Art Since 1900: Modernism, Antimodernism, Postmodernism, Volumes 1- 2 (College Text Paperback Two-Volume Edition with Art 20 CD-ROM)) | Book, Essay

Art Since 1900: Modernism, Antimodernism, Postmodernism, Volumes 1- 2 (College Text Paperback Two-Volume Edition with Art 20 CD-ROM))
Book details:
Pages: 688
Rating: 4.21

Original Title Art Since 1900: Modernism, Antimodernism, Postmodernism

ISBN 0500285446 (ISBN13: 9780500285442 )

Edition Language English

Genres:
Nonfiction :: History :: Art :: Philosophy :: Art History :: Theory

Book description:

A landmark in art history and the most anticipated art publishing event of the new millennium. In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms. Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 100 short essays, each focusing on a crucial event--the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition--to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' texts are more than 600 of the most important works of the century, many reproduced in full color. The book's flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues. In their insightfulintroductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. Two roundtable discussions --one at midcentury, the other at the close of the book--consider the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume. 600 illustrations, 400 in color. This college edition also includes the "Art 20" CD-ROM.




Book Authors:

Hal Foster

Hal Foster is a Professor of Art and Archaeology at Princeton University specialising in twentieth century art.Note: for the amusing book creative person, see Harold Hal Foster.
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Rosalind E. Krauss

American art critic, professor, and theoretician who is based at Columbia University, learning Modern Art and Theory.
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Yve-Alain Bois

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Art Since 1900: Modernism, Antimodernism, Postmodernism, Volumes 1- 2 (College Text Paperback Two-Volume Edition with Art 20 CD-ROM)) Essay




Ф-у-х A friend of mine who is an art history professor late recommended this 1 as the best usher to modern art. Now, I do contemn about all modern art, but back when I was in college I did bask reading Art News the manner some people enjoy watching horror films. No... he 's non traveling to pick up the hitchhiker with the brainsick eyes, is he? HE DID! No... he 's non traveling to pay $ 12 million for a shark some fellow poured methanal over, is he? HE DID! Not precisely light reading, this panoply of scholarly texts is divided into two major clip periods, twentieth century pre and station war, with roundtable treatments after each by the writers, and is bookended by a brilliant debut and a really selective glossary. It 's non precisely a narrative non-fiction either, as one can easy travel around to whichever chapter suits their illusion and the readings are theoretically driven, but it was great to read screen to cover this position of art history. Having done so, I now feel that art is one of the best, if non THE best, narratives that can be told. Much of my ain critical authorship, including 'The Sublime Parody ' and the 'Transconceptual Manifesto ' , come out of what once was a drudge research-oriented attack to artmaking affecting the Hagiographas of the authors in this circle, get downing in the late 2000 's with Nicholas Cullinan 's 'From Vietnam to Fiat-nam: The Politicss of Arte Povera ' and an mixture of haphazard readings in another popular collection, Art In Theory 1900-2000: An Anthology of Changing Ideas. Little did I know that the work fueled by the constructs of these anterior texts ( and of class experiences of looking at art ) would go a topographical scheme hellbent on a restructuration of post-riot/9-11/Obama presidency/internet kineticss, akin to Joseph Beuy 's societal sculpture but recuperated by either a consumer capitalist society at big or a marginalized art universe ( academic, commercial gallery, museum, etc ) already progressing a capitalist docket towards a period of a Mosaic fractal subjects and meta-themes, akin to 'memes ' but with interlacing thematic superstructures. These subjects themselves are feasible mediums and meta-mediums, a reworking of the significance of medium through which pick intersubjective exchanges and the discursivity environing them organize a cohesive artistic motion possibly best described as 'Ribaldry ' . It is non a new medium at all that defines this motion, but in fact, a new sort of Artist, the Spartist – half technologically soft-engineered and half 'crowd-sourfed ' non-physical human – is the logical extension of the twentieth century robot/cyborg/automaton. He, or she, or wother, or 'it ' is a amorphous telematic being whose intelligent design incorporates decolonisation schemes that are contradictorily adopting modernist claiming of proto-spirituality in the pretense of enunciation and/or piction in keeping a type fictional topological no-mans land, the extension of an out-of-date 'global small town ' construct. -S I 'm perfectly obsessed with this book. Anyone with a love for modern art should buy it. It 's well-organized and acquire be read at a easy gait. Beautiful images, insightful commentary. I would decidedly urge the two volume format. I pity the unfortunate pupil who is assigned this text edition for category. The authorship in this book is anti-student, as if they were non stressed out plenty. highly enlightening This is THE book of books of modern art. textbook My reappraisal of the book can be read at hypertext transfer protocol: //www.thenation.com/doc/20051226/schwabsky. Well written. I 've been reading this for over a twelvemonth. I have now gotten to the 1970s w/Haacke, Broodthaers, et Al. It has a glossary... which is exceptionally utile. By the October people. If merely there were a $ 4 transcript of this 1. Not presently owned, but it 's about. most of my last year has been reading this book. first-class, skewed, and trendy- what any modern-day art history book should be. Take the po-mo left-of-center party line to the point of overbearance, but a solid usher to the major figures and motions of the past century. a solid overview, for certain. I appreciate the aesthetics of the layout, it 's a beautiful series. Is have some scruples with the chronological construction and the theoretical cantonments of the writers themselves, but still worthwhile. Students of art history must hold this book. It contains great mention stuff, is a great starting point for paper subjects, has great sum-ups of celebrated people, is merely a beautiful book with beautiful illustrations and interesting authorship ( though I could make without the somewhat masturbatory roundtable transcript ) . A really well-done heap of art-historical mystifier pieces instead than an effort at stiff chronology, this gratifying if frequently biased postmodernist-agenda-driven book should non be one 's Lone art history usher, but it should be respectfully consulted.
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