Full Description
Postmodernism has come and gone, but the belief that artists and works of art are exceptional is alive and well. Post-Exceptionalism speculates that this is so because postmodernism, when it declared the death of the author and celebrated the copy, failed to name political theology as its fundamental target. In a time when sovereignty is experiencing a dubious global revival, the moment has come to reconsider the artist and the work of art after political theology in search for a new, worldly, and emancipatory politics of aesthetics.
Contents
Acknowledgments
Introduction: Post-Exceptionalism and Its Politics
Part I. The Vandal
1. Damage Art
2. The Copy's Blow
Part II. The Forger
3. Post-Exceptional Fakes
4. Turning Toward Landscape
Part III. The Sage
5. Post-Exceptionalism as Political Formalism
6. From Duplitectures to Dafen
Conclusion: Variations on Post-Exceptional Art
Coda: The End of Art (Once Again)
