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If art follows art, what proceeded art? Where does the double predicament of a post-truth and post-shame art world leave artists and critics? How do we demystify a fake artistic regime that dismisses its contradictions? How do we belittle a fraudulent artistic elite that cannot be embarrassed or mock compromised cultural leaders who thrive on the grift? How to out-dada President Trump? Moreover, in any event, why add outrage to a fake art economy that thrives on the same? 'Guardian Of The Legacy' comments on dramatic and wholesale corporate takeover in art, criticism, and art history in the face of the current regime of war, finance, surveillance, extreme inequality, and militarism. The first section focuses on the fake cultural pseudo-cultural-politics of emergency since 1975, including the use and abuse of free love, bong hits, Columbian cocaine, trauma, paranoia, kitsch, and bad art. Another section reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in art as reflected in recent bad art, sculpture, and gallery exhibitions. Among the phenomena explored here are "financial art" (images bought by hedge funds for other hedge funds without any artistic interface), "stupid images" (images that do not represent the world so much profit from it), and the pathetic manufacturing of art by artists who should be long forgotten but oh so pervasive in our dismal everyday artistic lives. "Every word cuts to the quick in this extraordinary book. LG Williams shows that true art must be swift and surgical but also destroy all the enemies of great art. He casts his relentless and unflinching gaze on the crises of our time, from new fundamentalisms to alternative facts, from quasi-cultural imperialism to perpetual war. And yet these essays do not pose the twenty-first century as a cycle of tragedy and farce, doomed to repeat itself, but as a threshold-through which art can, and perhaps must, take us down the drain to behold the sewer..." - Art Not In America "These essays, mostly on art (and culture and politics and finance and AI), read as one seamless and disturbing account of a catastrophic historical epoch: our own. LG Williams offers no solace but instead his deft and trenchant wisdom on how we got here..." - The Art Grift Journal LG Williams is a Los Angeles-based artist and recently the Endowed University Instructor at The Academy of Art University; Robert Hughes Distinguished Visual Artist-In-Residence at The Lodge in Hollywood, CA; and the Emmy Hennings Distinguished Professor at D(D).DDDD University. LG has exhibited in various national and international venues, including The Internet Pavilion of La Biennale Di Venezia, and has appeared in Artforum, The New York Times, Times Literary Supplement, The Guardian, Japan Times, Los Angeles Times, La Stampa, Bookforum, Purple Diary, Mousse Magazine, The Brooklyn Rail among others. PCP Press is an independent publisher of avant-garde books and insurgent authors. Founded in 1990 in San Francisco at a time when transgressive and sometimes esoteric international art books had a difficult time making their way into the wider American marketplace, over the past three decades PCP has grown into a consistent publisher of books, special editions and rare publications from an array of the world's most respected authors and cultural institutions - including Raymond Pettibon, Dave Hickey, Wayne Thiebaud, Bryan Reynolds, David Hawkes, Shepard Fairey, LG Williams, di Rosa Center for Contemporary Art, and Luscerne Kunstpanorama. # # # # #
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