![]() What Comes After Farce?: Art and Criticism at a Time of Debacle I assumed Foster was some distinguished academic only later did I realize he was barely older than I was and, far from being part of the professoriate, was a staffer at Art in America. When I found my way to art just a little bit later, The Anti-Aesthetic was required reading. Foster first became known as the editor of the 1983 anthology The Anti-Aesthetic: Essays on Postmodern Culture, which did much to introduce art audiences to a range of cultural theorists, from postmodernists like Jean Baudrillard and Marxists thinkers such as Fredric Jameson to postcolonial theory through Edward Said, mixing their reflections with writings by critics associated with the journal October, where he would soon become an editor. ![]() He seemed destined then for the knottier realms of high theory, but it’s the jobbing critic we encounter in his latest book, What Comes After Farce? Art and Criticism at a Time of Debacle. ![]() It wasn’t predictable, when Hal Foster entered the art scene in the 1980s, that he’d make his mark as a fluently readable critic covering the beat. ![]()
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