Hal Foster

Harold Foss "Hal" Foster (1955) is an American art critic and historian.

Works

(in English unless noted)

Books

• The Mink's Cry, Port Townsend, WA: Bay Press, 1982. A children's story; illustrated by Milo Mottola. [1]

• editor, The Anti-Aesthetic: Essays on Postmodern Culture, Port Townsend, WA: Bay Press, 1983, xvi+159 pp, PDF; repr., New York: New Press, 2002. Essays by Foster (preface), Habermas, Frampton, Krauss, Crimp, Owens, Ulmer, Jameson, Baudrillard, Said. Reviews list.
  • La posmodernidad, Barcelona: Kairós, 1985, 238 pp. (Spanish)
  • Han bigaku: posuto modan no shosō [反美学 : ポストモダンの諸相], Tokyo: Keisō Shobō, 1987, 308 pp. (Japanese)
  • Fan mei xue: hou xian dai wen hua lun ji [反美學 : 後現代文化論集], Xin dian shi: Li xu, 1998, 270 pp. (Chinese)

• Recodings: Art, Spectacle, Cultural Politics, Port Townsend, WA: Bay Press, 1985. A collection of criticism published 1982-85 mostly in Art in America and October, 9 texts, revised.
  • Recodificação: arte, espetáculo, política cultural, São Paulo: Paulista, 1996, 295 pp. (Brazilian Portuguese)

• editor, Discussions in Contemporary Culture, Number One, Seattle: Bay Press, and New York: Dia Art Foundation, 1987, 172 pp, OL. [2] Based on a series of 6 weekly discussions organised by Foster at Dia Art Foundation in NYC, 10 Feb-17 Mar 1987. Texts by Crow, Rosler, Owens, Crimp, Kruger, Wodiczko, Fried, Krauss, Buchloh, Graham, Rankin, Kolbowski, Clifford, Dominguez, Minh-ha, Jardine, Feher.

• editor, Vision and Visuality (Discussions in Contemporary Culture, 2), Seattle: Bay Press, and New York: Dia Art Foundation, 1987, 134 pp. [3] [4] Based on a day-long symposium held on 30 Apr 1988 at Dia's exhibition space in NYC. Texts by Jay, Crary, Krauss, Bryson, Rose.
  • Shikakuron [視覚論], trans. Kurenuma Norihisa, Tokyo: Heibonsha, 2000, 215 pp. (Japanese)

• Compulsive Beauty, MIT Press, 1993, 344 pp. [5] A deconstructive reading of surrealism; based on author's dissertation. Reviews: Elkins (1994), Genova (1996), O'Brien (1997).
  • Belleza compulsiva, trans. Tamata Stuby, Buenos Aires: Adriana Hidalgo, 2008, 335 pp. (Spanish)
  • Zoraki güzellik, trans. Şebnem Kaptan, Istanbul: Ayrıntı, 2011, 255 pp. (Turkish)

• The Return of the Real: Art and Theory at the End of the Century, MIT Press, 1996, 321 pp. Chs. 1-2, Chs. 5-7, [6] Suggests that after the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites.
  • El retorno de lo real: la vanguardia a finales de siglo, trans. Alfredo Brotons Muñoz, Madrid: Akal, 2001. (Spanish)
  • Silchae ŭi kwihwan: 20-segi mal ui Abanggarŭdŭ, Pusan Kwangyŏksi: Kyŏsŏng Taehakkyo Ch'ulp'anbu, 2003, 362 pp. (Korean)
  • Le retour du réel: la situation actuelle de l'avant-garde, trans. Yves Cantaine, Frank Pierobon and Daniel Vander Gucht, Brussels: La lettre volée, 2005, 277 pp. (French)
  • Il ritorno del reale: l'avanguardia alla fine del Novecento, Milan: Postmedia, 2006, 255 pp. (Italian)
  • Gerçeğin geri dönüşü: yüzyılın sonunda avangard, trans. Esin Hoşsucu, Istanbul: Ayrıntı, 2009, 282 pp. (Turkish)
  • Powrót realnego: awangarda u schyłku XX wieku, trans. Mateusz Borowski and Małgorzata Sugiera, Kraków: Universitas, 2010, 281 pp. (Polish)

• editor, with Gordon Hughes, Richard Serra, MIT Press, 2000, 205 pp. Essays by Buchloh, Michelson, Bois, Crimp, Krauss, Foster.

• Design and Crime (And Other Diatribes), Verso, 2002, 176 pp; Verso, 2010, 192 pp. [7] On "political economy of design: .. the marketing of culture and the branding of identity, the development of spectacle-architecture and the rise of global cities." Reviews: Mudede (2002), Howard (2003), Atzmon (2006).
  • Design & crime, Milan: Postmedia, 2002, 141 pp. (Italian)
  • Diseño y delito y otras diatribas, trans. Alfredo Brotons Muñoz, Madrid: Akal, 2004, 176 pp. (Spanish)
  • Tasarım ve suç: müze - mimarlık - tasarım, trans. Elçin Gen, Istanbul: İletişim, 2004, 198 pp. (Turkish)
  • Dizajn i zločin (i druge polemike), trans. Goran Vujasinović, Zagreb: V.B.Z., 2006, 156 pp. (Croatian)
  • Design & crime, trans. Christophe Jacquet, Laure Manceau, Gauthier Herrmann, et al., Paris: Les Prairies ordinaires, 2008, 184 pp. (French)
  • Dezain to hanzai [デザインと犯罪], trans. Igarashi Kōji, Tokyo: Heibonsha, 2011, 267 pp. (Japanese)
  • Design & Verbrechen und andere Schmähreden, trans. Thomas Atzert, Berlin: Tiamat 2012, 222 pp. (German)

• with Rosalind Krauss, Yve-Alain Bois, and Benjamin H. D. Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, London: Thames & Hudson, 2004, 704 pp, IA; 2nd ed., rev., 2012, 816 pp. [8] Reviews: Bishop (2005), Collings (2005), Gewen (2005), Dahlberg (2006).
  • Arte desde 1900: modernidad, antimodernidad, posmodernidad, trans. Fabián Chueca, Francisco López and Alfredo Brotons Mun̋oz, Madrid: Akal, 2006, 704 pp. (Spanish)
  • Arte dal 1900 : modernismo, antimodernismo, postmodernismo, trans. Elio Grazioli, Bologna: Zanichelli, 2006, 704 pp. (Italian)
  • Umění po roce 1900: modernismus, antimodernismus, postmodernismus, trans. Josef Hrdlička, Irena Ellis and Jitka Sedláčková, Prague: Slovart, 2007, 704 pp. (Czech)

• Prosthetic Gods, MIT Press, 2004, 455 pp. Argues that two forms came to dominate modernist art above all others: the primitive and the machine. Reviews: Cohen (2005), Bowring (2005), Hopkins (2005), Cooper (2006).
  • Dioses prostéticos, trans. Alfredo Brotons Muñoz, Madrid: Akal, 2008, 383 pp. (Spanish)

• editor, with Mark Francis, Pop, London: Phaidon, 2005. [9]

• The Art-Architecture Complex, Verso, 2011, 316 pp, EPUB. [10] Argues that a fusion of architecture and art is a defining feature of contemporary culture; identifies a "global style" of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. Reviews: Moore (2011), Long (2012), Cava (2012), Home (2013), Petts (2014).
  • El complejo arte-arquitectura, trans. José Adrián Vitier, Madrid: Turner, 2013, 346 pp. (Spanish)
  • Sanat mimarlık kompleksi: Küreselleşme çağında sanat, mimarlık ve tasarımın birliği, trans. Serpil Özaloğlu, Istanbul: İletişim Yayınları, 2013, 365 pp. (Turkish)
  • Āto kenchiku fukugōtai [アート建築複合態], trans. Takimoto Masashi, Tokyo: Kajimashuppankai, 2014, 374 pp. (Japanese)

• The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha, Princeton University Press, 2012, 352 pp. [11] [12] Suggests that the work of Hamilton, Lichtenstein, Warhol, Richter and Ruscha in the mid-to-late 1950s registers most suggestively a shift in the status of image and subjectivity. Reviews: Wagner (2012), Ionescu (2014).
  • Daiichi poppu jidai : hamiruton rikutensutain uōhōru rihitā rushē aruiwa poppu āto o meguru itsutsu no imēji [第一ポップ時代 : ハミルトン, リクテンスタイン, ウォーホール, リヒター, ルシェー, あるいはポップアートをめぐる五つのイメージ], trans. Nakano Tsutomu, Tokyo: Kawadeshobōshinsha, 2014. (Japanese)

Recent essays

• "On the First Pop Age", New Left Review 19, Jan-Feb 2003.
• "Vision Quest: The Cinema of Harun Farocki", Artforum (Nov 2004), pp 156-161 & 250.
• "Post-Critical", The Brooklyn Rail, 10 Dec 2012. On Rancière and Latour.
• "What's the Problem with Critical Art?", London Review of Books 35:19, 10 Oct 2013, pp 14-15. Review of Rancière's Aisthesis.

Links

• http://en.wikipedia.org/wiki/Hal_Foster_(art_critic)