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Art Since 1900: Modernism, Antimodernism, Postmodernism

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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 20th and 21s centuries, an age when artists have sought constantly to overturn the traditions of the past and expectations of the present in order to invent new practices and for 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 20th and 21s centuries, an age when artists have sought constantly to overturn the traditions of the past and expectations of the present in order to invent new practices and forms. Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, 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. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of 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.


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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 20th and 21s centuries, an age when artists have sought constantly to overturn the traditions of the past and expectations of the present in order to invent new practices and for 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 20th and 21s centuries, an age when artists have sought constantly to overturn the traditions of the past and expectations of the present in order to invent new practices and forms. Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, 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. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of 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.

30 review for Art Since 1900: Modernism, Antimodernism, Postmodernism

  1. 5 out of 5

    Forrest

    Two years and three months, with frequent interruptions and long stretches of lassitude; this is what it took to finish this tome. I cannot begin to impart the knowledge contained herein. This could easily fill a two-semester university course, especially if one were to read the ancillary readings in the suggested reading lists contained at the end of each chapter. I was a humanities major as an undergrad, and would have loved to have had this book as a reference. Modernism and post-modernism got Two years and three months, with frequent interruptions and long stretches of lassitude; this is what it took to finish this tome. I cannot begin to impart the knowledge contained herein. This could easily fill a two-semester university course, especially if one were to read the ancillary readings in the suggested reading lists contained at the end of each chapter. I was a humanities major as an undergrad, and would have loved to have had this book as a reference. Modernism and post-modernism got short-shrift in my studies. Yes, we touched on some of the major movements (Cubism, Expressionism, The Vienna School, Bauhaus, Futurism, etc.), but this volume delves much deeper, especially on the level of academic analysis, than we were ever able to get in my undergraduate years. But that doesn't mean the work is without problems. Au contraire, I found that the biases toward one school or another sometimes overwhelmed the analysis and even overshadowed and occluded the art itself. This was especially true in the essays where Freudian analysis was given so much emphasis that the essays turned into pastiches of their own intellectual position. The Marxist analysis came in a close second place in its ability to obfuscate the works themselves. Yes, both are useful, and there are some good insights gained from both, but the writers' confidence in their respective schools turned into over-confidence, at times, and undercut their overall theoretical arguments. One thing that is presented successfully is the scattered nature of modernism and post-modernism. Influences cannot be seen in a strictly linear fashion, as have might have been the case in earlier artistic eras. The introduction of new media (photography, film), as well as the intentional anachronisms introduced into modern art (Primitivist art, Art Brut, Outsider Art) muddle the picture. Also, the intentional subversion of art itself and its presentation, especially from the 1970s onward, served to tie any linearity up in Gordian knots. Keep in mind that this is a textbook, not an art book, per se. Yes, there are some beautiful and compelling plates throughout, but you'll note very quickly that there is a relative weakness of visual presentation vis-a-vis the written presentation: i.e., for every piece of art shown, another four or five are referenced that are not in the book, and sometimes those referents are critical to making sense of the words that refer to the pieces that are in the book. Am I glad I read it? Absolutely. Will I ever read it again? Absolutely not. And if I read another paragraph of Freudian analysis like some of those found herein, I am going to need therapy. So, approach the book, but do so with caution. You will be better for having read it, and you will gain insights into art that you otherwise would not have found. In other words, this book could make you smarter (or at least sound smarter), but at the cost of developing a strong (or even stronger) aversion to academic blathering.

  2. 5 out of 5

    Anelis

    This is THE book of books of modern art. Any self respecting art lover, critic and artist should have it. It's a huge book worth reading and revisiting over and over again. It's one of the most valuable books I own. Not because it's expensive, but because the knowledge it provides is phenomenal!! This is THE book of books of modern art. Any self respecting art lover, critic and artist should have it. It's a huge book worth reading and revisiting over and over again. It's one of the most valuable books I own. Not because it's expensive, but because the knowledge it provides is phenomenal!!

  3. 5 out of 5

    Eric K.

    Takes the po-mo leftist party line to the point of overbearance, but a solid guide to the major figures and movements of the past century.

  4. 5 out of 5

    Lindsay

    a solid overview, for sure. i appreciate the aesthetics of the layout, it's a beautiful series. i have some qualms with the chronological structure and the theoretical camps of the authors themselves, but still worthwhile. a solid overview, for sure. i appreciate the aesthetics of the layout, it's a beautiful series. i have some qualms with the chronological structure and the theoretical camps of the authors themselves, but still worthwhile.

  5. 5 out of 5

    J. Boo

    A friend of mine who is an art history professor recently recommended this one as the best guide to modern art. Now, I do despise nearly all modern art, but back when I was in college I did enjoy reading Art News the way some people enjoy watching horror movies. "No... he's not going to pick up the hitchhiker with the crazy eyes, is he? HE DID! No... he's not going to pay $12 million for a shark some dude poured formaldehyde over, is he? HE DID!" A friend of mine who is an art history professor recently recommended this one as the best guide to modern art. Now, I do despise nearly all modern art, but back when I was in college I did enjoy reading Art News the way some people enjoy watching horror movies. "No... he's not going to pick up the hitchhiker with the crazy eyes, is he? HE DID! No... he's not going to pay $12 million for a shark some dude poured formaldehyde over, is he? HE DID!"

  6. 5 out of 5

    Raphael

    I pity the unfortunate student who is assigned this textbook for class. The writing in this book is anti-student, as if they were not stressed out enough.

  7. 5 out of 5

    Danny

    Very comprehensive overview of modern and contemporary art since 1900 filtered through the lens of postmodernism. Very well designed - it is clearly laid out and easy to follow. Major art landmarks are intelligently covered and there are some beautiful illustrations and reproductions. Full of fantastic thought provoking essays.

  8. 5 out of 5

    Manuh Garcia

    honestly one of the best books about history of art that I have ever read

  9. 5 out of 5

    Sonny Voyage

    Not exactly light reading, this panoply of scholarly texts is divided into two major time periods, 20th century pre and post war, with roundtable discussions after each by the authors, and is bookended by a superb introduction and a very selective glossary. It's not exactly a narrative non-fiction either, as one can easily move around to whichever chapter suits their fancy and the readings are theoretically driven, but it was great to read cover to cover this view of art history. Having done so, Not exactly light reading, this panoply of scholarly texts is divided into two major time periods, 20th century pre and post war, with roundtable discussions after each by the authors, and is bookended by a superb introduction and a very selective glossary. It's not exactly a narrative non-fiction either, as one can easily move around to whichever chapter suits their fancy and the readings are theoretically driven, but it was great to read cover to cover this view of art history. Having done so, I now feel that art is one of the best, if not THE best, stories that can be told. Much of my own critical writing, including 'The Sublime Parody' and the 'Transconceptual Manifesto', come out of what once was a hack research-oriented approach to artmaking involving the writings of the writers in this circle, starting in the late 2000's with Nicholas Cullinan's 'From Vietnam to Fiat-nam: The Politics of Arte Povera' and an assortment of slapdash readings in another popular compendium, Art In Theory 1900-2000: An Anthology of Changing Ideas. Little did I know that the work fueled by the concepts of these prior texts (and of course experiences of looking at art) would become a topographical schema hellbent on a restructuration of post-riot/9-11/Obama presidency/internet dynamics, akin to Joseph Beuy's social sculpture but recuperated by either a consumer capitalist society at large or a marginalized art world (academic, commercial gallery, museum, etc) already advancing a capitalist agenda towards a period of a mosaic fractal themes and meta-themes, akin to 'memes' but with interwoven thematic superstructures. These themes themselves are workable mediums and meta-mediums, a reworking of the meaning of medium through which choice intersubjective exchanges and the discursivity surrounding them form a cohesive artistic movement perhaps best described as 'Ribaldry'. It is not a new medium at all that defines this movement, but in fact, a new kind of Artist, the Spartist – half technologically soft-engineered and half 'crowd-sourfed' non-physical human – is the logical extension of the 20th century robot/cyborg/automaton. He, or she, or wother, or 'it' is a shapeless telematic organism whose intelligent design incorporates decolonization strategies that are contradictorily espousing modernist claiming of proto-spirituality in the guise of diction and/or piction in maintaining a type fictional topological no-mans land, the extension of an outdated 'global village' concept. -S

  10. 5 out of 5

    Irene

    Students of art history must have this book. It contains great reference material, is a great starting point for paper topics, has great summaries of famous people, is simply a beautiful book with beautiful illustrations and interesting writing (though I could do without the slightly masturbatory roundtable transcript). A very well-done pile of art-historical "puzzle pieces" rather than an attempt at rigid chronology, this enjoyable if often biased postmodernist-agenda-driven book should not be Students of art history must have this book. It contains great reference material, is a great starting point for paper topics, has great summaries of famous people, is simply a beautiful book with beautiful illustrations and interesting writing (though I could do without the slightly masturbatory roundtable transcript). A very well-done pile of art-historical "puzzle pieces" rather than an attempt at rigid chronology, this enjoyable if often biased postmodernist-agenda-driven book should not be one's ONLY art history guide, but it should be respectfully consulted.

  11. 4 out of 5

    Mia Capobianco

    I'm absolutely obsessed with this book. Anyone with a love for modern art should purchase it. It's well-organized and get be read at a leisurely pace. Beautiful images, insightful commentary. I would definitely recommend the two volume format. I'm absolutely obsessed with this book. Anyone with a love for modern art should purchase it. It's well-organized and get be read at a leisurely pace. Beautiful images, insightful commentary. I would definitely recommend the two volume format.

  12. 4 out of 5

    Sarah

    I've been reading this for over a year. I have now gotten to the 1970s w/Haacke, Broodthaers, et al. It has a glossary ... which is exceptionally useful. I've been reading this for over a year. I have now gotten to the 1970s w/Haacke, Broodthaers, et al. It has a glossary ... which is exceptionally useful.

  13. 4 out of 5

    Sarah Mae

    Read it for my art history course. No fault of the book, I just don't like art history. Read it for my art history course. No fault of the book, I just don't like art history.

  14. 4 out of 5

    Sophie Paas-Lang

    textbook

  15. 4 out of 5

    Barry

    My review of the book can be read at http://www.thenation.com/doc/20051226/schwabsky. My review of the book can be read at http://www.thenation.com/doc/20051226/schwabsky.

  16. 5 out of 5

    Al Matthews

    By the October people. If only there were a $4 copy of this one. Not currently owned, but it's around. By the October people. If only there were a $4 copy of this one. Not currently owned, but it's around.

  17. 5 out of 5

    Claudia Deloach

    extremely informative very dense

  18. 5 out of 5

    Trina

    Well written.

  19. 4 out of 5

    Leah

    most of my last yr has been reading this book. excellent, skewed, and trendy- what any contemporary art history book should be.

  20. 5 out of 5

    κύριος Κ.

  21. 4 out of 5

    Bailey Ferguson

  22. 4 out of 5

    Maryam s

  23. 4 out of 5

    Nansy Kokkinaki

  24. 5 out of 5

    Jez

  25. 5 out of 5

    Camille Zumwalt

  26. 5 out of 5

    AA

  27. 5 out of 5

    David

  28. 4 out of 5

    CJ

  29. 4 out of 5

    Ujala Lama

  30. 5 out of 5

    Anushka

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