Podcast appearances and mentions of Hal Foster

Kate Wolf and Medaya Ocher are joined by the art critic and historian Hal Foster to speak about his latest book, Fail Better: Reckonings with Artists and Critics. A collection of essays that brings together over three decades of Foster's work, the book exhibits a rigorous philosophical and political engagement with a celebrated group of critics and artists who span the 1960s to the present. Foster digs deep into the work of Pop masters, Minimalists, and the Pictures Generation, as well as contemporary artists, always splaying open the vein of his critique to make it resonant beyond the confines of the art world, and in broader conversation with history and culture. In addition to writers like TJ Clark and Rosalind Kraus, in Fail Better he also reflects on his own work as a critic, and the changes that have occurred in the landscape between his emergence in the 1980s and now.  

Kate Wolf and Medaya Ocher are joined by the art critic and historian Hal Foster to speak about his latest book, "Fail Better: Reckonings with Artists and Critics." A collection of essays that brings together over three decades of Foster's work, the book exhibits a rigorous philosophical and political engagement with a celebrated group of critics and artists who span the 1960s to the present. Foster digs deep into the work of Pop masters, Minimalists, and the Pictures Generation, as well as contemporary artists, always splaying open the vein of his critique to make it resonant beyond the confines of the art world, and in broader conversation with history and culture. In addition to writers like TJ Clark and Rosalind Kraus, in "Fail Better" he also reflects on his own work as a critic, and the changes that have occurred in the landscape between his emergence in the 1980s and now.

In her new book, The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the historian and Harvard professor Sarah Lewis unpacks a major part of United States history that until now wasn't just brushed over, but was intentionally buried: how the ​​Caucasian War and the end of the Civil War were conflated by P.T. Barnum, former President Woodrow Wilson, and others to shape how we see race in America. Long overdue, The Unseen Truth is a watershed book about photography and visuality that calls to mind works by history-shaping authors such as James Baldwin, Toni Morrison, and bell hooks. Lewis is also the founder of the Vision & Justice initiative, which strives to educate the public about the importance of art and culture for equity and justice in the U.S., and is launching a new publishing venture with Aperture this fall.On the episode, she discusses the tension between pedagogy and propaganda; the deep influence of Frederick Douglass's 1861 “Pictures and Progress” lecture on her work; how a near-death car crash altered the course of her life and The Unseen Truth; and the special ability of certain photographs to stop time.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Sarah Lewis[04:01] The Unseen Truth[05:24] Woodrow Wilson[05:24] Frederick Douglass[05:24] P.T. Barnum[06:51] Toni Morrison[06:51] Angela Davis[06:51] Mathew Brady[51:14] Vision & Justice[11:35] Caucasus[14:02] Imam Shamil[17:38] Caucasian War[19:31] MFA Boston[19:31] The Metropolitan Museum[22:30] “Pictures and Progress”[28:41] “A Circassian”[28:41] “Slave Ship”[28:41] “The Gulf Stream”[35:13] Frances Benjamin Johnston[39:20] Jarvis Givens[39:20] Fugitive Pedagogy[44:05] The Rise: Creativity, the Gift of Failure, and the Search of Mastery[49:08] Montserrat[49:08] Under the Volcano[51:36] Aperture[52:26] Maurice Berger[52:26] Coreen Simpson[52:26] Doug Harris[52:26] Deborah Willis[52:26] Leigh Raiford[52:57] Hal Foster[56:01] Hank Willis Thomas[56:01] Theaster Gates[56:01] Mark Bradford[56:01] Amy Sherald[57:58] Wynton Marsalis[57:58] Charles Black, Jr.[57:58] Louis Armstrong[57:58] Brown v. Board of Education

Episode Notes Support our Patreon - https://www.patreon.com/3MinModernist Bibliography Serra, Richard. Writings/Interviews. Edited by Douglas Crimp, University of Chicago Press, 1994. Serra, Richard, and Kynaston McShine. Richard Serra Sculpture: Forty Years. Museum of Modern Art, 2007. Serra, Richard, and Hal Foster. Richard Serra, Sculpture. Guggenheim Museum, 1992. Foster, Hal. "The Return of the Real: Richard Serra's Drawings." October, vol. 58, 1991, pp. 31-41. Brenson, Michael. "ART VIEW; Richard Serra: The Space Between." The New York Times, 9 Nov. 1986, www.nytimes.com/1986/11/09/arts/art-view-richard-serra-the-space-between.html. Kimmelman, Michael. "Richard Serra, Sculptor: Constructing New Worlds with Steel." The New York Times, 29 Mar. 1987, www.nytimes.com/1987/03/29/arts/art-view-richard-serra-sculptor-constructing-new-worlds-with-steel.html. Hobbs, Robert. "Richard Serra." Artforum International, vol. 32, no. 9, 1994, pp. 82–87. Ellegood, Anne, et al. Focus: Richard Serra. The Museum of Contemporary Art, Los Angeles, 2006. Goldberg, Vicki. "Serra's Public Art: Challenge and Awe." The New York Times, 16 June 1985, www.nytimes.com/1985/06/16/arts/art-view-serra-s-public-art-challenge-and-awe.html. Kertess, Klaus. Richard Serra Sculpture: Forty Years. Museum of Modern Art, 2007. McShine, Kynaston, and Lynne Cooke. Richard Serra Drawing: A Retrospective. The Menil Collection, 2011. Zelevansky, Lynn. "Richard Serra's 'Prop Pieces': An Interview." Artforum International, vol. 20, no. 7, 1982, pp. 30–35. Krauss, Rosalind E. "The Originality of the Avant-Garde and Other Modernist Myths." The MIT Press, 1985. Kramer, Hilton. "The Art World's Giant with the Flair of a Lilliputian." The New York Times, 20 Mar. 1983, www.nytimes.com/1983/03/20/arts/the-art-world-s-giant-with-the-flair-of-a-lilliputian.html. Kimmelman, Michael. "Experiencing Richard Serra's Mammoth 'Intersection'." The New York Times, 11 Oct. 1992, www.nytimes.com/1992/10/11/arts/art-experiencing-richard-serra-s-mammoth-intersection.html. Find out more at https://three-minute-modernist.pinecast.co

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Medievalist Comics and the American Century (UP of Mississippi, 2016), Chris Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century. In this interview Dr. Bishop talks about the uses and abuses of classical and medieval texts in popular media, the value of studying flops, and how we all might misunderstand history for our own reassurance. Dr. Chris Bishop is a honorary lecturer at the Australian National University. He has published widely on the history of late antiquity and the early Middle Ages, as well as on comic book studies. In 2012 Bishop was awarded a Kluge Fellowship at the Library of Congress for his research, which led to the publication of the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Hal Foster is one of the most well-known thinkers about art today. In a career that spans several decades, he is known for important much-cited books including The Return of the Real from 1996, Design and Crime from 2002 and most recently, Brutal Aesthetics from 2020. He teaches at Princeton and writes for a broader audience at Artforum and the London Review of Books, among many other places.  And anyone who has studied art theory or contemporary art is probably familiar with a masterful book he edited called The Anti Aesthetic. Put out by the Bay Press in 1983, the slim, purple, 150 page collection brought together nine essays by figures including Jürgen Habermas, Rosalind Krauss, Frederic Jameson, and Edward Said, plus an introduction by Foster himself, theorizing in exciting, contradictory, and new ways what it meant to write about, make, and see art. It set the tone for a lot of the criticism and reception of art theory in the 1980s and beyond, and helped make theory cool in art. Indeed, this small book has cast such a long shadow that Foster has just published a text for Artforum called The Anti Aesthetic at 40, where he assesses its legacy four decades on from its publication. The work reminds one of the sense of intellectual excitement and seriousness of purpose that drew many into writing about art in the first place. A sense that feels very embattled now. This week on the podcast, Hal Foster joins Artnet's chief art critic Ben Davis to discuss the recent past and present of art criticism. 

Hal Foster is one of the most well-known thinkers about art today. In a career that spans several decades, he is known for important much-cited books including The Return of the Real from 1996, Design and Crime from 2002 and most recently, Brutal Aesthetics from 2020. He teaches at Princeton and writes for a broader audience at Artforum and the London Review of Books, among many other places.  And anyone who has studied art theory or contemporary art is probably familiar with a masterful book he edited called The Anti Aesthetic. Put out by the Bay Press in 1983, the slim, purple, 150 page collection brought together nine essays by figures including Jürgen Habermas, Rosalind Krauss, Frederic Jameson, and Edward Said, plus an introduction by Foster himself, theorizing in exciting, contradictory, and new ways what it meant to write about, make, and see art. It set the tone for a lot of the criticism and reception of art theory in the 1980s and beyond, and helped make theory cool in art. Indeed, this small book has cast such a long shadow that Foster has just published a text for Artforum called The Anti Aesthetic at 40, where he assesses its legacy four decades on from its publication. The work reminds one of the sense of intellectual excitement and seriousness of purpose that drew many into writing about art in the first place. A sense that feels very embattled now. This week on the podcast, Hal Foster joins Artnet's chief art critic Ben Davis to discuss the recent past and present of art criticism. 

And now the conclusion to this rambling and too brief biography of Hal Foster, the father of the adventure strip.

And now the first part of this rambling and too brief biography of Hal Foster, the father of the adventure strip.

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So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct: A Compendium of Obsolete Objects (Reaktion Books, 2021) gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight. Barbara Penner is professor of architectural humanities at the Bartlett School of Architecture, University College London. Adrian Forty is professor emeritus of architectural history at the Bartlett School of Architecture, University College London. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct: A Compendium of Obsolete Objects (Reaktion Books, 2021) gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight. Barbara Penner is professor of architectural humanities at the Bartlett School of Architecture, University College London. Adrian Forty is professor emeritus of architectural history at the Bartlett School of Architecture, University College London. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct: A Compendium of Obsolete Objects (Reaktion Books, 2021) gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight. Barbara Penner is professor of architectural humanities at the Bartlett School of Architecture, University College London. Adrian Forty is professor emeritus of architectural history at the Bartlett School of Architecture, University College London. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct: A Compendium of Obsolete Objects (Reaktion Books, 2021) gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight. Barbara Penner is professor of architectural humanities at the Bartlett School of Architecture, University College London. Adrian Forty is professor emeritus of architectural history at the Bartlett School of Architecture, University College London. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

So-called extinct objects are those that were imagined but were never in use, or that existed but are now unused—superseded, unfashionable, or simply forgotten. Extinct: A Compendium of Obsolete Objects (Reaktion Books, 2021) gathers together an exceptional range of artists, curators, architects, critics, and academics, including Hal Foster, Barry Bergdoll, Deyan Sudjic, Tacita Dean, Emily Orr, Richard Wentworth, and many more. In eighty-five essays, contributors nominate “extinct” objects and address them in a series of short, vivid, sometimes personal accounts, speaking not only of obsolete technologies, but of other ways of thinking, making, and interacting with the world. Extinct is filled with curious, half-remembered objects, each one evoking a future that never came to pass. It is also a visual treat, full of interest and delight. Barbara Penner is professor of architectural humanities at the Bartlett School of Architecture, University College London. Adrian Forty is professor emeritus of architectural history at the Bartlett School of Architecture, University College London. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Michael McClard arrived in New York in 1973 with a BFA from the San Francisco Art Institute, where he also won a Peabody Award in Sculpture. He soon made his mark on the art scene as a member of a highly original group of young artists who helped to revive an interest in painting and visual performance. He was a founding member of the noted artists' support  group Colab and its first chairman. Sidestepping the confines  of abstract conceptual art,  McClard's work seethes with figurative content; yet it has nevertheless retained a conceptual element and mines a strong vein of humor. During the 70s he staged provocative  performances such as « Foes v. Foes » at the Kitchen and  surreal, carnivalesque installations at venues such as the Clocktower (« There's Meat on these Bones ») ; PS 1, Institute for Art and Urban Resources,  De Appel, Amersterdam and N.A.M.E Gallery, Chicago. For these presentations, he constructed all sets and props and performed, often as sole actor. His one-act play, « Mumbo Jumbo, » was published in Avalanche 12, Winter 1975. In October 1981, his first large-scale one-man show of paintings and frescoes took place at Mary Boone, occupying both galleries on either side of West Broadway. Drawing on sources from  mythology, history and  everyday life, he created a pantheon of imaginary characters, notable for their tactile raw energy, range of facial expressiveness and astute power of observation. Also featured were  inventive depictions of historical scenes,  acclaimed by critics such as Grace Glueck of the New York Times for their verve and by Hal Foster of Art in America for their metaphysical insights. Many of these works were acquired by New York and Los Angeles public and private collectors. During this period  McClard was also awarded two fellowships by the National Endowment for the Arts, in Visual Arts and Mixed Media. In the 90s McClard took a temporary hiatus from painting to explore new media. He embraced the digital revolution and applied his draughtsmanship skills to the creation of original software with his brother Peter McClard through their dotcom enterprise, Hologramophone Research.  The computer installation «Characters» furthered his interest in human physiognomy by generating an unlimited sequence of drawings of faces and was exhibited in « A visage découvert, » Fondation Cartier pour l'Art Contemporain, Jouy-en Josas, France. The book mentioned in the interview: Leavings: Memoir of a 1920s Hollywood Love Child. “I Might Have to Bite You” 1983, pastel on Strathmore, 24” x 18” “Hello Darling” 1983, pastel on Strathmore, 24” x 18” “Miss Bozzart” 1983, pastel on Strathmore, 24” x 18”

Ted and Glenn discuss the Artist Hal Foster. This amazing talent inspired generations and created the comics industry!

Neste episódio, você escuta uma análise do conhecido texto “Artista como etnógrafo”, de Hal Foster. Se você nos escuta por aplicativos, a postagem original está em notamanuscrita.com.

La muestra El arte en el cómic se centra en grandes obras de la pintura universal vistas por más de 70 historietistas e ilustradores. Entre ellos, Fermín Solís, Mayte Alvarado o Fidel Martínez. Hay galerías de arte dedicadas casi en exclusiva a vender las páginas originales de cómic -Milo Manara, Moebius, Alex Ross, Hal Foster, Will Eisner, Winsor McKay o Jack Kirby. Los cómics llegaron a los museos hace ya décadas y la Fundación Telefónica (que tiene una gran colección de arte, basada sobre todo en el periodo cubista) le dio el visto bueno a Asier Mensuro para organizar esta exposición que ahora llega al MEIAC. Se inaugura este viernes 17 de junio, con charla a las 17:00 horas y visita guiada. Charlamos con Mensuro sobre ella.  

Hal Foster, 2022 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/yesitsyanyan/support

In his mission to further illuminate the not-so-brightly lit corners of the Amazing Comics Group, our Host describes the various features of Amazing Weekly with a wit wetted by wine and Pepsi. Take #116 for example. Cover by L.B. Cole, a Thun'da story by Frank Frazetta, a Plastic Man adventure by Jack Cole, Spacehawk by Basil Wolverton, a western tale by Everett Raymond Kinstler, a Prince Valiant reprint by Hal Foster, a classic post-war Spirit by Will Eisner, Hey Look by Harvey Kurtzman, a romance comic by Jack Kirby and Joe Simon, Babe by Boody Rogers, and a Bernard Krigstein story. Now that's a gonga!

Alex Grand and co-host Jim Thompson interview Fantagraphics publisher, The Comics Journal co-founder, and Genius in Literature Award recipient Gary Groth, in part 2 of a 2 parter covering his full publishing career starting at age 13, his greatest accomplishments and failures, feuds and friends, journalistic influences and ideals, lawsuits and controversies. Learn which category best describes ventures like Fantastic Fanzine, Metro Con ‘71, The Rock n Roll Expo '75,  Amazing Heroes, Honk!, Eros Comics, Peanuts, Dennis the Menace, Love and Rockets, Jacques Tardi, Neat Stuff and the famous Jack Kirby interview; and personalities like Jim Steranko, Pauline Kael,Harlan Ellison, Hunter S. Thompson, Kim Thompson, CC Beck, Jim Shooter, Alan Light and Jules Feiffer. Plus, Groth expresses his opinions  ... on everything! Edited & Produced by Alex Grand. Images used in artwork ©Their Respective Copyright holders, Photo ©Chris Anthony Diaz  CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians.  Music - standard license, Lost European.CBH Interview SeriesComic Book Historians Podcast#TheComicsJournal #GaryGroth #FantagraphicsSupport the show

In this episode, Carsten & Stephen have a look at a selection of adventure films and dramas inspired by the sagas of those bold raiders from the north, the Vikings, currently represented in theatres by The Lighthouse director Robert Eggers' highly anticipated big screen saga The Northman. Stephen & Carsten put out their oars and row their way through Viking films past and present, from Hollywood adventures like Prince Valiant (based on Halifax artist Hal Foster's classic comic strip) and The Vikings with Kurt Douglas to modern-day adaptations like Beowulf & Grendel and The Last King. Follow us on twitter: @Lensmeyourears and like us on Facebook! Stephen's twitter:@NS_scooke Carsten's twitter: @FlawInTheIris

Motivatore: Hal FosterMotivazione: Cavalca la tua fantasia

Alex Grand and co-host Jim Thompson interview Fantagraphics publisher, The Comics Journal co-founder, and Genius in Literature Award recipient Gary Groth, in Part 1 of a 2 parter covering his full publishing career starting at age 13, his greatest accomplishments and failures, feuds and friends, journalistic influences and ideals, lawsuits and controversies. Learn which category best describes ventures like Fantastic Fanzine, Metro Con ‘71, The Rock n Roll Expo '75,  Amazing Heroes, Honk!, Eros Comics, Peanuts, Dennis the Menace, Love and Rockets, Jacques Tardi, Neat Stuff and the famous Jack Kirby interview; and personalities like Jim Steranko, Pauline Kael,Harlan Ellison, Hunter S. Thompson, Kim Thompson, CC Beck, Jim Shooter, Alan Light and Jules Feiffer. Plus, Groth expresses his opinions  ... on everything!   Edited & Produced by Alex Grand. Images used in artwork ©Their Respective Copyright holders, Photo ©Chris Anthony Diaz  CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians.  Music - standard license, Lost European.CBH Interview SeriesComic Book Historians Podcast#TheComicsJournal #GaryGroth #FantagraphicsSupport the show (https://www.patreon.com/comicbookhistorians)

Har vi förlorat förmågan att uppleva de där storslagna sinnesrörelserna som det talas om i romantikens diktning? Och vad söker vi efter istället? Det funderar Dan Jönsson på i den här essän. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ni som var med 2010 minns kanske Youtube-fenomenet Double Rainbow, en kort filmsnutt där en ung amerikan fullkomligt bryter samman inför anblicken av en ja en dubbel regnbåge helt enkelt. Paul Vasquez som han heter, filmar den i drygt tre minuter, först med andlös bävan, men rätt snart under alltmer oregerliga utbrott av estetisk hysteri. Han kvider, skriker, snyftar, gapskrattar, allt på en gång medan kameran sakligt panorerar fram och tillbaka över regnbågen där den reser sig över en oansenlig bergknalle. Filmen fick på kort tid mer än tjugo miljoner visningar och är fortfarande ett av de mest populära internetklippen genom tiderna.Man får tänka sig att det som Vasquez ville förmedla i sin lilla film var ett möte med det som romantikerna på artonhundratalet kallade det sublima alltså en skönhetsupplevelse så genomgripande att den framstår som överjordisk, ominös, till och med skrämmande. Vad betyder det här? What does this mean? var mycket riktigt också det enda begripliga han lyckades få ur sig under sina tre minuters världsberömmelse. Men istället för den stilla andakt som man traditionellt väntar sig av den här sortens upplevelser framstod Vasquez reaktion mest som löjeväckande. Kanske var det något i kontrasten mellan hans överspända utbrott och det småtrista panorerandet över den på skärmen rätt prosaiska regnbågen som gjorde det; kanske var det också något i själva tekniken, det digitala mediet som sådant, som fick hans säkert uppriktiga hänförelse att verka både tvivelaktig och skrattretande.Vad betyder det, i så fall? Skulle vi kanske avfärda den klassiska konstens sublima effekter med samma ironiska distans, om de dök upp idag? Ta till exempel den berömda, potentiellt löjliga scenen i Goethes Werther, ett av den romantiska litteraturens portalverk, där Lotte faller i vanmakt inför anblicken av ett åskväder. Har vi numera tappat förmågan att se den sortens högspända skönhetsrus som trovärdiga? Ja; enligt den amerikanska kulturteoretikern Sianne Ngai har den moderna, och särskilt postmoderna kapitalismen utvecklat en kultur så genompyrd av en kommersiell estetik att de där absoluta idealen har trängts undan. Gårdagens stora, moraliskt uppfordrande estetiska kategorier har fått ersättas av mindre. Alltså: där våra romantiska förfäder strävade mot det sköna, det rätta och det sanna som Tegnér skaldade i Det eviga får deras senkapitalistiska ätteläggar nöja sig med att söka det gulliga, det knasiga och det intressanta.I sin bok Our Aesthetic Categories från 2012 gör Ngai en grundlig genomlysning av detta relativt nya, estetiska begreppskomplex. Den historiska bakgrunden ser hon i den gradvisa utfasning av det sakrala, eller heliga, som pågått de senaste par hundra åren i den västerländska kulturen. När estetiken som disciplin uppstod i slutet av 1700-talet var det som ett svar på upplysningens brott med de religiösa dogmerna. Estetiken och särskilt en kategori som just det sublima blev helt enkelt den kulturella behållare där sakrala föreställningar kunde leva vidare. Under 1800-talet rullade så den moderna kapitalismen ut sin varuestetik över världen, och sakta men säkert har den trängt in i snart sagt varje skrymsle av vår vardag. Estetik och design genomsyrar numera allt från jeans till gener from jeans to genes, som konsthistorikern Hal Foster har formulerat det. I denna hyperdesignade, estetiserade värld trängs det sakrala oundvikligen ut i marginalen, förklarar Ngai.Och med det upphör också ett absolut begrepp som skönhet att verka meningsfullt. Den kapitalistiska varuformens mindre anspråksfulla, mer hanterliga motsvarighet blir istället gulligheten. Ngai spårar den mer än hundra år tillbaka, i sådant som jugendkonstens ornamentglädje men framför allt i den modernistiska poesins nyväckta intresse för intima detaljer och vardagsföreteelser. I gulligheten blir konsumtionsvaran mänsklig, men också ömkansvärd; den väcker så att säga inte bara vårt habegär utan vår beskyddarinstinkt, vädjar till oss som ett värnlöst barn om att bli omhändertagen. Samtidigt, skriver Ngai: just i svaghet ryms också en vilande aggressivitet som i förlängningen föder fantasier om ett möjligt, hotande uppror från gullighetens sida. Något som kommer till uttryck i populärkulturens alla myter om besatta, ondskefulla barn och djur.I en sorts motsats till det gulliga står det knasiga, som gör missanpassningen och normbrottet till konst. Till skillnad från gulligheten skapar knasigheten inte närhet utan distans till sitt objekt. Där gulligheten handlar om konsumtion handlar knasigheten, enligt Ngai, istället om arbete närmare bestämt om de förändringar i yrkesidentiteten som har satt sin prägel på västvärlden under efterkrigstiden. I allt från knäppa sitcoms till performancekonst ventilerar samtidskulturen de lätt ångestladdade kraven på den moderne löntagaren att när som helst vara beredd att iföra sig vilken roll som helst och då i värsta fall avslöjas som en inkompetent amatör. I knasigheten får vår tids osäkra, flytande identiteter ett uttryck som svarar precis mot vårt behov att känna lite avstånd till de prekära kraven, då och då lätta på det sociala trycket i ett befriat skratt.Som en tredje, balanserande och sammanbindande pol i detta estetiska kraftfält hittar vi alltså det intressanta. Det intressanta uppmärksammades visserligen som kategori redan under romantiken, men det var först med moderniteten den fick verklig betydelse, skriver Ngai, eftersom den handlar om att se och värdera skillnader, en basfärdighet i det moderna konsumtionssamhället. Idén om det intressanta färgar hela vår kultur men drivs till sin spets i den postmoderna konceptkonsten, som med förebild i Marcel Duchamps berömda pissoar är en genre som helt går ut på att välja ur verklighetens flöden av föremål och företeelser. Konstnären blir här, som konst- och medieteoretikern Boris Groys har kallat det, en sorts modellkonsument som med sina installationer både idealiserar och lägger en svalkande distans till konsumtionskretsloppets eviga cirkulation av varor och mediefenomen.Låter det här som en väl futtig bild av vår samtida kultur? Kanske det själv undrar jag till sist om inte Sianne Ngais estetiska triad borde utökas med ännu en kategori: det äkta. Ju mer jag fördjupar mig i hennes utan tvivel fascinerande analys, desto mer får jag känslan att den någonstans kretsar kring ett existentiellt tomrum som jag tror får sitt starkaste uttryck i vår tids kulturella verklighetskomplex. Konsten är numera, tycks det mig, inte sig själv nog; dess gestaltningar inte riktigt trovärdiga om de inte i någon mening, som det heter, baseras på en sann historia. Ur allt från reality-tv till gangsterrap, från dramadokumentärer till autofiktiva romaner strålar detta löfte om autenticitet, ett möjligen illusoriskt hopp om någon sorts fast mark under fötterna som väl, om den nu finns, i sina anspråk inte skiljer sig så mycket från de där absoluta värdena Tegnér skaldade om i Det eviga.Dan Jönsson, författare och essäist

Comics  Crossover #10 from Image Comics (W) Donny Cates (A) Dee Cunniffe & Geoff Shaw & Various $3.99 Knighted #2 of 5 from AWA/Upshot (W) Gregg Hurwitz (A) Mark Texeira, Brian Reber $3.99 Archie's Holiday Magic Special #1 from Archie Comics (W) Micol Ostow & Various (A) Gretel Lusky & Various $3.99   My Bad #2 from Ahoy Comics | Writer(s): Mark James Russell Bryce Ingman | Artist(s): Peter Krause | $3.99 Lady Mechanika: The Monster of the Minister of Hell #1 (of 4) from Image Comics (W/A) Joe Benitez $3.99 MAD magazine #23 (“What, Me Vengeance?” Batman parody issue) (W/A various) $5.99 Daisy #1 from Dark Horse | Writer(s): Colin Lorimer | Artist(s): Colin Lorimer | Colors: Joana LaFuenta, Anita Vu | Letters: Jim Campbell | $3.99 Silver Coin #7 from Image | Writer(s): Ram V, Joshua Williamson | Artist(s): Michael Walsh | Colors: Michael Walsh, Toni Marie Griffin | Letters: Michael Walsh | $3.99 Good Asian #7 from Image | Writer(s): Pornsak Pichetshote | Artist(s): Alexandre Tefenkgi | Colors: Lee Loughridge | $3.99 Whats The Furthest Place From Here #2 from Image | Writer(s): Tyler Boss, Matthew Rosenberg | Artist(s): Tyler Boss | Letters: Hassan Otsmane-Elhaou | $3.99 Tales Of Mother F Goose #1 (One Shot) from AfterShock Comics | Writer(s): Frank Tieri | Artist(s): Joe Eisma | Colors: Matt Herms | Letters: Carlos M. Mangual | $6.99 She Could Fly Vol 3 Fight Or Flight TP from Dark Horse | Writer(s): Christopher Cantwell | Artist(s): Martin Morazzo | Colors: Miroslav Mrva | Letters: Clem Robins | $19.99 Made In Korea #6 from Image | Writer(s): Jeremy Holt | Artist(s): George Schall | $3.99 Basilisk #5 from BOOM! Studios | Writer(s): Cullen Bunn | Artist(s): Jonas Scharf | $3.99 Bloom #4 from Hero Tomorrow Comics | Writer(s): Ted Sikora | Artist(s): Butch K. Mapa | $3.99 Guillem Marchs Laura And Other Stories #2 from Ablaze Media | Writer(s): Guillem March | Artist(s): Guillem March | $3.99 Lunar Room #1 from Vault Comics | Writer(s): Danny Lore | Artist(s): Giorgia Sposito | $3.99 Crimson Cage #1 of 5 from AWA/Upshot (W) John Lees(A) Alex Cormack $3.99  Upcoming Comics Mazebook #4 Cover B from Dark Horse | Writer(s): Jeff Lemire | Artist(s): Jeff Lemire | $5.99 Adventureman #7 from Image | Writer(s): Matt Fraction | Artist(s): Terry Dodson Rachel Dodson | $3.99 Primordial #4 from Image Writer(s): Jeff Lemire | Artist(s): Andrea Sorrentino | $3.99 BRZRKR (Berzerker) #6 from BOOM! Studios | Writer(s): Keanu Reeves Matt Kindt | Artist(s): Ron Garney | $3.99 Edgar Allan Poe's Snifter Of Death #3 from Ahoy Comics | Writer(s): Tom Peyer Bryce Abood | Artist(s): Greg Scott Rick Geary | $4.99 Hard Case Crime Gun Honey #4 from Titan Comics | Writer(s): Charles Ardai | Artist(s): Ang Hor Kheng | $3.99 He Who Fights With Monsters #4 from Ablaze Media | Writer(s): Francesco Artibani | Artist(s): Werther Dell Edera | $3.99 Heathens #2 from AfterShock Comics | Writer(s): Cullen Bunn Heath Amodio | Artist(s): Sami Kivela | $3.99 My Date With Monsters #2 from AfterShock Comics | Writer(s): Paul Tobin | Artist(s): Andy MacDonald | $3.99 Regarding The Matter Of Oswald's Body #2 from BOOM! Studios | Writer(s): Christopher Cantwell | Artist(s): Luca Casalanguida | $3.99 Rush #2 from Vault Comics | Writer(s): Si Spurrier | Artist(s): Nathan Gooden | $3.99 Witchblood #9 from Vault Comics Writer(s): Matthew Erman | Artist(s): Lisa Sterle | $3.99 Cloaked #1 of 4 from Dark Horse Comics (W) Mike Richardson (A) Jordi Armengol $3.99   Trades Maria Llovets Eros Psyche HC from Ablaze Media | Writer(s): Maria Llovet | Artist(s): Maria Llovet | $24.99 Prince Valiant Vol 10-12 HC Gift Box Set from Fantagraphics | Writer(s): Hal Foster | Artist(s): Hal Foster | $99.99 Saga Box Set from Image Writer(s): Brian K. Vaughan | Artist(s): Fiona Staples | $125.00

Meet Hal Foster, General Manager of Vic Bailey Volkswagon in Spartanburg, South Carolina. When we recorded with him, it happened to be 10 year anniversary as an employee of the dealership. But before he'd ever started, he knew that he wanted a career where he could honor God with what he did. Learn how he's continued to do exactly that, and hear about the results so far. Learn more about Vic Bailey Volkswagen at www.vicbaileyvw.com Learn more about His Way at Work at www.HWAW.com

Already well-known for her novels – Telex from Cuba, The Flamethrowers, The Mars Room – Rachel Kushner has over the past two decades been writing essays, reviews and reportage as insightful and surprising as her fiction. In The Hard Crowd (Jonathan Cape) she has selected 19 pieces, covering diverse topics: art, literature, music, politics with essays on Marguerite Duras, Jeff Koons, wildcat strikes, a visit to a Palestinian refugee Camp and the music scene of her hometown San Francisco.She talks about her work with art critic and frequent contributor to the LRB Professor Hal Foster.Buy the books here. See acast.com/privacy for privacy and opt-out information.

É comum no nosso dia a dia nos metermos em discussões sobre as diferenças de gostos que temos com outras pessoas. Arquitetos e clientes, então, nem se fala: que profissional nunca teve de defender uma proposta diante de uma audiência bastante cética em relação às suas escolhas estéticas? Neste programa vamos tentar explorar esse elemento que — pode não parecer — é fundamental para nossas decisões cotidianas: o gosto. O que forma o gosto de uma pessoa? Ou melhor: o que forma os gostos das diferentes classes sociais? E o que acadêmicos dizem a respeito? 00:29 — Introdução 03:07 — Conversa LINKS Colabore com a campanha de solidariedade do MTST: catarse.me/colabore_mtst Carolina Pulici. O gosto dominante como gosto tradicional; Prédios "neoclássicos" no espaço residencial das elites de São Paulo. Hal Foster. 'Brow Beaten', em Design and Crime. Paul Jones. Putting Architecture in its Social Place. Sérgio Ferro. 'Produção da casa no Brasil', em Arquitetura e Trabalho Livre. NA INTERNET foradeprumo.com Twitter, Facebook, Instagram REDES SOCIAIS Arthur, Gabriel, Natália.

In his book Conversations About Sculpture (Yale) art historian Hal Foster recapitulates the discussions he has had, over a period of two decades, with the legendary minimalist sculptor Richard Serra. Professor Foster, a regular contributor to the London Review of Books, was in discussion about his book, and about Serra's extraordinary work, with Tate Modern curator Mark Godfrey. See acast.com/privacy for privacy and opt-out information.

Episode #327! We are back with more "Cool Stuff"! First, Scott spotlights a reference book we can utilize as we try to make it through all Ian Fleming James Bond novels prior to new movies release. Listen as he describes "Ian Fleming's James Bond - Annotations and Chronologies for Ian Fleming's Bond Stories" by John Griswold. After that, DL has another great Vanguard book. This time it's a biography/art book of "the father of the adventure strip" Hal Foster. To finish up this episode Barry tells us about the Keith Richards autobiography "Life". Check it out!

Alex Grand and Jim Thompson interview Frank Thorne, born in 1930, he discusses his past and current works, with a career that spans from the late 1940s, utilizing and expanding on inspirations like Alex Raymond, Hal Foster, and Neil O'Keefe, a late 1940s graduate of the Art Career School in Manhattan, working at Dell, Gold Key and DC Comics with an explosion of fan activity in the 1970s and 80s with his comic work centered around strong beautiful female characters like Red Sonya. This episode finishes after his work on Red Sonya and we explore his famous other femme fatales like Ghita, Lann for Heavy Metal, Ribit for Comico, Danger Rangerette for National Lampoon, Moonshine McJuggs for Playboy, his working relationship with Hugh Hefner, his interactions with other prominent comic figures like Alex Toth, Gary Groth, Jim Steranko and Neal Adams. Images used in artwork ©Their Respective Copyright holders, CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians. Support us at https://www.patreon.com/comicbookhistoriansSupport the show (https://www.patreon.com/comicbookhistorians)

Prince Valiant: The Story-Telling Game is the official role-playing game based on Hal Foster's comic strip of the same name. Created by Greg Stafford the game was first published in 1989. I also answer some call ins from Edwin Worlds United: https://www.drivethrurpg.com/product/264521/Worlds-United The Titan Incident : https://www.drivethrurpg.com/product/260930/The-Titan-Incident --- Website: https://petejones.neocities.org/ Blog: https://dragonsarerealpodcast.tumblr.com/ OSR Anchorites on Audio Dungeon Discord Server: https://discord.gg/VpRjr3A Opening Music Fireflies and Stardust by Kevin MacLeod https://incompetech.com License: CC BY (http://creativecommons.org/licenses/by/4.0/) Closing Music "Fretless" by Kevin MacLeod https://incompetech.com License: CC BY (http://creativecommons.org/licenses/by/4.0/)

Alex Grand and Jim Thompson interview Frank Thorne, born in 1930, he discusses his past and current works, with a career that spans from the late 1940s, utilizing and expanding on inspirations like Alex raymond, Hal Foster, and Neil O'Keefe, a late 1940s graduate of the Art Career School in Manhattan, working at Dell, Gold Key and DC Comics with an explosion of fan activity in the 1970s and 80s with his comic work centered around strong beautiful female characters like Red Sonya. Images used in artwork ©Their Respective Copyright holders, CBH Podcast ©Comic Book Historians. Thumbnail Artwork ©Comic Book Historians. Support us at https://www.patreon.com/comicbookhistoriansSupport the show (https://www.patreon.com/comicbookhistorians)

On the show today I’m talking with writer, curator and critic Jarrett Earnest, whose 2018 book What it Means to Write About Art assembles his conversations with thirty of the most influential American art writers. Jarrett’s interviews with figures ranging from Rosalind Krauss to Dave Hickey, Roberta Smith to Kellie Jones, and Jerry Saltz to Hal Foster trace a path through art criticism from the 1960’s up to the present moment. His subjects remind us of the diversity of thought that has defined modern art criticism. It’s truly a rare thing to find a book that offers such a plethora of ideas about how we think about and relate to art.You can find more of Jarrett’s work at www.jarrettearnest.com and on Instagram @jarrettearnest

Conversamos sobre Príncipe Valente de Hal Foster, clássico publicado ininterruptamente desde 1937. O post Confins do Universo 073 – Príncipe Valente: um clássico apareceu primeiro em UNIVERSO HQ.

There are many illuminating moment’s in Hal Foster’s Conversations about Sculpture (Yale University Press, 2018) with Richard Serra, including the discussion of the infamous “Tilted Arc” sculpture, Serra's formative years as he battled with Minimalism and Conceptual Art, his idea’s around site-specific art, and the role of text and image in his oeuvre. This podcast begins with Serra’s own voice from a SFMOMA clip that asks the question, “Why Make Art?” and continues with a little adventure to see the artist’s first land artwork, “Shift” (1970), in King City, Ontario. Finally, I sit down with Foster, who talks about his own relationship with an artist who has reinvented himself a few times in his career.

07/06/2011Otra vez al tajo, ante lo que se nos viene encima con el E3 y preparando un par de cosillas más. No queremos adelantar acontecimientos pero cuando estéis otras cuatro semanas sin saber de nosotros, por algo será... (sí, me encanta el hype, por si alguien no se había percatado)COMENTARIOS (hasta 39'09")SPAM:PodcinemaComandoAltSuprimirNOTICIAS:¿PS Vita(mina)?Call of Duty ElitePSN zombi y su Welcome Crap.AVANCES:L.A. Noire [PS3, 360] (2011, Team Bondi/Rockstar Games)Mortal Kombat [PS3, 360] (2011, NetherRealm Studios/Warner Bros. Interactive)JUEGOS "DE LA QUINCENA":Hotel Dusk: Room 215 [DS] (2007, Cing/Nintendo)Last Window: The Secret of Cape West [DS] (2010, Cing/Nintendo)League of Legends [PC, MAC OS] (2009, Riot Games)CÓMIC:El Príncipe Valiente (1937, creado por Hal Foster)Creo que no lo comento en el podcast por mi escasa RAM mental, pero ambos juegos de DS están en perfecto castellano, traducido de manera más que decente.Actualización: Por demanda popular (ejem) aquí os pongo el nick del League of Legends de Jaume: Jaume Madafaka

Quadrinhos sobre períodos históricos, como os que tratam da Idade Média, falam tanto sobre esse momento que durou cerca de mil anos quanto do período em que essas próprias HQs foram feitas. É essa a hipótese que Elvio Franklin, graduado em História pela Universidade Federal do Ceará (UFC) e graduando em Cinema pela mesma instituição, tinha ao levar quadrinhos para a sala de aula em que leciona. Príncipe Valente (de Hal Foster) tem muito a falar sobre a década de 1930, assim como Asterix (de Albert Uderzo e René Goscinny) e Hagar, O Horrível (de Dik Browne) têm a falar sobre os anos 1960-1970. Esses quadrinhos falam do passado E do presente. Afinal, o que é a Idade Média? Por que o Medie [...]

Alex Grand, Bill Field, and Jim Thompson discuss the 1934 newspaper comic industry specifically the decline of the old guard like Windsor McCay, and the upsurge of the new guys who would end the newspaper golden age with a bang including Milton Caniff and Alex Raymond. How did Milton Caniff and Alex Raymond change the choreography of Newspaper Strips and how did that affect the buddening Golden Age of Comic Books? Why do Newspaper Comic Strips at this time matter? What was the comic book industry doing at this time? Who is Major Malcom Wheeler-Nicholsen and what did he bring to comic books when he created National Allied Periodicals, the company that would later change its name to DC Comics? Where is the Bison head? ©Comic Book Historians, Flash Gordon ©King Feature Syndicate. Support us at https://www.patreon.com/comicbookhistorians Podcast and Audio ©℗ 2019 Comic Book HistoriansSupport the show (https://www.patreon.com/comicbookhistorians)

Cuaderno de Bitácora. Fecha estelar 0413. Hemos sabido que en nuestra nave se encuentra un ser cuya existencia despreciamos. Se hace llamar Zoltar69 aunque sabemos su nombre real, el polizonte reniega de ello. Esta semana Lluís bucea en la arqueología de los comics para reseñar la primera obra anatómicamente perfecta de la historia del medio, el Tarzán de Hal Foster. Una obra que le mantendría ocupado desde 1931 hasta 1937, año en que lanzaría El Príncipe Valiente…pero esa es otra historia merecedora de ser contada otro día. Hoy nos contentaremos con la reseña del héroe literario ideado por Edgar Rice Burroughs que ha dado (y aun hoy todavía) lugar a docenas de adaptaciones en todos los soportes imaginables, y los tebeos no iban a ser menos. Esta semana Alex nos trae al actor Sacha Baron Cohen en la que fue su primera gamberrada en el mundo del cine (ya venía haciendo el cabra en televisión mucho tiempo) con la película Ali G anda suelto del año 2002 dirigida por Mark Mylord e interpretada también por (ojo cuidao) Michael Gambon, Charles Dance y Martin Freeman. Una película tan estúpida como divertida. Esta semana Isma se pone nostálgico y nos trae un título cual jugó en Playstation en su día; Oddworld Abe's Oddysee. En este plataformas bidimensional nos pondremos en la piel de Abe un Mudokon que trabaja en Rapture Farms y descubre que el próximo producto que sus jefes quieren vender es a los de su especie cómo si fueran Klav Kalash, así que toca rescatarlos. El comandante Ferrer ya está preparando la trampa para dirigir al polizonte a la escotilla y por ende, enviarlo al espacio. Escúchanos en iTunes Ivoox, síguenos en twitter.com/SuperculturaFC, en facebook.com/SuperculturaFreakChow y visítanos en superculturafreakchow.blogspot.com

Hal Foster reviews the Robert Rauschenberg exhibition at Tate Modern.Read Hal Foster in the LRB: https://lrb.me/fosterpodSign up to the LRB newsletter: https://lrb.me/acast See acast.com/privacy for privacy and opt-out information.

Art-historian and critic Hal Foster and poet and novelist Ben Lerner discuss the use of artifice versus reality in recent art and fiction, and their hatred of poetry and painting.

O programa de hoje é um crossover com o podcast Salvo Melhor Juízo que trata de assuntos do direito. Onde o Rafael Ancara participou como convidado junto com Thiago Hansen, Rui Bittencourt e Walter Guandalini Jr. Links Artigo do Rui e Walter: bit.ly/1ROJLQJ Acesse o Visual+Mente: www.visualmente.com.br/ François Soulages. “Estética da fotografia”. Bernard Edelman. “Direito capturado pela fotografia”. Hal Foster. “O retorno do real”.

No Salvo Melhor Juízo desta semana fizemos uma parceria com o Podcast de arte, design e cultura VIsual+Mente para tratar de uma questão que interessa tanto aos juristas quanto aos artistas e designers: direito autoral e autoria. Partindo de um caso que ganhou a mídia no ano passado envolvendo uma selfie clicada por uma macaca, discutimos qual é o sentido e definição de "direito autoral" e como o conceito de autoria é abordado pelo pensamento jurídico. Para tanto, contamos com a presença do designer Rafael Ancara (Anticast e Visual+Mente), o editor e professor Rui Bittencourt e o professor e advogado Walter Guandalini Jr. Confira! ======= Falado no programa: Artigo do Rui e Walter: http://bit.ly/1ROJLQJ Acesse o Visual+Mente: http://www.visualmente.com.br/ François Soulages. "Estética da fotografia". Bernard Edelman. "Direito capturado pela fotografia". Hal Foster. "O retorno do real". ======= Comentários, sugestões, críticas: contatosalvomelhorjuizo@gmail.com Twitter: @SMJPodcast Facebook: Salvo Melhor Juízo Instagram: @salvomelhorjuizo Assine o Feed: feeds.feedburner.com/salvomelhorjuizo Compartilhe, divulgue, ajude-nos nesse projeto!

This discussion addresses Richard Hamilton’s entire career: his exhibition designs of the 1950s, his ‘pop’ period, his interests in design and politics, as well as his relationship to a variety of artists. Audio recording.

Audio recording of Architecture and art: If you build it, will they come? Jacques Herzog and Hal Foster talk at Tate Modern

We continue our 2 part conversation with Marvel writer Jeff Parker. Jeff discusses his 2010 Oni book with Steve Lieber UNDERGROUND, and how a leaked pdf of the book at 4chan ended up being a positive publicity happening resulting in new readers and sales for the overlooked project.We also discuss the X-Men First Class Film, and Jeff's minor advisory involvement, more Thunderbolts talk including future guest stars and more on Man-Thing's unique role on the team.We discuss the old guard of comic creators like Alex Toth, Al Williamson and Burne Hogarth . The Will Eisner documentary . Adventure comic strips like Steve Canyon, Rip Kirby, Prince Valiant, and Flash Gordon from old and current creators Milton Cannif, Hal Foster, Alex Raymond, Mark Schultz and Gary Gianni .We talk about fantasy books, from The Harry Potter and Percy Jackson books,  to The Hobbitt and disgraced author James Frey's I Am Number Four . Plus loads of old movie talk. From the implausability of Dean Martin making good westerns, (Rio Bravo & Bandollero) to the best John Ford films like The Searchers, The Last Hurrah, and The Man Who Shot Liberty Valance .

Hal Foster, Princeton University, looks at avant garde art with a focus on the mimetic excess found in Dada and its progeny. He recalls the Cabaret Voltaire performances of poet Hugo Ball in Zurich, 1916, as pivotal to much of what followed. Foster is introduced by Art Institute President and Director Jim Cuno. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.