New Literary History, Volume 41, Number 4, Autumn 2010 - by hatchoi

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The page numbers that follow in the rest of the text refer to this edition. 18 Buchloh, “Theorizing the Avant-Garde,” 20. 19 Buchloh, “Parody and Appropriation in Francis Picabia, Pop, and Sigmar Polke [1982],” in Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (Cambridge: MIT Press, 2000), 353. 20 Hal Foster, The Return of the Real: Art and Theory at the End of the Century (Cambridge, MA: MIT Press, 1996) The page numbers that follow in the text refer to this book.

Rather, for Bürger, in its mediation of its own failure, the renewal and development of the avant-garde in the form of the neo-avant-garde has to cope with the unprecedented power of the postwar art institution, and its absorption and repressive toleration of the radical transgressions of art. The outcome is that the afterlife of the failure of the historic avant-garde is now positioned as internal to the structures of the art institution, separate—in the language of the Frankfurt School—from the collective participation in, and transformation of, the lifeworld itself.

10 Benjamin, “Experience and Poverty,” in Selected Writings, 2:732. 11 Jürgen Habermas, “Modernity—An Incomplete Project,” in: The Anti-Aesthetic, trans. Seyla Ben-Habib (New York: The New Press, 2002), 11 (translation slightly modified). 12 Pierre Naville, La révolution et les intellectuels (Paris: Gallimard, 1975), 120. 13 Ferenc Fehér, “What is Beyond Art? On the Theories of the Postmodern,” Thesis Eleven 5/6 (1982): 10. avant-garde and neo-avant-garde 715 14 Benjamin Buchloh, “Allegorical Procedures: Appropriation and Montage in Contemporary Art,” Art Forum (Sept.

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