Art since 1900: modernism, antimodernism, postmodernism
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
London
Thames & Hudson
2011
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke 10stellige ISBN aus Datenübernahme |
| Beschreibung: | 816 S. zahlr. Ill. 29 cm |
| ISBN: | 9780500238899 0500238898 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV040107073 | ||
| 003 | DE-604 | ||
| 005 | 20240503 | ||
| 007 | t | ||
| 008 | 120418s2011 a||| |||| 00||| eng d | ||
| 020 | |a 9780500238899 |c (hbk.) £48.00 |9 978-0-500-23889-9 | ||
| 020 | |a 0500238898 |c (hbk.) £48.00 |9 0-500-23889-8 | ||
| 024 | 3 | |a 9780500238899 | |
| 035 | |a (OCoLC)793412318 | ||
| 035 | |a (DE-599)BSZ360472796 | ||
| 040 | |a DE-604 |b ger | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-19 |a DE-255 |a DE-1102 |a DE-188 |a DE-Y3 |a DE-Y2 |a DE-355 |a DE-83 |a DE-20 |a DE-Y7 | ||
| 082 | 0 | |a 709.045 | |
| 084 | |a LH 65800 |0 (DE-625)94560: |2 rvk | ||
| 084 | |a LH 65820 |0 (DE-625)94562:13104 |2 rvk | ||
| 084 | |a 9,11 |2 ssgn | ||
| 245 | 1 | 0 | |a Art since 1900 |b modernism, antimodernism, postmodernism |c Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ... |
| 250 | |a 2. ed. | ||
| 264 | 1 | |a London |b Thames & Hudson |c 2011 | |
| 300 | |a 816 S. |b zahlr. Ill. |c 29 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Hier auch später erschienene, unveränderte Nachdrucke | ||
| 500 | |a 10stellige ISBN aus Datenübernahme | ||
| 648 | 7 | |a Geschichte 1900-2011 |2 gnd |9 rswk-swf | |
| 648 | 7 | |a Geschichte 1900-2015 |2 gnd |9 rswk-swf | |
| 648 | 7 | |a Geschichte 1900-2003 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Kunst |0 (DE-588)4114333-4 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Kunst |0 (DE-588)4114333-4 |D s |
| 689 | 0 | 1 | |a Geschichte 1900-2011 |A z |
| 689 | 0 | |5 DE-604 | |
| 689 | 1 | 0 | |a Kunst |0 (DE-588)4114333-4 |D s |
| 689 | 1 | 1 | |a Geschichte 1900-2003 |A z |
| 689 | 1 | |8 1\p |5 DE-604 | |
| 689 | 2 | 0 | |a Kunst |0 (DE-588)4114333-4 |D s |
| 689 | 2 | 1 | |a Geschichte 1900-2015 |A z |
| 689 | 2 | |8 2\p |5 DE-604 | |
| 700 | 1 | |a Foster, Hal |d 1955- |e Sonstige |0 (DE-588)123940362 |4 oth | |
| 700 | 1 | |a Krauss, Rosalind E. |d 1941- |e Sonstige |0 (DE-588)120118599 |4 oth | |
| 700 | 1 | |a Bois, Yve-Alain |d 1952- |e Sonstige |0 (DE-588)112840965 |4 oth | |
| 787 | 0 | 8 | |i Überarbeitung von |d 2004 |z 0-500-23818-9 |w (DE-604)BV020026743 |
| 856 | 4 | 2 | |m KUBIKAT Anreicherung |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024963497&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-024963497 | ||
| 883 | 1 | |8 1\p |a cgwrk |d 20201028 |q DE-101 |u https://d-nb.info/provenance/plan#cgwrk | |
| 883 | 1 | |8 2\p |a cgwrk |d 20201028 |q DE-101 |u https://d-nb.info/provenance/plan#cgwrk | |
Datensatz im Suchindex
| _version_ | 1804149060029906944 |
|---|---|
| adam_text | art
hal
foster
rosalind krauss
yve-alain
bois
benjamin
h. d.
buchloh
david
joselit
second
edition
with
744
illustrations,
510
in colour
I
nee
900
modernism antimodernism postmodernism
Thames
&
Hudson
Contents
ю
How to use this book
12
Preface: a reader s guide
14
Introductions
is Psychoanalysis in modernism and as method hf
22
The social history of art: models and concepts
вв
32
Formalism and structuralism yab
40
Poststructuralism and deconstruction rk
First
published in the United Kingdom
in
2004
by Thames
&
Hudson Ltd,
181A High Holborn, London WC1V 7QX
Second edition
2011
Copyright
© 2004
Hal Foster,
Rosalind Krauss, Yve-Alain
Bois,
Benjamin
H. D.
Buchloh
Copyright
© 2011
Hal Foster,
Rosalind Krauss, Yve-Alain
Bois,
Benjamin H. D. Buchloh, David Joselit
The publishers would like to thank
Amy Dempsey for her assistance in
the preparation of this book.
All Rights Reserved. No part of this
publication may be reproduced or
transmitted in any form or by any means,
electronic or mechanical, Including
photocopy, recording or any other
information storage and retrieval system,
without prior permission In writing from
the publisher.
British Library Cataloguing-in-
Publlcation Data
A catalogue record for this book is
available from the British Library
ISBN
978-0-500-23889-9
Printed and bound in China by
C&C Offset Printing Co. Ltd
To find out about all our publications,
please visit www.thamesandhudson.com.
There you can subscribe to our e-newsletter,
browse or download our current catalogue,
and buy any titles that are in print.
1900-1909
52 1
900a
Sigmund
Freud publishes The
Interpretation of Dreams: in Vienna, the rise
of the expressive art of
Gustav
Klimt,
Egon
Schiele, and Oskar Kokoschka
coincides
with the emergence of psychoanalysis.
57 1
900b Henri Matisse visits
Auguste
Rodin
in his Paris studio but rejects the elder artist s
sculptural style.
64 1 903
Paul Gauguin dies in the Marquesas
Islands in the South Pacific: the recourse to
tribal art and
primitivist
fantasies in Gauguin
influences the early work of
André
Derain,
Henri Matisse, Pablo Picasso, and Ernst
Ludwig Kirchner.
box
·
The exotic and the naive
70 1 906
Paul
Cézanne
dies at Alx-en-Provence
in southern France: following the retrospectives
of Vincent van Gogh and Georges Seurat
the preceding year, Cezanne s death casts
Postimpressionism
as the historical past,
with Fauvism as its heir.
box
·
Roger Fry and the Bloomsbury Group
78 1 907
With the stylistic inconsistencies
and
primitivist
impulses of
Les
Demoiselles
d Avignon,
Pablo Picasso launches the
most formidable attack ever on mimetic
representation.
box
·
Gertrude Stein
85 1 908
Wilhelm Worringer
publishes
Abstraction and Empathy, which contrasts
abstract art with representational art as
a withdrawal from the world versus an
engagement with it: German Expressionism
and English Vorticism elaborate this
psychological polarity in distinctive ways.
90 1909 F. T.
Marinetti publishes the first
Futurist manifesto on the front page of
Le
Figaro in Paris: for the first time the
avant-garde associates itself with media
culture and positions itself in defiance
of history and tradition.
box
·
Eadweard Muybridge and
Étienne-Jules Marey
1910-1919
юо
1910
Henri Matisse s
Dance
II and
Music are condemned at the Salon
d Automne
in Paris: in these pictures,
Matisse pushes his concept of the
decorative to an extreme, creating
an expansive visual field of color that
is difficult to behold.
106 1911
Pablo Picasso returns his
borrowed Iberian stone heads to the
Louvre Museum in Paris from which
they had been stolen: he transforms his
primitivist
style and with Georges
Braque
begins to develop Analytical Cubism.
box
·
Guillaume Apollinaire
112 1912
Cubist collage is invented amid
a set of conflicting circumstances and
events: the continuing inspiration of
Symbolist poetry, the rise of popular culture,
and Socialist protests against the war in
the Balkans.
ne
1 91 3
Robert Delaunay exhibits his
Windows paintings in Berlin: the initial
problems and paradigms of abstraction
are elaborated across Europe.
125 1914
Vladimir Tatlin develops his
constructions and Marcel Duchamp
proposes his readymades, the first as
a transformation of Cubism, the second
as a break with it; in doing so, they offer
complementary critiques of the traditional
mediums of art.
box
·
The
Peau de l Ours
130 1915
Kazimir
Malevich shows his
Suprematist
canvases at the
0.10
exhibition in
Petrograd,
thus bringing the
Russian Formalist concepts of art and
literature into alignment.
135 1 91
6a In Zurich, the international
movement of
Dada
is launched in a double
reaction to the catastrophe of World War I
and the provocations of Futurism and
Expressionism.
box
· Dada
journals
142 1 91
6b Paul Strand enters the pages
of Alfred Stieglitz s magazine Camera Work:
the American avant-garde forms itself
around a complex relationship between
photography and the other arts,
box
·
The Armory Show
148 1 91
7 a After two years of intense
research,
Piet Mondrian
breaks through
to abstraction and goes on to invent
Neoplasticism.
154 191
7b In October
1917,
the journal
De Stijl
is launched by
Theo
van
Doesburg
in the small Dutch town of Leiden. It
appears monthly until
1922,
after which
publication is irregular. The last issue
dates from
1932
as a posthumous homage
to van
Doesburg
shortly after his death
in a Swiss sanatorium.
160 1918
Marcel Duchamp paints
Tu m ;
his
last ever painting summarizes the departures
undertaken in his work, such as the use
of chance, the promotion of the readymade,
and photography s status as an index.
box
·
Rrose
Sélavy
166 1919
Pablo Picasso has his first solo
exhibition in Paris in thirteen years: the
onset of pastiche in his work coincides
with a widespread antimodemist reaction.
box
·
Sergei
Diaghilev
and the Ballets
Russes
box
·
Rappel à l ordre
1920-1929
174 1920
The
Dada
Fair is held in Berlin:
the polarization of avant-garde culture
and cultural traditions leads to a
politicization of artistic practices and
the emergence of photomontage as
anew medium.
180 1921
The members of the Moscow
Institute of Artistic Culture define
Constructivism as a logical practice
responding to the demands of a new
collective society.
box
·
Soviet institutions
186 1 922
Hans Prinzhorn publishes Artistry
of the Mentally III: the art of the insane
is explored In the work of Paul
Klee
and
Max Ernst.
191 1 923
The
Bauhaus,
the most influential
school of modernist art and design in the
twentieth century, holds Its first public
exhibition in Weimar, Germany.
■
196 1 924
André
Breton publishes the first issue
of
La Révolution surréaliste,
establishing the
terms of Surrealist aesthetics,
box
·
Surrealist journals
202 1
925a While the Art
Deco
exhibition in
Paris makes official the birth of modern
kitsch,
Le Corbusier s
machine aesthetics
becomes the bad dream of modernism
and
Aleksandr
Rodchenko s Workers
Club advocates a new relationship between
men and objects.
box
· Black Deco
208 1
925b Curator
Gustav F. Hartlaub
organizes
the first exhibition of
Neue Sachlichkeit
painting at the
Kunsthalle,
Mannheim: a
variation of the International tendencies of
the
rappel à l ordre,
this new magic realism
signals the end of Expressionism and
Dada
practices in Germany.
214
1925c
Oskar Schlemmer
publishes
The Theater of the
Bauhaus,
presenting the
mannequin and the automaton as models of
the modern performer; other artists, especially
women involved in
Dada,
explore the
allegorical potential of the doll and the puppet.
220 1 926
El Lissitzky s Demonstration Room
and
Kurt Schwitters s Merzbau
are installed
in Hanover, Germany: the architecture
of the museum as archive and the allegory
of modernist space as melancholia are
dialectically conceived by the
Constructivist
and the
Dadaist.
224 1
927a After working as a commercial artist
in Brussels,
René Magritte
joins the Surrealist
movement in Paris, where his art plays on
the idioms of advertising and the ambiguities
of language and representation.
228 1
927b
Constantin
Brancusi produces
a stainless-steel cast of The Newborn: his
sculpture unleashes a battle between models
of high art and industrial production, brought
to a head in the US trial over his Bird in Space.
232 1
927c Charles Sheeler is commissioned
by Ford to document its new River Rouge
plant: North American modernists develop
a lyrical relation to the machine age, which
Georgia O Keeffe extends to the natural world,
box
·
MoMA and Alfred H.
Barr,
Jr.
238 1
928a The publication of Unism in
Painting by
Władysław
Stzreminski, followed
in
1931
by a book on sculpture he coauthored
with
Katarzyna Kobro,
The Composition
of Space, marks the apogee of the
internationalization of Constructivism.
244 1
928b The publication of Die
neue
Typographie
by Jan Tschichold confirms
the impact of the Soviet avant-garde s
production on book design and advertisement
in capitalist Western European countries, and
ratifies the emergence of an international style.
250 1 929
The Film
und
Foto
exhibition,
organized by the
Deutscher Werkbund
and
held in Stuttgart from May
18
to July
7,
displays
a spectrum of international photographic
practices and debates: the exhibition
demarcates a climax in twentieth-century
photography and marks the emergence
of a new critical theory and historiography
of the medium.
1930-1939
258 1
930а
The introduction of mass
consumer and fashion magazines in twenties
and thirties Weimar Germany generates
new frameworks for the production and
distribution of photographic imagery
and helps foster the emergence of a group
of important women photographers.
263 1
930b Georges
Bataille
reviews
L Art
primitif m
Documents, making apparent
a rift within the avant-garde s relation to
primitivism
and a deep split within Surrealism.
box
·
Carl Einstein
268
1931a Alberto Giacometti, Salvador
Dalí,
and
André
Breton publish texts on the
object of symbolic function in the magazine
Le Surréalisme au
service
de la révolution:
Surrealism extends its aesthetic of fetishism
and fantasy into the realm of object-making.
273 1931
b
As
Joan Miró
reaffirms his vow
to assassinate painting and Alexander
Calder s delicate mobiles are replaced by
the stolid stabiles, European painting and
sculpture display a new sensibility that
reflects Georges Bataille s concept of the
formless.
279 1933
Scandal breaks out over the portrait
of Lenin by Diego Rivera in the murals for
the Rockefeller Center: the Mexican mural
movement produces public political mural
work in various American locations and
establishes a precedent for political avant-
garde art in the United States.
284 1
934a At the First All Union Congress
of Writers, Andrei Zhdanov lays down the
doctrine of Soviet Socialist Realism.
290 1
934b In The Sculptor s Aims, Henry
Moore articulates a British aesthetic of direct
carving in sculpture that mediates between
figuration and abstraction, between
Surrealism and Constructivism.
295 1935
Walter Benjamin drafts The Work of
Art in the Age of Mechanical Reproduction,
André Malraux
initiates The Museum
without Walls, and Marcel Duchamp
begins the BoIte-en-Valise: the impact of
mechanical reproduction, surfacing into art
through photography, is felt within aesthetic
theory, art history, and art practice.
300 1 936
As part of Franklin D. Roosevelt s
New Deal, Walker Evans, Dorothea
Lange,
and other photographers are commissioned
to document rural America in the grip
of the Great Depression.
box
·
Works Progress Administration
305 1
937a The European powers contest
one another in national pavilions of art,
trade, and propaganda at the International
Exhibition in Paris, while the Nazis open
the Degenerate Art
exhibition, a vast
condemnation of modernist art, in Munich.
310 1
937b
Naum
Gabo,
Ben Nicholson,
and Leslie Martin publish Circle in London,
solidifying the institutionalization of
geometric abstraction.
314 1
937c Pablo Picasso unveils Guernica
in the Spanish Republican pavilion of the
International Exhibition in Paris.
1940-1944
324 1
942a The depoliticization of the
American avant-garde reaches the point
of no return when Clement
Greenberg
and
the editors of Partisan Review bid farewell
to Marxism.
329 1
942b As World War II forces many
Surrealists to emigrate from France to the
United States, two shows in New York reflect
on this condition of exile in different ways.
box
·
Exiles and emigres
box
·
Peggy Guggenheim
334 1 943
James A. Porter s Modern Negro
Art, the first scholarly study of African-
American art, is published in New York as
the Harlem Renaissance promotes race
awareness and heritage.
340 1
944a
Piet Mondrian
dies, leaving
unfinished Victory Boogie Woogie, a work
that exemplifies his conception of painting
as a destructive enterprise.
345 1
944b At the outbreak of World War 11
,
the Old Masters of modern art-
Matisse, Picasso,
Braque,
and
Bonnard
—
consider their refusal to flee occupied
France as an act of resistance against
barbarity: discovered at the Liberation,
he style they had developed during
the war years presents a challenge to
the new generation of artists.
350
Roundtable I Art at mid-century
1945-1949
364 1 945
David Smith makes Pillar of Sunday:
constructed sculpture is caught between the
craft basis of traditional art and the industrial
basis of modern manufacturing.
369 1946
Jean Dubuffet
exhibits his
hautes
pâtes,
which confirm the existence of a
new, scatological trend in postwar French
art, soon to be named
informel.
box
·
Art brut
375 1
947a Josef Albers begins his Variant
paintings at Black Mountain College in North
Carolina a year after
László
Moholy-Nagy
dies in Chicago: imported to the United
States, the model of the
Bauhaus
is
transformed by different artistic imperatives
and institutional pressures.
380 1
947b The publication of Possibilities
in New York marks the coalescence of
Abstract Expressionism as a movement.
387 1
949a Life magazine asks its readers
Is he the greatest living painter in the United
States? : the work of Jackson Pollock
emerges as the symbol of advanced art.
392 1
949b Cobra, a loose band of young
artists from Copenhagen, Brussels, and
Amsterdam, launches its eponymous
magazine, in which they advocate a return
to the vital source of life ; meanwhile in
England, the New Brutalists propose a
bare aesthetic adequate to the austere
conditions of the postwar world.
1950-1959
400 1951
Barnett Newman s second exhibition
fails: he is ostracized by his fellow Abstract
Expressionists, only later to be hailed
as a father figure by the Minimalist artists.
406 1 953
Composer John Cage collaborates
on Robert
Rauschenberg
s Tire
Print: the
indexical imprint is developed as a weapon
against the expressive mark in a range
of work by
Rauschenberg,
Ellsworth Kelly,
and
Су
Twombly.
411 1
955a The first Gutai exhibition in Japan
marks the dissemination of modernist art
through the media and its reinterpretation
by artists outside the United States and
Europe, also exemplified by the rise of the
Neoconcretist group in Brazil.
417 1
955b The
Le mouvement
show at
the
Galerie Denise René
in Paris launches
kineticism.
423 1 956
The exhibition This is Tomorrow
in London marks the culmination of research
into postwar relations between art, science,
technology, product design, and popular
culture undertaken by the Independent
Group, forerunners of British Pop art.
429
1957a Two small vanguard groups,
the
Lettrist
International and the
Imaginist
Bauhaus,
merge to form the
Situationist
International, the most politically engaged
of all postwar movements.
box
·
Two theses
f
rom
The Society of the
Spectacle
436 1
957b
Ad Reinhardt
writes Twelve
Rules for a New Academy : as avant-garde
paradigms in painting are reformulated in
Europe, the monochrome and grid are
explored in the United States by
Reinhardt,
Robert Ryman, Agnes Martin, and others.
442 1958
Jasper Johns s Target with Four
Faces appears on the cover of Artnews
magazine: for some artists like Frank Stella,
Johns presents a model of painting in
which figure and ground are fused in a
single image-object; for others, he opens up
the use of everyday signs and conceptual
ambiguities alike.
box
· Ludwig
Wittgenstein
449 1
959a
Lucio Fontana
has his first
retrospective: he uses kitsch associations
to question idealist modernism, a critique
extended by his
protégé
Piero Manzoni.
453 1
959b At the San Francisco Art
Association, Bruce Conner shows CHILD,
a mutilated figure in a high chair made
in protest against capital punishment:
a practice of assemblage and environment
is developed on the West Coast by
Conner, Wallace Berman, Ed
Kienholz,
and others that is more scabrous than
its equivalents in New York, Paris, or
elsewhere.
459 1
959c The Museum of Modern Art in
New York mounts New Images of Man :
existentialist aesthetics extend into a Cold
War politics of figuration in the work of
Alberto Giacometti, Jean Dubuffet, Francis
Bacon,
Willem de
Kooning, and others,
box
·
Art and the Cold War
464 1
959d Richard Avedon s Observations
and Robert Frank s The Americans establish
the dialectical parameters of New York
School photography.
1960-1969
472 1
960a Critic Pierre Restany organizes
a group of diverse artists in Paris to
form
Nouveau Réalisme,
redefining the
paradigms of collage, the readymade,
and the monochrome,
box: The neo-avant-garde
477 1
960b Clement
Greenberg
publishes
Modernist Painting : his criticism reorients
itself and in its new guise shapes the
debates of the sixties,
box
·
Leo Steinberg and the flatbed picture plane
483 1
960c Roy
Lichtenstein
and Andy Warhol
start to use cartoons and advertisements
as sources for paintings, followed by
James
Rosenquist, Ed
Ruscha, and others;
American Pop art is born.
488 1 961
In December,
Claes
Oldenburg
opens The Store in New York s East Village,
an environment that mimicked the setting
of surrounding cheap shops and from
which all the items were for sale: throughout
the winter and the following spring, ten
different happenings would be performed
by Oldenburg s Ray Gun Theater in
The Store locale.
494
1962a In Wiesbaden, West Germany,
George Maciunas organizes the first
of a series of international events that mark
the formation of the
Fluxus
movement.
502 1
962b In Vienna, a group of artists
including
Günter
Brus,
Otto Mühl,
and
Hermann Nitsch
come together to form
Viennese Actionism.
508 1
962c Spurred by the publication of
The Great Experiment: Russian Art
1863-1922
by Camilla Gray, Western
interest revives in the
Constructivist
principles of Vladimir Tatlin and
Aleksandr
Rodchenko, which are elaborated In different
ways by younger artists such as Dan Flavin,
Carl Andre, Sol LeWitt, and others.
box
· Artforum
513 1
962d Clement
Greenberg
is the first
to acknowledge the abstract side of early
Pop art, a characteristic that would feature
time and again in the work of its leading
proponents and those who followed them.
519 1963
After publishing two manifestos
with the painter
Eugen Schönebeck,
Georg
Baselitz exhibits Die
Grosse
Nacht im Eimer
(Great Night Down the Drain) in Berlin.
524 1
964a On July
20,
the twentieth
anniversary of the failed Stauffenberg coup
against Hitler, Joseph Beuys publishes his
fictitious autobiography and generates an
outbreak of public violence at the Festival
of New Art in Aachen, West Germany.
530 1
964b Thirteen Most Wanted Men
by Andy Warhol is installed, momentarily,
on the facade of the State Pavilion at the
World s Fair in New York.
536 1 965
Donald Judd
publishes Specific
Objects : Minimalism receives its
theorlzatlon at the hands of its major
practitioners, Judd and Robert Morris.
box
·
Maurice
Merleau-Ponty
540 1
966a Marcel Duchamp completes
his installation
Etant Donnés
in the
Philadelphia Museum of Art: his mounting
Influence on younger artists climaxes
with the posthumous revelation of this
new work.
544 1
966b The exhibition Eccentric
Abstraction opens In New York: the work
of Louise Bourgeois, Eva Hesse, Yayoi
Kusarna,
and others points to an expressive
alternative to the sculptural language of
Minimalism.
549 1
967a Publishing A Tour of the
Monuments of
Passale, New
Jersey,
Robert Smlthson marks entropy as
a generative concept of artistic practice
In the late sixties.
553 1
967b The Italian critic
Germano
Celant
mounts the first
Arte Povera
exhibition.
559 1
967c For their first manifestation,
the four artists of the French group
BMPT
paint In public, each artist repeating
exactly from canvas to canvas a simple
configuration of his choice: their form
of Conceptualist painting is the latest in a
line of attacks against official abstraction
in postwar France.
565 1
968a Two major museums committed
to the most advanced European and
American art of the sixties
—
the
Stedelijk
Van
Abbemuseum In Eindhoven
and
the
Städtisches
Museum Abtelberg in
Mönchengladbach—
exhibit the work
of
Bernd
and Hills
Becher,
placing them
at the forefront of an interest in Conceptual
art and photography.
571 1
968b Conceptual art manifests itself
in publications by Sol LeWItt, Dan Graham,
and Lawrence Welner, while Seth
Slegelaub organizes Its first exhibitions.
box
·
Artists journals
box
·
Deskilling
578 1 969
The exhibition When Attitudes
Become Form in Bern and London
surveys
Postminimalist
developments,
while Anti-Illusion: Materials/Procedures
in New York focuses on Process art,
the three principal aspects of which are
elaborated by
Richard Serra,
Robert Morris,
and Eva Hesse.
1970-1979
584 1 970
Michael Asher installs his Pomona
College Project: the rise of site-specific work
opens up a logical field between modernist
sculpture and Conceptual art.
589 1 971
The Guggenheim Museum in New
York cancels Hans Haacke s show and
suppresses Daniel Buren s contribution
to the Sixth Guggenheim International
Exhibition: practices of institutional critique
encounter the resistance of the Minimalist
generation.
box
·
Michel
Foucault
593 1
972a Marcel Broodthaers Installs
his
Musée d Art Moderne, Département
des Aigles, Section des Figures, in
Düsseldorf,
West Germany.
598 1
972b The International exhibition
Documenta5,
held
in Kassel, West
Germany,
marks
the institutional
acceptance of Conceptual art in Europe.
604 1 973
The Kitchen Center for Video,
Music, and Dance opens its own space
in New York: video art claims an institutional
space between visual and Performance art,
television and film.
609 1974
With Trans-fixed, in which
Chris Burden is nailed to a Volkswagen
Beetle, American Performance art
reaches an extreme limit of physical
presence, and many of Its adherents
abandon, moderate, or otherwise
transform Its practice.
614 1975
As filmmaker Laura Mulvey
publishes her landmark essay Visual
Pleasure and Narrative Cinema, feminist
artists like Judy Chicago and Mary Kelly
develop different positions on the
representation of women.
box
·
Theory journals
620 1 976
In New York, the founding
of P.S.1 coincides with the Metropolitan
Museum s King Tut exhibition:
Important shifts In the institutional
structure of the art world are registered
by both alternative spaces and the
blockbuster show.
624 1 977
The Pictures exhibition
Identifies a group of young artists whose
strategies of appropriation and critiques
of originality advance the notion of
postmodernism in art.
1980-1989
630 1 980
Metro Pictures opens in New York:
a new group of galleries emerges In order
to exhibit young artists involved in a
questioning of the photographic ¡mage and
Its uses in news, advertising, and fashion.
box
·
Jean Baudrillard
634 1
984a Victor
Bürgin
delivers his lecture
The Absence of Presence:
Conceptualism
and Post-Modernisms : the publication
of this and other lectures by Allan Sekula
and Martha Rosier signals a new approach
to the legacies of Anglo-American
photoconceptualism and to the writing
of photographic history and theory.
640 1
984b Fredric Jameson publishes
Postmodernism, or the Cultural Logic
of Late Capitalism, as the debate
over postmodernism extends beyond art
and architecture into cultural politics,
and divides into two contrary positions.
box
·
Cultural studies
644 1 986
Endgame: Reference and Simulation
In Recent Painting and Sculpture opens
in Boston: as some artists play on the
collapse of sculpture into commodities,
others underscore the new prominence
of design and display.
649 1987
The first ACT-UP action is staged:
activism In art Is relgnited by the AIDS
crisis,
as collaborative groups and political
Interventions come to the fore, and a new
kind of queer aesthetics is developed.
box
·
The US Art Wars
656 1988 Gerhard Richter
paints October
18,
1977:
German artists contemplate the
possibility of the renewal of history painting.
box
· Jürgen Habermas
661 1 989
Les Magiciens de la terre,
a
selection of art from several continents,
opens In Paris:
postcolonial
discourse and
multicultural debates affect the production as
well as the presentation of contemporary art.
box
·
Aboriginal art
1990-1999
668 1 992
Fred Wilson presents Mining the
Museum In Baltimore: Institutional
critique
extends beyond the museum, and an
anthropological model of project art
based on fleldwork is adapted by a wide
range of artists.
box
·
Interdisciplinary
674 1
993э
Martin Jay publishes Downcast
Eyes, a survey of the denigration of vision in
modern philosophy: this critique of visuaiity is
explored by a number of contemporary artists.
679
1993b As Rachel Whiteread s House,
a casting of a terrace house in east London,
is demolished, an innovative group of
women artists comes to the fore in Britain.
683 1
993c In New York, the Whitney Biennial
foregrounds work focused on identity amid
the emergence of a new form of politicized
art by African-American artists.
689 1
994a A mid-career exhibition of Mike
Kelley highlights a pervasive concern
with states of regression and abjection,
while Robert
Gober,
Kiki
Smith, and others
use figures of the broken body to address
problems of sexuality and mortality.
694 1
994b William Kentridge completes
Felix in Exile, joining Raymond Pettibon
and others in demonstrating the renewed
importance of drawing.
698 1998
An exhibition of large video
projections by Bill Viola tours several
museums: the projected image becomes
a pervasive format in contemporary art.
box
·
The spectacularization of art
box
·
McLuhan, Kittler, and new media
2000-2010
707 2001
A mid-career exhibition of Andreas
Gursky at the Museum of Modern Art
in New York signals the new dominance
of a pictorial photography, which is often
effected through digital means.
712 2003
With exhibits such as Utopia
Station and Zone of Urgency, the Venice
Biennale
exemplifies the informal and
discursive nature of much recent artmaking
and curating.
718
2007a With a large retrospective
at the
Cité de la Musique, Paris
acknowledges the
importance
oí
American
artist
Christian Marclay
for the
future
of
avant-garde art; the French foreign ministry
expresses in its own belief in this future
by sending Sophie
Calle
to represent
France at the Venice
Biennale;
while the
Brooklyn Academy of Music commissions
the South African William Kentridge
to design the sets for their production
of The Magic Flute.
box
·
Brian O Doherty and the white cube
724
2007b
Unmonumental:
The Object in
the
21
st Century opens at New York s
New Museum: the show marks a new focus
on assemblage and accumulations among
a younger generation of sculptors.
732
2007c As Damien Hirst exhibits For the
Love of God, a platinum cast of a human
skull studded with diamonds costing
E1
4
million and for sale for
£50
million,
some art is explicitly positioned as a media
sensation and a market investment.
738
2009a
Tania Bruguera
presents Generic
Capitalism at the multimedia conference
Our Literal Speed, a performance that
visualizes the assumed bonds and networks
of trust and likemindedness among its
art-world audience by transgressing those
very bonds.
744
2009b
Jutta
Koether
shows Lux Interior
at Reena Spaulings Gallery in New York,
an exhibition that introduces performance
and installation into the heart of painting s
meaning; the impact of networks on even
the most traditional of aesthetic mediums
—
painting
—
is widespread among artists
in Europe and the United States.
752
2009c
Harun Farocki
exhibits a range
of works on the subject of war and vision
at the
Ludwig
Museum in Cologne and
Raven Row in London that demonstrate the
relationship between popular forms of new-
media entertainment such as video games
and the conduct of modern war.
758
2010a
Ai
Weiwei s large-scale installation
Sunflower Seeds opens in the Turbine Hall
of London s
Tate
Modern: Chinese artists
respond to China s rapid modernization
and economic growth with works that
both engage with the country s abundant
labor market and morph into social and
mass-employment projects in their own right.
764
2010b French artist Claire Fontaine,
whose operation by two human
assistants is itself an explicit division
of labor, dramatizes the economies of art
in a major retrospective at the Museum
of Contemporary Art in North Miami, Florida:
the show marks the emergence of the avatar
as a new form of artistic subjecthood.
770
Roundtable I The predicament
of contemporary art
783
Glossary
794
Further reading
801
Selected useful websites
802
Picture credits
807
Index
!
|
| any_adam_object | 1 |
| author_GND | (DE-588)123940362 (DE-588)120118599 (DE-588)112840965 |
| building | Verbundindex |
| bvnumber | BV040107073 |
| classification_rvk | LH 65800 LH 65820 |
| ctrlnum | (OCoLC)793412318 (DE-599)BSZ360472796 |
| dewey-full | 709.045 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 709 - History, geographic treatment, biography |
| dewey-raw | 709.045 |
| dewey-search | 709.045 |
| dewey-sort | 3709.045 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| edition | 2. ed. |
| era | Geschichte 1900-2011 gnd Geschichte 1900-2015 gnd Geschichte 1900-2003 gnd |
| era_facet | Geschichte 1900-2011 Geschichte 1900-2015 Geschichte 1900-2003 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02435nam a2200589 c 4500</leader><controlfield tag="001">BV040107073</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20240503 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">120418s2011 a||| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780500238899</subfield><subfield code="c">(hbk.) £48.00</subfield><subfield code="9">978-0-500-23889-9</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">0500238898</subfield><subfield code="c">(hbk.) £48.00</subfield><subfield code="9">0-500-23889-8</subfield></datafield><datafield tag="024" ind1="3" ind2=" "><subfield code="a">9780500238899</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)793412318</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BSZ360472796</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-19</subfield><subfield code="a">DE-255</subfield><subfield code="a">DE-1102</subfield><subfield code="a">DE-188</subfield><subfield code="a">DE-Y3</subfield><subfield code="a">DE-Y2</subfield><subfield code="a">DE-355</subfield><subfield code="a">DE-83</subfield><subfield code="a">DE-20</subfield><subfield code="a">DE-Y7</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">709.045</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">LH 65800</subfield><subfield code="0">(DE-625)94560:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">LH 65820</subfield><subfield code="0">(DE-625)94562:13104</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,11</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Art since 1900</subfield><subfield code="b">modernism, antimodernism, postmodernism</subfield><subfield code="c">Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ...</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">2. ed.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">London</subfield><subfield code="b">Thames & Hudson</subfield><subfield code="c">2011</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">816 S.</subfield><subfield code="b">zahlr. Ill.</subfield><subfield code="c">29 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Hier auch später erschienene, unveränderte Nachdrucke</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">10stellige ISBN aus Datenübernahme</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1900-2011</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1900-2015</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1900-2003</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Geschichte 1900-2011</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="1" ind2="0"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2="1"><subfield code="a">Geschichte 1900-2003</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="2" ind2="0"><subfield code="a">Kunst</subfield><subfield code="0">(DE-588)4114333-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="2" ind2="1"><subfield code="a">Geschichte 1900-2015</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="2" ind2=" "><subfield code="8">2\p</subfield><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Foster, Hal</subfield><subfield code="d">1955-</subfield><subfield code="e">Sonstige</subfield><subfield code="0">(DE-588)123940362</subfield><subfield code="4">oth</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Krauss, Rosalind E.</subfield><subfield code="d">1941-</subfield><subfield code="e">Sonstige</subfield><subfield code="0">(DE-588)120118599</subfield><subfield code="4">oth</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Bois, Yve-Alain</subfield><subfield code="d">1952-</subfield><subfield code="e">Sonstige</subfield><subfield code="0">(DE-588)112840965</subfield><subfield code="4">oth</subfield></datafield><datafield tag="787" ind1="0" ind2="8"><subfield code="i">Überarbeitung von</subfield><subfield code="d">2004</subfield><subfield code="z">0-500-23818-9</subfield><subfield code="w">(DE-604)BV020026743</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">KUBIKAT Anreicherung</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024963497&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-024963497</subfield></datafield><datafield tag="883" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="a">cgwrk</subfield><subfield code="d">20201028</subfield><subfield code="q">DE-101</subfield><subfield code="u">https://d-nb.info/provenance/plan#cgwrk</subfield></datafield><datafield tag="883" ind1="1" ind2=" "><subfield code="8">2\p</subfield><subfield code="a">cgwrk</subfield><subfield code="d">20201028</subfield><subfield code="q">DE-101</subfield><subfield code="u">https://d-nb.info/provenance/plan#cgwrk</subfield></datafield></record></collection> |
| id | DE-604.BV040107073 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:17:01Z |
| institution | BVB |
| isbn | 9780500238899 0500238898 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024963497 |
| oclc_num | 793412318 |
| open_access_boolean | |
| owner | DE-19 DE-BY-UBM DE-255 DE-1102 DE-188 DE-Y3 DE-Y2 DE-355 DE-BY-UBR DE-83 DE-20 DE-Y7 |
| owner_facet | DE-19 DE-BY-UBM DE-255 DE-1102 DE-188 DE-Y3 DE-Y2 DE-355 DE-BY-UBR DE-83 DE-20 DE-Y7 |
| physical | 816 S. zahlr. Ill. 29 cm |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Thames & Hudson |
| record_format | marc |
| spelling | Art since 1900 modernism, antimodernism, postmodernism Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ... 2. ed. London Thames & Hudson 2011 816 S. zahlr. Ill. 29 cm txt rdacontent n rdamedia nc rdacarrier Hier auch später erschienene, unveränderte Nachdrucke 10stellige ISBN aus Datenübernahme Geschichte 1900-2011 gnd rswk-swf Geschichte 1900-2015 gnd rswk-swf Geschichte 1900-2003 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kunst (DE-588)4114333-4 s Geschichte 1900-2011 z DE-604 Geschichte 1900-2003 z 1\p DE-604 Geschichte 1900-2015 z 2\p DE-604 Foster, Hal 1955- Sonstige (DE-588)123940362 oth Krauss, Rosalind E. 1941- Sonstige (DE-588)120118599 oth Bois, Yve-Alain 1952- Sonstige (DE-588)112840965 oth Überarbeitung von 2004 0-500-23818-9 (DE-604)BV020026743 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024963497&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Art since 1900 modernism, antimodernism, postmodernism Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4114333-4 |
| title | Art since 1900 modernism, antimodernism, postmodernism |
| title_auth | Art since 1900 modernism, antimodernism, postmodernism |
| title_exact_search | Art since 1900 modernism, antimodernism, postmodernism |
| title_full | Art since 1900 modernism, antimodernism, postmodernism Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ... |
| title_fullStr | Art since 1900 modernism, antimodernism, postmodernism Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ... |
| title_full_unstemmed | Art since 1900 modernism, antimodernism, postmodernism Hal Foster ; Rosalind Krauss ; Yve-Alain Bois ... |
| title_short | Art since 1900 |
| title_sort | art since 1900 modernism antimodernism postmodernism |
| title_sub | modernism, antimodernism, postmodernism |
| topic | Kunst (DE-588)4114333-4 gnd |
| topic_facet | Kunst |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024963497&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT fosterhal artsince1900modernismantimodernismpostmodernism AT kraussrosalinde artsince1900modernismantimodernismpostmodernism AT boisyvealain artsince1900modernismantimodernismpostmodernism |