Contemporary Sculpture and the Critique of Display Cultures

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials ? often things left on the side of the road ? and combine them in ways that allow each element to retain a degree of empirical specificity.

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials often things left on the side of the road, according to the logic and progress of the capitalist machine 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 Genzkens "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmers midcareer survey (Musée dart contemporain, Montréal, 2008), Rachel Harrisons "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magors "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

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