CHARACTERS ´ The Return of the Real Art and Theory at the End of the Century October Books

CHARACTERS The Return of the Real Art and Theory at the End of the Century October Books

CHARACTERS ´ The Return of the Real Art and Theory at the End of the Century October Books ✓ 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 Opposed to the assumption that contempoT and theory grounded in the materiality of actual bodies and social sites; If The Return of the Real begins with a new narrative of the historical avant garde; it concludes with an original reading of this contemporary situation; and what it portends for future practices of art and theory culture and politic. The artist as an etnographer is an important essay on contemporary art and the representations of the so called other

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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 Opposed to the assumption that contemporary art is somehow belated he argues that the avant garde returns to us from the future repositioned by innovati. just like in the book we can make value judgments that in Nitzschean terms are not only reactive but active or in non Nietzschean terms not only distinctive but usefulthis book is good especially for those who wish to see the extreme possibilities lying between the two extreme points of art if not points that are very sketchily drawn art's sake and man's sake this book is good because it reveals that the extreme possibilities lying between the two extremes are always productive and vibrant and sexy and interesting and charming and refreshing

Hal Foster · 1 CHARACTERS

The Return of the Real Art and Theory at the End of the Century October BooksVe practice in the present And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive todayAfter the models of art as text in the 1970s and art as simulacrum in the 1980s; Foster suggests that we are now witness to a return to the real; to ar. This text's main art historical contention—that late 20th century art's fixation on abject matter and contingent site specificity inaugurates the renewal of an avant garde subjectivity—comes across as a rather untimely meditation in our post Internet age as the millennium shift in cultural production is now retrospectively marked by the profusion of immaterial globalized which is to say siteless media artifacts to which this book's exemplary artists may now be read as the minor obverse and not status uo However this fate only serves to further Foster's less tangible cultural theoretical thesis derived in part from Walter Benjamin that history only arrives through its deferred recovery