HAL FOSTER: CURRICULUM VITAE Townsend Martin Class of 1917 Professor, Art & Archaeology, Princeton University Born: Seattle, August 13, 1955 Reside: 150 Fitzrandolph Road, Princeton, NJ 08540 Telephone: 609.924.6917 Married. EDUCATION: 1990 Ph.D., Art History, City University of New York 1979 M.A., English Literature, Columbia 1977 A.B., English Literature & Art History, Princeton ACADEMIC POSITIONS: 2000- Townsend Martin 1917 Professor of Art & Archaeology, Princeton 2011- Professor, School of Architecture, Princeton 2007- Associate Faculty, Department of German, Princeton 1997- Professor, Art and Archaeology, Princeton 1996 Visiting Professor, Art History, UC Berkeley 1994-96 Professor, Art History & Comparative Literature, Cornell 1991-93 Associate Professor, Art History & Comparative Literature, Cornell 1987-91 Director of Critical & Curatorial Studies, Independent Study Program, Whitney Museum PUBLICATIONS I (Books, in English only): 1. JUNK SPACE with RUNNING ROOM (coauthored with Rem Koolhaas), Notting Hill Editions, 2012 2. THE FIRST POP AGE: PAINTING AND SUBJECTIVITY IN THE ART OF HAMILTON, LICHTENSTEIN, WARHOL, RICHTER, AND RUSCHA, Princeton University Press, 2012 3. THE ART-ARCHITECTURE COMPLEX, Verso Press, 2011 4. THE HARDEST KIND OF ARCHETYPE: REFLECTIONS ON ROY LICHTENSTEIN, National Galleries of Scotland, 2011 5. POP ART, Phaidon Press, 2005 6. ART SINCE 1900: MODERNISM, ANTI-MODERNISM, POSTMODERNISM (coauthored with Krauss, Bois, Buchloh), Thames & Hudson Press, 2004 7. PROSTHETIC GODS, MIT Press, 2004 8. DESIGN AND CRIME (AND OTHER DIATRIBES), Verso Press, 2002 9. RICHARD SERRA (ed.), MIT Press, 2000 10. THE RETURN OF THE REAL, MIT Press, 1996 11. COMPULSIVE BEAUTY, MIT Press, 1993 12. RECODINGS: ART, SPECTACLE, CULTURAL POLITICS, Bay Press, 1985 13. VISION AND VISUALITY (ed.), Bay Press, 1988 1 14. DISCUSSIONS IN CONTEMPORARY CULTURE (ed.), Bay Press, 1987 15. THE ANTI-AESTHETIC: ESSAYS ON POSTMODERN CULTURE (ed.), Bay Press, 1983 NB: I have not included translations. EDITORIAL POSITIONS: 1991- Editor, OCTOBER Magazine and Books 1985-92 Founding Editor, ZONE Magazine and Books 1992-98 Editorial Board, DIACRITICS 1995-96 Acting Editor, DIACRITICS 1992-97 Editorial Board, DOCUMENTS 1981-87 Senior Editor, ART IN AMERICA 1977-81 Staff Critic, ARTFORUM ACADEMIC HONORS: 2013 Frank Jewett Mather Award for Art Criticism, College Art Association 2011 Siemens Fellow, American Academy in Berlin 2010 Clark Prize for Excellence in Arts Writing 2010- American Academy of Arts and Sciences 2010-11 Advisory Committee, Institute of Fine Arts, New York University 2007-10 Board, Center for Advanced Study in Visual Art, National Gallery of Art 2007-08 Research Forum Professor, Courtauld Institute of Art, University of London 2002-03 Paul Mellon Senior Fellow, National Gallery of Art 1999-02 Founding Fellow, Society of Fellows in the Liberal Arts, Princeton University 1998-99 Guggenheim Foundation Fellow 1992-93 Society for the Humanities Fellow, Cornell University 1990-91 Paul Mellon Junior Fellow, National Gallery of Art 1988-89 City University of New York Dissertation Awards 1984-85 National Endowment for the Arts Art Criticism Fellowship 1978-79 President's Fellow, Columbia University 1977 Magna Cum Laude, Princeton University ACADEMIC OFFICES: 2013- Co-Director, Program in Media & Modernity, Princeton University 2012-13 Acting Chair, Department of Art & Archaeology, Princeton University 2010- Executive Committee, Ph.D. in the Humanities, Princeton University 2005-09 Chair, Department of Art & Archaeology, Princeton University 2000-05 Director of Gauss Seminars in Critical Theory, Princeton University PROFESSIONAL ACTIVITIES: 2013- Board, Storefront for Art and Architecture, New York 2 2013- Advisory Board, The Kitchen, New York 2009- Advisory Board, ArtStor, Mellon Foundation 2009- American Advisory Council, Courtauld Institute of Art, University of London PUBLICATIONS II (Articles: primary publication, in English only): * “The Bourgeois,” Artforum (December 2013) * “What’s the Problem with Critical Art?”, London Review of Books, 10 October, 14-15 * “Ambiguities of Abstraction,” October 143 (Winter 2013) * “I am Like a Passenger Inside My Psyche”, Matt Mullican, Rizzoli * “History is a Hen Harrier (on Jeremy Deller)”, Venice Biennale 2013 * “To Forge” (on David Smith), Gagosian Gallery * “To Prop” (on Richard Serra), David Zwirner Gallery * “The Exterminating Angel” (on Louise Lawler), Ludwig Museum, Cologne * “Sense and Nonsense,” in Leah Dickerman, ed., Inventing Abstraction: 1910-1925, Museum of Modern Art, 2012, 274-87 * “Nine Reasons Why the Avant-Garde Shouldn’t Give Up, in Claire Fontaine: Foreigners Everywhere, Museum Bolzano, 2012, 144-58 * “Philosophical Toys and Psychoanalytic Travesties: Anthropomorphic Avatars in Dada and Surrealism,” in Isabelle Graw, ed., Art and Subjecthood, Sternberg Press, 20-33, 2012 * “The American Friend,” in Robert Longo Charcoal, Hatje Cantz, 2012, 22-27 * “Huh?”, in Ed Ruscha Catalogue Raisonné, 2012, 1-12 * “Claes Oldenburg: The Sixties,” Artforum, December 2012, 214-17, 301 * “Preposterous Timing,” London Review of Books, 8 November 2012, 12-14 * “Douglas Gordon: The End of Civilisation,” Gagosian Magazine, November 2012, 39-44 * “Trading Spaces,” Artforum, October 2012, 200-11 * “Critical Condition,” Artforum, September 2012, 147-48 * “Cindy Sherman, London Review of Book, 10 May 2012, 12 * “Creaturely Cobra,” October 141, Summer 2012, 4-21 * “More Light (on Gerhard Richter), Freize d/e, Spring 2012, 30-8 * “Post-Critical,” October 139 Winter 2012, 3-8 * “Diego Rivera,” London Review of Books, 26 January 2012, 30-1 * “Just What Was It…?,” in Artforum, January 2012 * “September 2001”, in Artforum, January 2012 *“Toward a Grammar of Emergency, in Thomas Hirschhorn, Critical Corpus (Venice Biennale), 162- 213 * “Camera Imaginaria,” in James Casebere: Works 1975-2010 (Damiana), 9-16 * “Go for Broke?”, in Paul Pfeiffer (Samlung Goetz, Munich), 128-43 * “Test”, in Carsten Höller: Experience (New Museum), 227-29 * “Double Impasse,” in Chantal Pontbriand, ed., Mutations (Paris) * “Cyprien Gaillard, The Recovery of Discovery,” Artforum, December, 194-95 * “On Richard Hamilton,” London Review of Books, 6 October, 37 * “The Last Column: Remnants of 9/11,” London Review of Books, 8 September, 17 * “Savage Minds: A Note on Brutalist Bricolage,” October 136 (Spring 2011), 182-91 * “Crossing Over,” The Berlin Journal (Spring 2011), 28-31 3 * “A Rrose in Berlin,” Artforum, April, 188-92 * “Towards a Grammar of Emergency,” New Left Review, March-April, 105-18 * “I Am the Decider,” London Review of Books, 17 March, 31-32 * “On ‘Chaos and Classicism: Art in Europe, 1918-1936’,” Artforum, January, 178-85 * “Van Doesburg and the International Avant-Garde,” Artforum, December 2010 * “Test Subjects” (on Andy Warhol), October 132, Spring 2010 * “Just what is that makes today’s homes so different, so…”, in The New Décor, Hayward Gallery * “Seriously Playful,” in Barbara Kruger, Rizzoli * “Contemporary Extracts,” E-Flux, December * “Precarious”, Artforum, December 2009 * “At the Hayward” (on Ed Ruscha), London Review of Books, 19 November 2009 * “Dan Graham,” Artforum, October 2009 * “Hostile Atmosphere” (on Peter Sloterdijk), Artforum, June 2009 * “The Situationist Moment,” London Review of Books, 12 March 2009 * “‘Hero, King, Creator, Favorite’: A Short History of Modern Reflections on the Semi-Mythical Figure of the Great Visual Artist,” Nexus 29, Amsterdam * “Herbert Bayer’s Advertising Structures,” in The Bauhaus, MoMA, 2009 * “Exercises for Color Theory Courses,” in The Bauhaus, MoMA, 2009 * “1968”, in Greil Marcus, ed., New Literary History of America, Harvard Press, 2009 * “Tales of Twentieth-Century Art” in Therese O’Malley, ed., Dialogues in Art History, National Gallery of Art, Washington, 2009 * “Pop Pygmalion”, in Roy Lichtenstein, MIT Press, 2009 * “Light-Plays”, in Anthony McCall, Hangar Bicocca, Milan, 2009 * “My Year in the Premiership,” AA Files 57, Architectural Association, London, 2009 * “The Situationist Moment,” London Review of Books, 12 March 2009 * “The Medium is the Market,” London Review of Books, 9 October 2008 * “At Inverleith House: Hal Foster on Richard Hamilton,” London Review of Books, 14 August 2008 * “Citizen Hamilton, Artforum, Summer 2008 * “At the Grand Palais: Hal Foster on Richard Serra,” London Review of Books, 23 May 2008 * “Forms of Resistance,” Artforum, January 2008 * “This Funeral is for the Wrong Corpse,” in Florence Derieux, ed., Harald Szeemann: Individual Methodology, JRP Ringier, Grenoble * “The Confusion Machines of Doctor Höller,” in Nancy Spector, ed., theanyspacewhatever, Guggenheim Museum, New York * “Citizen Hamilton,” in Mark Francis, ed., Richard Hamilton: Protest Pictures, Inverleith House, Edinburgh * “Figment”, in Andy Warhol, Stedlijk Museum, Amsterdam, 2007 * “Pandemonium”, in Jon Kessler: The Palace at 4 A.M., Charta Press, 2007 * “Introduction”, in Pop Art at Princeton, Yale University Press, 2007 * “Preface”, in Roselee Goldberg, ed., Performa: New Visual Art Performance, DAP, New York, 2007 *“The Painting of Modern Life,” London Review of Books, 1 November 2007 * “Global Style” (Renzo Piano), London Review of Books, 20 September 2007 * “Architecture-Eye: Diller Scofidio + Renfro,” Artforum, February 2007 * “Wine Flasks in Bordeaux, Sail Spires in Cardiff” (Richard Rogers), London Review of Books, 19 October 2006 * “Dan Flavin and the Catastrophe of Minimalism,” in Jeffrey Weiss, ed., Dan Flavin: 4 New Light (New Haven: Yale University