Hal Foster

"How to imagine not only a new art or architecture but a new self or subject equal to them? In Prosthetic Gods Hal Foster explores this question through the works and writings of such key modernists as Gauguin and Picasso, F.T. Marinetti and Wyndham Lewis, Adolf Loos and Max Ernst. These diverse figures were all fascinated by fictions of origin, either primordial and tribal or futuristic and technological. In this way, Foster argues, two forms came to dominate modernist art above all others: the primitive and the machine."--Jacket.

Foster explores the history of a design led culture and in an attempt to illuminate the conditions for critical culture in the present asks if the new 'political economy of design' is a cultural crime.

"The Return of the Real presents an original reading of art and theory over the last three decades, with special emphasis to the controversial connections between the two. It also rethinks the relation between historical avant gardes and neo-avant-gardes. The result is an authoritative genealogy of art and theory from minimalism and pop to the present, with important ramifications for prewar studies as well." "Against the cliche that contemporary art and theory are condemned to historical pastiche, Foster argues that the avant-garde returns to us from the future, repositioned by innovative work in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is so pervasive today."--BOOK JACKET.

A young wolf, an orphaned seal, an outcast raven, and a sailor join forces to end the curse of Mink Island.

Fifteen-year-old Gray Wilton, bullied at school and ridiculed by an unfeeling father for preferring drums to hunting, goes on a shooting rampage at his high school.

Een geadopteerde jongen uit Chili ontmoet een meisje met een verslaafde moeder. Samen verwerken ze hun verdriet over de verstoorde relatie met hun moeders.

"If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the Left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? What Comes After Farce? comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second group reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are "machine vision" (images produced by machines for other machines without a human interface), "operational images" (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives"--