Criticism
In his introduction to The Anti-Aesthetic, Foster described a distinction between complicity with and resistance to capitalism within postmodernism. The book included contributions by Jean Baudrillard, Douglas Crimp, Kenneth Frampton, Jürgen Habermas, Fredric Jameson, Krauss, Craig Owens, Edward Saïd, and Gregory Ulmer.
In Recodings (1985), Foster focused on the role of the avant-garde within postmodernism. He advocated a postmodernism that engages in both a continuation of its historical roots in the avant-garde and contemporary social and political critique, in opposition to what he saw as a "pluralistic" impulse to abandon the avant-garde in favor of more aesthetically traditional and commercially viable modes. He promoted artists he saw as exemplifying this vision, among them Dara Birnbaum, Jenny Holzer, Barbara Kruger, Louise Lawler, Sherrie Levine, Allan McCollum, Martha Rosler, and Krzysztof Wodiczko. Foster favored expansion of the scope of postmodernist art from galleries and museums to a broader class of public locations and from painting and sculpture to other media. He saw postmodernism's acknowledgment of differences in viewers' backgrounds and lack of deference to expertise as important contributions to the avant-garde.
By the mid-1990s, Foster had come to believe that the dialectic within the avant-garde between historical engagement and contemporary critique had broken down. In his view, the latter came to be preferred over the former as interest was elevated over quality. In The Return of the Real (1996), taking as his model Karl Marx's reaction against G. W. F. Hegel, he sought to rebut Peter Bürger's declaration of the failure of the avant-garde in Theory of the Avant-Garde (1984). Foster's model was based on a notion of "deferred action" inspired by the work of Sigmund Freud. He conceded the failure of the initial avant-garde wave (which included such figures as Marcel Duchamp) but argued that future waves could redeem earlier ones by incorporating through historical reference those aspects that had not been comprehended the first time around. Gordon Hughes compares this theory with Jean-François Lyotard's.
Foster has been critical of the field of visual culture, accusing it of "looseness". In 1999 article in Social Text, Crimp rebutted Foster, criticizing his notion of the avant-garde and his treatment in The Return of the Real of sexual identity in Andy Warhol's work.
Foster views his roles as art critic and art historian as complementary rather than mutually opposed, in accordance with his adherence to postmodernism. In an interview published in the Journal of Visual Culture, he said, "I've never seen critical work in opposition to historical work: like many others I try to hold the two in tandem, in tension. History without critique is inert; criticism without history is aimless".
Read more about this topic: Hal Foster (art Critic)
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