Hal Foster > Quotes

“Design is all about desire, but strangely this desire seems almost subject-less today, or at least lack-less; that is, design seems to advance a new kind of narcissism, one that is all image and no interiority - an apotheosis of the subject that is also its disappearance. Poor little rich man: he is 'precluded from all fuure living and striving, developing and desiring' in the neo-Art Nouveau world of total design and Internet plenitude. ”
― Hal Foster, Design and Crime

“For Seabrook this 'nobrow' state - where the old brow distinctions no longer seem to apply - is not only a dumbing down of intellectual culture; it is also a wising up to commercial culture, which is no longer seen as an object of disdain but as 'a source of status.' At the same time this child of the elite is ambivalent about the collapse of brow distinctions, caught as he is between the old world of middlebrow taste, as vetted by The New Yorker of yore, and the new world of nobrow taste, where culture and marketing are one. ”
― Hal Foster

“Not long ago I stood with a friend next to an art work made of four wood beams laid in a long rectangle, with a mirror set behind each corner so as to reflect the others. My friend, a conceptual artist, and I talked about the minimalist basis of such work: its reception by critics then, its elaboration by artists later, its significance to practitioners today, all of which are concerns of this book as well. Taken by our talk, we hardly noticed his little girl as she played on the beams. But then, signaled by her mother, we looked up to see her pass through the looking glass. Into the hall of mirrors, the mise-en-abîme of beams, she moved farther and farther from us, and as she passed into the distance, she passed into the past as well.

Yet suddenly there she was right behind us: all she had done was skip along the beams around the room. And there we were, a critic and an artist informed in contemporary art, taken to school by a six-year-old, our theory no match for her practice. For her playing of the piece conveyed not only specific concerns of minimalist work - the tensions among the spaces we feel, the images we see, and the forms we know - but also general shifts in art over the last three decades - new interventions into space, different construction of viewing, and expanded definitions of art. Her performance became allegorical as well, for she described a paradoxical figure in space, a recession that is also a return, that evoked for me the paradoxical figure in time described by the avant-garde. For even as the avant-garde recedes into the past, it also returns from the future, repositioned by innovative art in the present. This strange temporality, lost in stories of twentieth-century art, is a principal subject of this book.”
― Hal Foster

“Alexander Kluge has offered this allegory about Trumpism, which he ascribes, anachronistically, to the liberal sociologist Max Weber (who was the author of Article 48 of the Weimar Constitution that allowed a state of emergency to be declared without the consent of the Reichstag, a provision that Hitler exploited): “Weber had never studied elephants at close range. In a London newspaper he came across a report claiming that certain herbs ferment within the coiled intestines of the huge beasts. It ‘must be a grand sight’ to witness the alcohol making the animals go berserk and thunder forth, breaking all obstacles. For Weber, this was akin to the way self-confident women, forced to live in servitude to their husbands, experience a build-up of mighty wrath. As in the elephants’ stomachs, this process may continue over multiple generations, and this wrath is passed on to their sons (usually the secondor last-born). This ‘innate’ courage or pride is a fury unrelated to any specific character trait, and manifests itself in essentially hideous men. It is recognized by the hate that wells up in the fermenting mental intestines of millions who no longer tolerate their oppression. The sudden drunkenness—the charisma—of their role model seems to be contagious. It takes hold of the masses that look to this essentially smaller man, uprooting trees like a charismatic monster, as their leader. With the light of millions of eyes, he becomes radiant.” See “Charisma of the Drunken Elephant,” Frieze (November 2016).”
― Hal Foster, What Comes After Farce?: Art and Criticism at a Time of Debacle