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In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials â often things left on the side of the road, according to the logic and progress of the capitalist machine â and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzkenâs \"OIL\" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmerâs midcareer survey (Musée dâart contemporain, Montréal, 2008), Rachel Harrisonâs \"Consider the Lobster\" (CCS Bard Hessel Museum of Art, 2009), and Liz Magorâs \"The Mouth and Other Storage Facilities\" (Henry Art Gallery, Seattle, 2008). |
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