• -- c EESSSSAAYYSS OO NN PPOOSSTTMMOODDEERRNN CCUULLTTUURREE iitteedd bbyy HHaall FFoosstteerr BBAAYY PPRREESSSS PPoorrtt TToowwnnsseenndd,, WWaasshhiinnggttoonn © Copyright 1983 by Bay Press All rights reserved Printed in the United States of America First edition published in 1983 Fifth Printing 1987 Bay Press 914 Alaskan Way Seattle, WA 98104 Library of Congress Cataloging in Publication Data Main entry under title: The Anti-aesthetic. I. Modernism (Aesthetics) - Addresses, essays, lectures. 2. Civilization, Modern - 1950- Addresses, essays , lectures. I. Foster, Hal. BH30l.M54A57 1983 909.82 83-70650 ISBN 0-941920-02-X ISBN 0-941920-0 ]-1 (pbk.) Contributors JEAN BAUDRILLARD, Professor of Sociology at the University of Paris, is the author of The Mirror of Production (Telos, 1975) and For a Critique of the Political Economy of the Sign (Telos, 1981). DOUGLAS CRIMP is a critic and Executive Editor of October. HAL FOSTER (Editor) is a critic and Senior Editor at Art in America. KENNETH FRAMPTON, Professor at the Graduate School of Architecture and Planning, Columbia University, is the author of Modern Architecture (Oxford University Press, 1980) . •• JURGEN HABERMAS, associated with the Max Planck Institute present~y in Starnberg, Germany, is the author of Knowledge and Human Interests ' (Beacon Press, 1971), Theory and Practice (Beacon Press, 1973), Legitima- tion Crisis (Beacon Press, 1975) and Communication and the Evolution of Society (Beacon Press, 1979) . FREDRIC JAMESON, Professor of Literature and History of Conscious ness, University of California at Santa Cruz, is the author of Marxism and Form (Princeton University Press, 1971), The Prison-House of Language (Princeton Press, 1972), Fables of Aggression (University of Universi~ California Press, 1979) and The Political Unconscious (Cornell University Press, 1981). ROSALIND KRAUSS, Professor of Art History at the City University of New York, is the author of Terminal Iron Works: The Sculpture of David Smith (MIT Press, 1972) and Passages in Modern Sculpture (Viking Press, 1977). She is Co-Editor of October. CRAIG OWENS is a critic and Senior Editor at Art in America. EDWARD W. SAID, Parr Professor of English and Comparative Literature at Columbia University, is the author of Beginnings (Basic Books, 1975), Orientalism (Pantheon Books, 1978), Covering Islam (Pantheon Books, 1981) and The World, The Text and the Critic (Harvard University Press, 1983). GREGORY L. ULMER, Associate Professor of English, at the University of Florida, Gainesville, has recently completed a book-length study, "Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys." . Contents • Hal Foster Postmodernism: A Preface IX Jurgen Habermas Modernity An Incomplete Project 3 Kenneth Frampton Towards a Critical Regionalism: Six Points for an Architecture of Resistance 16 Rosalind Krauss Sculpture in the Expanded Field 31 Douglas Crimp On the Museum's Ruins 43 Craig Owens The Discourse of Others: Feminists and Postmodernism 57 Gregory L. Ulmer The Object of Post-Criticism 83 Fredric Jameson Postmodernism and Consumer Society 111 Jean Baudrillard The Ecstasy of Communication 126 Edward W Said Opponents, Audiences, Constituencies and Community 135 Postmodernism: A Preface HAL FOSTER Postmodernism: does it exist at all and, if so, what does it mean? Is it a concept or a practice, a matter of local style or a whole new period or economic phase? What are its forms, effects, place? How are we to mark its advent? Are we truly beyond the modern, truly in (say) a postindustrial age? The essays in this book take up these questions and many others besides. Some critics, like Rosalind Krauss and Douglas Crimp, define postmodern ism as a break with the aesthetic field of modernism. Others, like Gregory Ulmer and Edward Said, engage the "object of post-criticism" and the politics of interpretation today. Some, like Fredric Jameson and Jean Baudrillard, detail the postmodern moment as a new, "schizophrenic" mode of space and time. Others, like Craig Owens and Kenneth Frampton, frame its rise in the fall of modern myths of progress and mastery. But all the critics, save Jiirgen Habermas, hold this belief in common: that the project of modernity is now deeply problematic. Assailed though it is by pre-, anti- and postmodernists alike, modernism as a practice has not failed. On the contrary: modernism, at least as a tradition, has "won" but its victory is a Pyrrhic one no different than defeat, for modernism is now largely absorbed. Originally oppositional, modernism defied the cultural order of the bourgeoisie and the "false normativity" (Habermas) of its history; today, however, it is the official culture. As Jameson notes, we entertain it: its once scandalous productions are in the university, in the museum, in the street. In short, modernism, as even Habermas writes, seems "dominant but dead." This state of affairs suggests that if the modern project is to be saved at all, it must be exceeded. This is the imperative of much vital art of the present; it is also one incentive of this book. But how can we exceed the modern? How can we break with a program that makes a value of crisis (modernism), or progress beyond the era of Progress (modernity), or transgress the ideology of the transgressive (avant-gardism)? One can say, with Paul de Man, that • IX x The Anti-Aesthetic every period suffers a "modern" moment, a moment of crisis or reckoning in which it becomes self-conscious as a period, but this is to view the modern ahistorically, almost as a category. True, the word may have "lost a fixed historical reference" (Habermas), but the ideology has not: modern ism is a cultural construct based on specific conditions; it has a historical limit. And one motive of these essays is to trace this limit, to mark our change. A first step, then, is to specify what modernity may be. Its project, Habermas writes, is one with that of the Enlightenment: to develop the spheres of science, morality and art "according to their inner logic." This program is still at work, say, in postwar or late modernism, with its stress on the purity of each art and the autonomy of culture as a whole. Rich though this disciplinary project once was and urgent given the incursions of kitsch on one side and academe on the other it nevertheless came to rarefy culture, to reify its forms so much so that it provoked, at least in art, a counter-project in the form of an anarchic avant-garde (one thinks of dadaism and surrealism especially). This is the "modernism" that Haber mas opposes to "the project of modernity" and dismisses as a negation of but one sphere: "Nothing remains from a desublimated meaning or a destructured form; an emancipatory effect does not follow." Although repressed in late modernism, this "surrealist revolt" is returned in postmodernist art (or rather, its critique of representation is reaffirmed), , for the mandate of postmodernism is also: "change the object itself." Thus, as Krauss writes, postmodernist practice "is not defined in relation to a given medium, .. but rather in relation to the logical operations on a set of cultural terms." In this way the very nature of art has changed; so too has the object of criticism: as Ulmer notes, a new "paraliterary" practice has come to the fore which dissolves the line between creative and critical forms. In the same way the old opposition of theory and practice is refused, especially, as Owens notes, by feminist artists for whom critical intervention is a tactical, political necessity. The discourse of knowledge is affected no less: in the midst of the academic disciplines, Jameson writes, extraordinary new projects have emerged. "Is the work of Michel Foucault, for example, to be called philosophy, history, social theory or political science?" (One may ask the same of the "literary criticism" of Jameson or Said.) As the importance of a Foucault, a Jacques Derrida or a Roland Barthes attests, postmodernism is hard to conceive without continental theory, structuralism and poststructuralism in particular. Both have led us to reflect upon culture as a corpus of codes or myths (Barthes), as a set of imaginary resolutions to real contradictions (Claude Levi-Strauss). In this light, a poem or picture is not necessarily privileged, and the artifact is likely to be treated less as a work in modernist terms unique, symbolic, visionary than as a text in a postmodernist sense "already written," allegorical,