunset Boulevard, Billy Wilder's remake of Great Expectations as a satire on the vampiric celebrity "celluloid self"; from actor-manager Martin-Harvey's 1899 manufacture of the "cast-iron" Victorian stage play to Dirk Bogarde's 1958 inheritance of the sacrificial gay role of Sydney Carton; from Charley Dickens Jnr.'s attempt to cash in on his father's knowledge of London to the history of production design as a medium of historical tourism and virtual experience; from Dickens's "impersonation" of Fagin, anti-Semitic and inherently theatrical, to the transformations of "the Jew" by Chaplin and David Lean and his musical apotheosis as magician and Pied Piper; from Dickens's 1868 return, in his last public reading, to the murder of Nancy to the contemporary slasher movie; and finally from the time travel enabled by the magic lantern's "dissolving views" through the role of Dickens's lantern-inspired Christmas tales of the 1840s in the lantern's development of pre-cinematic visual storytelling.  Informed by extensive archival research, deftly written, and beautifully illustrated, Joss Marsh's book shows film's fascination with Dickens was the trace of a persisting desire”fueled by decades of Dickensian impersonation and enabled by the medium's capacity to make still images live”to bring back the most extraordinary literary artist and personality of the nineteenth and early twentieth centuries”to make Dickens live again.

Multi-Media 'Boz' and the Culture of Celebrity

Starring Charles Dickens

Routledge Advances in Art and Visual Studies

This volume explores the effect of Darwinian theory on visual culture through analysis of popular graphics, scientific illustration, natural history diorama, as well as the more traditional art historical material such as painting and sculpture. It extends the discussion to examine the lasting impact the theory of evolution has had on the development of art history as an academic discipline.

Charles Darwin’s theory of evolution bore a decisive influence on aesthetic thought that was nothing if not diverse. From biological models to European paintings, Darwinian theory offered art historians and artists a rich, evocative lens through which to view the world anew. This volume explores the effect of Darwinian theory on visual culture through analysis of popular graphics, scientific illustration, natural history diorama, as well as the more traditional art historical material such as painting and sculpture. It extends the discussion to examine the lasting impact the theory of evolution has had on the development of art history as an academic discipline.

The Darwin Effect

Evolutionary Theory and Visual Culture

This book looks at the way that game designers and academics look at the game design based on a combination of design instinct and current scientific evidence, written as a dialog between commerical design interests and player behaviour study.

This book looks at the way that game designers and academics look at the game design based on a combination of design instinct and current scientific evidence, written as a dialog between commerical design interests and player behaviour study.

Psychology of Game Design

Elliot Carter

Aesthetics and Contemporary Art

James Hyde, a practicing painter, boldly revises the concept of space in the European history of art. He presents it as a concept bound to historical circumstance, developing -sometimes contentiously-in philosophy, mathematics and science, and finally emerging in 20th century theorizations of art. Using primary documents, Hyde exposes what many will find surprising-that space only becomes part of the descriptive and analytic apparatus of art and architecture at the turn of the 20th century, not earlier. Hyde examines narratives that have shaped our understanding of the history of art and their explanatory efficacy in the context of the transformations of 13th and 15th century Italian art. He offers insights into the relationship between painting, architecture, icons and narrative pictures, the effects of St. Francis's miracles on painting and the essential diagrammatical nature of Renaissance perspective. The arrival of space into discussions about art introduces Kant, Leibniz, Apollonaire and Adolf von Hildebrand into the story. Hyde considers how and why artists and historians appropriated space at the end of the 19th century, as well as how space moved from the discourse of Neoclassical sculpture and Cubism to its prominence in discussions of art today. Hyde's original reading of the definition of space and the cultural forces that shaped it provides a re-envisioning of the foundations of art history and the philosophy of art.

Controversies, Contradictions and its Rise to Prominence

The Trouble with Space in Visual Art

Art as worldmaking is both a tribute to the distinguished art historian Alex Potts and a searching response to his important work on realism as a critical aesthetic, most notably the 2013 book Experiments in modern realism. The collection comprises twenty original essays by leading scholars in the field, written from a variety of theoretical and critical perspectives. They test Potts's recasting of realism, developed primarily through interpretations of European and American postwar art, against art produced in different media, places and periods, from eighth-century Chinese gardens to twenty-first-century video work by the Russian collective Radek Community. Individual chapters offer novel readings of classic instances of pictorial realism by Menzel and Eakins, and reconsider the question of nineteenth-century realism's historical antecedents. Overall, though, the volume has a contemporary orientation, in that it is concerned with the questions that sculpture, photography and non-traditional media pose for realism as an aesthetic norm. Featuring contributions from T. J. Clark, Thomas Crow, Briony Fer, Tamar Garb, Lisa Tickner and Anne M. Wagner, along with other established and emerging scholars, Art as worldmaking is a bold contribution to a central question in art theory and history. It is compelling reading for anyone concerned with art's truth value, or more broadly with conceptual problems of representation and the intersections of art and politics.

Critical Essays on Realism and Naturalism

Art as Worldmaking

The Politics of Form in Contemporary British Performance

Proper Theatre

On Photography and Social Media

The Social Photo

Frühe Neuzeit

Alle drei Bände der von Jörg Jochen Berns herausgegebenen Edition Von Strittigkeit der Bilder. Texte des deutschen Bildstreits im 16. Jahrhundert sind als preisreduziertes Set zu erwerben. Die Bände geben verlässlich Einblick in eine deutschsprachige, theologisch grundierte Mediendebatte. Singulär ist die umfassende Zusammenstellung zum einen wegen ihres Umfangs von neunundneunzig historischen Texten auf mehr als zweitausendeinhundert Seiten, zum andern wegen der regionalen Vielfalt und konfessionellen Vielstimmigkeit dieser Zeugnisse: von Amling, Bucer, Buchstab, Bullinger bis hin zu Quad, Schwenckfeld, Zwingli. Nicht nur werden viele der Dokumente hier erstmals seit vier Jahrhunderten wieder ediert, sondern auch zum ersten Mal zusammengestellt und so miteinander konfrontiert, dass es möglich wird, Gemeinsamkeiten und Differenzen zu erkennen, Leitbegriffe zu verfolgen und argumentative Muster freizulegen. Die Texte werden durch Anmerkungen und umfängliche Nachworte kommentiert und durch umfangreiche Register erschlossen. Als Handwerkszeug bildwissenschaftlichen Forschens, insbesondere auf kunsthistorischem, kirchengeschichtlichem, volkskundlichem, psychologiehistorischem, mediengeschichtlichen oder germanistisch-linguistischem Terrain, ist die Sammlung unverzichtbar.

Von Strittigkeit der Bilder / [Strittigkeit der Bilder, Bände 1-3]

Routledge Advances in Democratic Theory

Art’s obsession with politics is a problem, even a paradox. The more art there is, the less it shares with the political. Even the radical character of contemporary artistic practices revolves around the idea that there are no alternatives to liberal democracy and capitalist pluralism without risking another dystopia – a paradigm that, in the artistic realm, is articulated as the opposition between modernism and postmodernism. Indeed, with three recent transformations of our understanding; of emancipatory politics; the nature of aesthetics; and the post-Fordist transformation of capitalism, many argue that we overcome the fundamental challenges of aesthetic and political modernities and encounter ‘things’ beyond power relations and beyond aesthetics. However, even at its most creative, art has more in common with hegemony than capitalism. At every hegemonic turn, artwork is directed against itself, only to reinstate another art form in order to continue. This book looks at the problem of hegemony from an aesthetical perspective and argues that there is a ‘hegemonic trap’ pointing us in the direction of the alteration rather than alternative. Julia Svetlichnaja asks: Can art become hegemony? What is proposed is not Paolo Virno's ‘exit', it is the ‘exit’ from thinking about the ‘world-making’ in terms of alternative. What if instead of searching for alternatives we perform an alteration and pluralise modernism? The aesthetic project of the alteration of hegemony through the pluralisation of modernism does not represent hope for a better, different, political order but a space for problematisation, overlapping and contaminations of a number of social orders. The idea is to think about the world not in terms of ‘alternatives,’ but in terms of their absence.

Towards Plural Hegemony

The Art of Democracy

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

Judy Tuwaletstiwa: Mapping Water (Reprint)

POP LIFE is an OCD collector’s dream assortment of stunning, never-been-done-before high-definition images of soda and beer bottle caps from a bygone era. This vibrant collection highlights the humorous labeling, innovative design, and unexpected artistry of long-lost American beverage companies. POP LIFE treats the often-discarded bottle cap with the reverence of art historical paintings and sculptures, inviting readers to appreciate the beauty and context embedded in these tiny works of Americana art. This unique book unveils the intricate graphic design, historical significance, and thought-provoking stories behind the bottle caps of long-gone American beverage companies, offering an unprecedented look at a piece of metal that holds so much history and yet is rarely explored in such vivid detail. The caps of renowned collectors including Todd Selbert and Ron Small in Connecticut, Barry Oremland in Massachusetts, and Phil Pfeiffer in Nebraska are featured within the pages. The first side of the double-sided book—POP—moves through a delightful and surprising array of Americana themes: old school Disney characters, sports clubs, olde tavern mischief, devils, angels, and the Harvey Ball smiley face. It serves as a historical document of these tiny works of art. Flip the book over and now you have LIFE, where cheeky, hopeful, raunchy, and politically punning stories and jokes abound, as Griffith uses the bottle cap brand names themselves to create sophisticated yet Dad Joke-y wordplay puns The interactive production of POP LIFE generates “a laugh-out-loud / did you get that?” game activity the whole family can enjoy. Through these visual narratives, readers experience the interplay of American optimism and charm within an era when thousands of independent bottlers across the U.S. vied for consumer attention with their own distinct designs and branding. To round out the book, collector Todd Selbert contributes a text that speaks to the bottle-cap collector lifestyle.

Pop Life

Fail Better

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