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.”

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 Rancire, 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."

Recounts the events of a day when everything goes wrong for Alexander. Suggested level: junior, primary.

"Farquhar's ... entries draw from the full sweep of history to take readers through a complete year of misery, including tales of lost fortunes (like the would-be Apple investor who pulled out in 1977 and missed out on a $30 billion-dollar windfall), romance gone wrong (like the 16th-century Shah who experimented with an early form of Viagra with empire-changing results), and truly bizarre moments (like the Great Molasses Flood of 1919)"--

Keep your head held high even on the bad days with 70 mindful self-care strategies to find happiness. In a time when social media encourages us to constantly highlight how great we’re doing and how #Blessed life is, there seems to be little room for the inevitable truth: in every life, there are days that are NOT great. Yet decades in the self-help world have taught Eveline Helmink—editor-in-chief of Happinez magazine and a self-titled cheerleader for failure and discomfort—that true emotional growth comes from realizing that it’s often on our worst days when we learn the most about what empowers, strengthens, and revitalizes us—and yes, brings us happiness. In The Handbook for Bad Days, Helmink teaches you how to take advantage of bad days as moments for self-discovery and emotional understanding. Her compassionate, no-bullshit approach encourages you to detox from the social media world and rethink your coping strategies, exploring topics such as, -The benefits of a good cry -Why, sometimes, it’s okay to give up -Why a fuzzy pink cardigan and some Celine Dion is just as good as a Sanskrit mantra The Handbook for Bad Days is the ultimate guide for anyone who strives to be present, not perfect. Perfect for fans of Glennon Doyle, Elizabeth Lesser, and Krista Tippet, The Handbook for Bad Days is a call to face our worst days with courage and intentionality.

Describing how chronic illness affects one's self-image, friends, and family, this book shares the experiences of people with serious chronic illnesses, and shows how they find the strength to carry on.

For many, especially those on the political left, the 1950s are the "bad old days." The widely accepted list of what was allegedly wrong with that decade includes the Cold War, McCarthyism, racial segregation, self-satisfied prosperity, and empty materialism. The failings are coupled with ignoring poverty and other social problems, complacency, conformity, the suppression of women, and puritanical attitudes toward sex. In all, the conventional wisdom sees the decade as bland and boring, with commonly accepted people paralyzed with fear of war, Communism, or McCarthyism, or all three. Alan J. Levine, shows that the commonly accepted picture of the 1950s is flawed. It distorts a critical period of American history. That distortion seems to be dictated by an ideological agenda, including an emotional obsession with a sentimentalized version of the 1960s that in turn requires maintaining a particular, misleading view of the post-World War II era that preceded it. Levine argues that a critical view of the 1950s is embedded in an unwillingness to realistically evaluate the evolution of American society since the 1960s. Many--and not only liberals and those further to the left--desperately desire to avoid seeing, or admitting, just how badly many things have gone in the United States since the 1960s. Bad Old Days shows that the conventional view of the 1950s stands in opposition to the reality of the decade. Far from being the dismal prelude to a glorious period of progress, the postwar period of the late 1940s and 1950s was an era of unprecedented progress and prosperity. This era was then derailed by catastrophic political and economic misjudgments and a drastic shift in the national ethos that contributed nothing, or less than nothing, to a better world.