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Hal Foster's book, The Return of the Real, which is also a discussion based on the avant-garde art that deeply influenced the twentieth century and its interpreters, is about today's art, where the artist runs from project to project and the recipient tries to exhaust a very wide discursive area, following the artist like an anthropologist. It takes its environment as its starting point. And in this context, it touches upon the ways in which the "avant-garde" manifests itself and is positioned in a line extending from the art activities of the 1960s, known as the new avant-garde, to the present day. At this point, the following questions come to mind: From this perspective, what are the criteria of today's art or is it possible to talk about art in such a fast world? Doesn't the meaning of the buyer's increasingly distant attitude towards contemporary art lie here? Foster tries to answer these questions through two basic concepts: traumatic “delayed action” and “parallax” that requires intersubjectivity. Thus, according to Foster, in contemporary art, the work gains value according to a deferred interpretation mechanism that the mobile perceiver will establish by looking at the changes occurring at the moment of perception and the future, rather than being evaluated on a classical historical line.

Hal Foster also questions whether the "single theory" approach that explains everything, of which Bürger is also a representative, is valid after an avant-garde that constantly repeats itself. He evaluates examples such as minimalism and pop-art from the perspective of modernist discourse as well as postmodernist discourse. Like all other thinkers who influence art history writing today, Foster problematizes historiography with the idea of "meaning" deconstructed by the philosophy of language and the Lacan-Derrida duo.

(From the Promotional Bulletin)

First Print Year: 2009

Size: 14x22

Number of Printings: 2nd Edition

Number of Pages: 304

Language Turkish