From Publishers Weekly
Originally published in England in the wake of the media scandals surrounding the rise of Young British Artists, or "YBAs," such as Damien Hirst, Jake and Dinos Chapman and Tracey Emin, this somewhat scholarly book seeks to historicize the theater of transgression that has become a mainstay in modern and contemporary visual art. At once a history lesson and a muddled polemic, the book moves through various moments in the progression of scandalous art, from Manet's angry reception in the salons of Paris to Mapplethorpe's public crucifixion in the United States, arguing through a web of quotations and epigrams (Adorno's "Every work of art is an uncommitted crime" is a touchstone) that the transgressive power of visual art has in some way been exhausted, and the enduring criminal mindframe of the modern artist has lost its power to subvert. And yet, through a certain portentous, aphoristic thinking, the author also manages to imply that this has always been the case. The argument is never entirely clear, perhaps because the author seems to be hashing out his own thinking on the topic more than offering the reader a neatly distilled path of logic. But regardless, and perhaps because of this rawness, the book is a noble effort, tracking the movement of a serious mind as it grapples with the messy, contradictory issues of contemporary art. 41 color plates, 174 halftones
Copyright 2003 Reed Business Information, Inc.
Copyright 2003 Reed Business Information, Inc.
