A deconstructive reading of surrealism based on author's dissertation.

Compulsive Beauty, MIT Press, 1993, 344 pp, PDF, ARG.Kurenuma Norihisa, Tokyo: Heibonsha, 2000, 215 pp. Texts by Jay, Crary, Krauss, Bryson, Rose. Based on a day-long symposium held on at Dia's exhibition space in NYC. editor, Vision and Visuality (Discussions in Contemporary Culture, 2), Seattle: Bay Press, and New York: Dia Art Foundation, 1988, 134 pp, ARG.Texts by Crow, Rosler, Owens, Crimp, Kruger, Wodiczko, Fried, Krauss, Buchloh, Graham, Rankin, Kolbowski, Clifford, Dominguez, Minh-ha, Jardine, Feher. Based on a series of 6 weekly discussions organised by Foster at Dia Art Foundation in NYC, 10 Feb. editor, Discussions in Contemporary Culture, Number One, Seattle: Bay Press, and New York: Dia Art Foundation, 1987, 172 pp, OL, ARG.Recodificação: arte, espetáculo, política cultural, São Paulo: Paulista, 1996, 295 pp.A collection of criticism published 1982-85 mostly in Art in America and October, 9 texts, revised.

Recodings: Art, Spectacle, Cultural Politics, Port Townsend, WA: Bay Press, 1985, ARG.Fan mei xue: hou xian dai wen hua lun ji, Xin dian shi: Li xu, 1998, 270 pp.Han bigaku: posuto modan no shosō, Tokyo: Keisō Shobō, 1987, 308 pp.La posmodernidad, Barcelona: Kairós, 1985, 238 pp, ARG.Essays by Foster (preface), Habermas, Frampton, Krauss, Crimp, Owens, Ulmer, Jameson, Baudrillard, Said. editor, The Anti-Aesthetic: Essays on Postmodern Culture, Port Townsend, WA: Bay Press, 1983, xvi+159 pp, PDF repr., New York: New Press, 2002.A children's story illustrated by Milo Mottola. The Mink's Cry, Port Townsend, WA: Bay Press, 1982.If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation - and what it portends for future practices of art and theory, culture, and politics. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today.Īfter the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witnessing a return to the real - to art and theory grounded in the materiality of actual bodies and social sites. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes.

The Return of the Real by Hal Foster