Travis Jeppesen’s Bad Writing is a collection of interconnected essays and “fictocriticisms,” many appearing in print for the first time, that etches a pathway for a truly radical “bad” modernism in art and literature. Erudite, witty, and occasionally controversial, Bad Writing reinvigorates the too-often staid medium of art criticism as an iconoclastic and inventive literary art form.

“The contemporary” is an established term in a range of scholarly and disciplinary discourses, but what does it mean? Margaret-Anne Hutton sets out to expose the inconsistencies and ambiguities in its terminological usage, and to unpick some of the knots which bind the substantive and adjective.

In this anthology, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation.

Quinn Latimer’s arresting writings find expression in literature and theory as well as contemporary art and its history. This collection of Latimer’s recent essays and poems examines issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making.

Many postwar American artists were influenced by French philosophy, literary studies, and social sciences. French Theory in American Art examines some of the main historical conditions of this reception.