Art since 1900: modernism, antimodernism, postmodernism
Gespeichert in:
| Hauptverfasser: | , , , , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Thames & Hudson
2016
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| Ausgabe: | Third edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke |
| Beschreibung: | 896 Seiten Illustrationen 28 cm |
| ISBN: | 9780500239537 |
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Datensatz im Suchindex
| _version_ | 1804176729365807104 |
|---|---|
| adam_text | Titel: Art since 1900
Autor: Foster, Hal
Jahr: 2016
Contents
12 How to use this book
14 Preface: a reader s guide
16 Introductions
102 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
Etienne-Jules Marey
17 Psychoanalysis in modernism
and as method hf
24 The social history of art:
models and concepts bb
34 Formalism and structuralism yab
42 Poststructuralism and deconstruction
51 Globalization, networks, and the
aggregate as form dj
1900-1909
64 1900a 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.
69 1900b Henri Matisse visits Auguste Rodin
in his Paris studio but rejects the elder artist s
sculptural style.
76 1903 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 Andre Derain,
Henri Matisse, Pablo Picasso, and Ernst
Ludwig Kirchner.
box » The exotic and the naive
82 1906 Paul Cezanne dies at Aix-en-Provence
in southern France: following the retrospectives
of Vincent van Gogh and Georges Leu rat
the preceding year, Cezanne s death casts
Postimpressionism as the historical past,
with Fauvism as its heir,
box » Roger Fry and the Bloomsbury Group
90 1907 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
97 1908 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.
1910-1919
112 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.
118 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 Prague
begins to develop Analytical Cubism,
box « GulllaumeApolllnaire
124 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.
130 1913 Robert Delaunay exhibits his
Windows paintings in Berlin: the initial
problems and paradigms of abstraction
are elaborated across Europe.
137 1914 Vladimir Tallin 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 I Ours
142 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.
147 1916a 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
154 1916b 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
160 1917a After two years of intense research,
Piet Mondrian breaks through to abstraction
and goes on to invent Neoplasticism.
166 1917b 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.
172 1918 Marcel Duchamp paints Turn :
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 « RroseSWavy
178 1919 Pablo Picasso has his first solo
exhibition in Paris in thirteen years: the
onset of pastiche in his work coincides
with a widespread antimodernist reaction,
box « Sergei Diaghilev and the Ballets R usees
box « Rapport a l ondre
1920-1929
186 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 a new medium.
192 1921a With Three Musicians,
Pablo Picasso enlists the classicism
of Nicolas Poussin in the development of
Synthetic Cubism, the reigning style
of postwar modernism.
198 1921 b 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
204 1922 Hans Prinzhorn publishes
Artistry of the Mentally III: the art of
the insane is explored in the work
of Paul Klee and Max Ernst.
209 1923 The Bauhaus, the most influential
school of modernist art and design in the
twentieth century, holds its first public
exhibition in Weimar, Germany.
214 1924 Andre Breton publishes the first issue
of La Revolution surrealiste, establishing the
terms of Surrealist aesthetics,
box Surrealist journals
220 1925a 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
226 1925b 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 a I ordre, this
new magic realism signals the end of
Expressionism and Dada practices in
Germany.
232 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.
233 1925b On May 3, a public screening
of avant-garde cinema titled The Absolute
Film is held in Berlin: on the program are
experimental works by Hans Richter,
Viking Eggeling, Walter Ruttmann, and
Fernand Leger that continue the project
of abstraction by filmic means.
244 1926 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.
248 1927a After working as a commercial artist
in Brussels, Rene Magritte joins the Surrealist
movement in Paris, where his art plays on the
idioms of advertising and the ambiguities of
language and representation.
252 1927b 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.
256 1927c 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.
262 1928a The publication of Unism in
Painting by Wladyslaw 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.
268 1928b The publication of Dieneue
Typographie by Jan Tschichold confirms the
impact of the Soviet avant-garde s production
on book design and advertising in capitalist
Western European countries, and ratifies the
emergence of an international style.
274 1929 The Film und Foto exhibition,
organized by the Deutsche: 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
282 1930a 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.
287 1930b Georges Bataille reviews L Art primitif
in Documents, making apparent a rift within
the avant-garde s relation to primitivism and
a deep split within Surrealism,
box « Carl Einstein
292 1931a Alberto Giacometti, Salvador
Dai!, and Andre Breton publish texts on
the object of symbolic function in the
magazine Le Surrealisme au service de la
revolution: Surrealism extends its aesthetic
of fetishism and fantasy into the realm of
object-making.
297 1931b As Joan Miro reaffirms his vow to
assassinate painting and Alexander Gaidar 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.
303 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.
308 1934a At the First All Union Congress
of Writers, Andrei Zhdanov lays down the
doctrine of Soviet Socialist Realism.
314 1934b In The Sculptor s Aims, Flenry
Moore articulates a British aesthetic of direct
carving in sculpture that mediates between
figuration and abstraction, between
Surrealism and Constructivism.
319 1935 Walter Benjamin drafts The Work
of Art in the Age of Mechanical Reproduction,
Andre Malraux initiates The Museum without
Walls, and Marcel Duchamp begins the
Borte-en-Valise: the impact of mechanical
reproduction, surfacing into art through
photography, is felt within aesthetic theory,
art history, and art practice.
324 1936 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
329 1937a 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.
334 1937b Naum Gabo, Ben Nicholson,
and Leslie Martin publish Circle in London,
solidifying the institutionalization of geometric
abstraction.
338 1937c Pablo Picasso unveils Guernica
in the Spanish Republican pavilion of the
International Exhibition in Paris.
1940-1944
348 1942a 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.
353 1942b 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
358 1943 James A. Porter s Modern Negro Art,
the first scholarly study of African-American
art, is published in New York as the Plarlem
Renaissance promotes race awareness and
heritage.
364 1944a Piet Mondrian dies, leaving
unfinished Victory Boogie Woogie, a work
that exemplifies his conception of painting
as a destructive enterprise.
369 1944b At the outbreak of World War II,
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, the style they had developed
during the war years presents a challenge to
the new generation of artists.
374 Roundtable I Art at mid-century
1945-1949
388 1945 David Smith makes Pillar of Sunday:
constructed sculpture is caught between the
craft basis of traditional art and the industrial
basis of modern manufacturing.
393 1946 Jean Dubuffet exhibits his hautes
pates, which confirm the existence of a new
scatological trend in postwar French art, soon
to be named informal.
box « Art brut
399 1947a Josef Albers begins his Variant
paintings at Black Mountain College in North
Carolina a year after Laszlo Moholy-Nagy
dies in Chicago: imported to the United
States, the model of the Bauhaus is
transformed by different artistic imperatives
and institutional pressures.
404 1947b The publication of Possibilities
in New York marks the coalescence of
Abstract Expressionism as a movement.
411 1949a 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.
416 1949b 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
424 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.
430 1953 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
CyTwombly.
435 1955a In their first exhibition in Tokyo, the
artists of the Gutai group propose a new
reading of Jackson Pollock s drip canvases
that engages with traditional Japanese
aesthetics and interprets the phrase action
painting in a literal sense.
441 1955b The Le mouvement show at
the Galerie venise Rene in Paris launches
kineticism.
447 1956 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.
453 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 « TVro theses from TTie Society of
theSpectacie
460 1957b 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.
466 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
473 1959a Lucio Fontana has his first
retrospective: he uses kitsch associations
to question idealist modernism, a critique
extended by his protege Piero Manzoni.
47? 1959b 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 German, Ed Kienholz, and others
that is more scabrous than its equivalents in
New York, Paris, or elsewhere.
483 1959c The Museum of Modern Art in
New York mounts New Images of Man :
existentialist aesthetics extends 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
488 1959b Richard Avedon s Observations
and Robert Frank s The Americans establish
the dialectical parameters of New York School
photography.
494 1959c The Manifesto of Neoconcrete Art
is published in Rio de Janeiro as a double
spread of the daily newspaper Jornal do Brasil,
replacing the rationalist interpretation of
geometric abstraction that was prevalent at
the time with a phenomenological one.
1960-1969
504 1960a Critic Pierre Restany organizes
a group of diverse artists in Paris to form
Nouveau Realisme, redefining the paradigms
of collage, the readymade, and the
monochrome,
box » Theneo-avant-garde
509 1960b 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
515 1960c 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.
520 1961 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.
526 1962a In Wiesbaden, West Germany,
George Maciunas organizes the first of
a series of international events that mark
the formation of the Fluxus movement.
534 1962b In Vienna, a group of artists
including Gunter Brus, Otto Muhl, and
Nermann Nitsch come together to form
Viennese Actionism.
540 1962c 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 Aff/orum
545 1962d 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.
551 1963 After publishing two manifestos
with the painter Eugen Schonebeck, Georg
Baselitz exhibits Die Grosse Nacht im Eimer
(Great Night Down the Drain) in Berlin.
556 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.
562 1964b 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.
568 1965 Donald Judd publishes Specific
Objects : Minimalism receives its theorization
at the hands of its major practitioners, Judd
and Robert Morris,
box » Maurice Merfeau-Ponty
572 1966a Marcel Duchamp completes his
installation Etant Donnes in the Philadelphia
Museum of Art: his mounting influence
on younger artists climaxes with the
posthumous revelation of this new work.
576 1966b The exhibition Eccentric
Abstraction opens in New York: the work of
Louise Bourgeois, Eva Hesse, Yayoi Kusama,
and others points to an expressive alternative
to the sculptural language of Minimalism.
581 1967a Publishing A Tour of the
Monuments of Passaic, New Jersey Robert
Smithson marks entropy as a generative
concept of artistic practice in the late sixties.
585 1967b The Italian critic Germano Celant
mounts the first Arte Povera exhibition.
591 1967c 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.
597 1968a Two major museums committed
to the most advanced European and
American art of the sixties—the Stedelijk
Van Abbemuseum in Eindhoven and
the Stadtisches Museum Abteiberg in
Monchengladbach—exhibit the work of
Bernd and Hilla Becher, placing them at
the forefront of an interest in Conceptual
art and photography.
603 1968b Conceptual art manifests itself
in publications by Sol LeWitt, Dan Graham,
and Lawrence Weiner, while Beth Siegelaub
organizes its first exhibitions,
box • Artists journals
box • Deskilling
610 1969 The exhibition When Attitudes
Become Form in Bern and London
surveys Postminimalist developments,
while Anti-Illusion: Procedures/ Materials
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
616 1970 Michael Asher installs his Pomona
College Project: the rise of site-specific work
opens up a logical field between modernist
sculpture and Conceptual art.
621 1971 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
625 1972a Marcel Broodthaers installs his
Musee d Art Moderne, Departement des
Aigles, Section des Figures, in Dusseldorf,
West Germany.
630 1972b The international exhibition
Documents 5, held in Kassel, West Germany,
marks the institutional acceptance of
Conceptual art in Europe.
636 1972c Learning from Las Vegas is
published: inspired by Las Vegas as well
as Pop art, the architects Robert Venturi
and Demise Scott Brown eschew the duck,
or building as sculptural form, in favor of
the decorated shed, in which Pop symbols
are foregrounded, thus setting up the stylistic
terms of postmodern design.
644 1973 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.
649 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.
654 1975a 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
660 1975b llya Kabakov completes his series
of albums Ten Characters, an important
monument of Moscow Conceptualism.
668 1976 In New York, the founding of
P.S.I 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.
672 1977a The Pictures exhibition identifies
a group of young artists whose strategies
of appropriation and critiques of originality
advance the notion of postmodernism in art.
678 1977b Harmony Hammond defends
feminist abstraction in the newly founded
journal Heresies.
1980-1989
688 1980 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 image
and its uses in news, advertising, and
fashion.
box • Jean Baudrillard
692 1984a Victor Burgin delivers his lecture
The Absence of Presence: Conceptualises
and Post-Modernisms : the publication
of this and other essays 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.
698 1984b 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
702 1986 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.
707 1987 The first ACT-UP action is staged:
activism in art is reignited 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
714 1 988 Gerhard Richter paints October 18,
1977: German artists contemplate the
possibility of the renewal of history painting,
box » JOrgen Habermas
719 1989 LesMagiciensdelaterre,
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
726 1992 Fred Wilson presents Mining the
Museum in Baltimore: institutional critique
extends beyond the museum, and an
anthropological model of project art based on
fieldwork is adapted by a wide range of artists,
box « Interdiscipllnartty
732 1993a Martin Jay publishes Downcast Eyes,
a survey of the denigration of vision in modern
philosophy: this critique of visuality is explored
by a number of contemporary artists.
737 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.
741 1993c 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.
747 1994a 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
questions of sexuality and mortality.
752 1994b William Kentridge completes
Felix in Exile, joining Raymond Pettibon
and others in demonstrating the renewed
importance of drawing.
756 1997 Santu Mofokeng exhibits The Black
Photo Album/Look at Me: 1890-1950 in
the 2nd Johannesburg Biennale.
764 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
2000-2015
773 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.
778 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.
784 2007a With a large retrospective at the
Cite de la Musique, Paris acknowledges
the importance of 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
790 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.
2007c As Damien Hirst exhibits For the 857 Glossary
Love of God, a platinum cast of a human skull 866 Further reading
studded with diamonds costing £14 million 876 Selected useful websites
and for sale for £50 million, some art is 878 Picture credits
explicitly positioned as a media sensation 885 Index
and a market investment.
804 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.
810 2009b JuttaKoether 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.
818 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.
824 2010a Ai Weiwei s large-scale installation
Sunflower Seeds opens in the Turbine Hail
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.
830 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.
836 2015 As Tate Modern, the Museum
of Modern Art, and the Metropolitan
Museum of Art plan further expansions,
the Whitney Museum of American Art
opens its new building, capping a period
of international growth in exhibition space
for modern and contemporary art including
performance and dance.
842 Roundtable I The predicament of
contemporary art
|
| any_adam_object | 1 |
| author | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- Joselit, David ca. 20. Jh |
| author_GND | (DE-588)123940362 (DE-588)120118599 (DE-588)112840965 (DE-588)122729110 (DE-588)188395563 |
| author_facet | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- Joselit, David ca. 20. Jh |
| author_role | aut aut aut aut aut |
| author_sort | Foster, Hal 1955- |
| author_variant | h f hf r e k re rek y a b yab b h d b bhd bhdb d j dj |
| building | Verbundindex |
| bvnumber | BV043854164 |
| classification_rvk | LH 65820 |
| ctrlnum | (OCoLC)960423825 (DE-599)HBZHT019033487 |
| discipline | Kunstgeschichte |
| edition | Third edition |
| era | Geschichte 1900-2003 gnd Geschichte 1900-2015 gnd Geschichte 1900-2011 gnd |
| era_facet | Geschichte 1900-2003 Geschichte 1900-2015 Geschichte 1900-2011 |
| format | Book |
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| id | DE-604.BV043854164 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:36:49Z |
| institution | BVB |
| isbn | 9780500239537 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029264408 |
| oclc_num | 960423825 |
| open_access_boolean | |
| owner | DE-634 DE-11 DE-384 DE-521 |
| owner_facet | DE-634 DE-11 DE-384 DE-521 |
| physical | 896 Seiten Illustrationen 28 cm |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Thames & Hudson |
| record_format | marc |
| spelling | Foster, Hal 1955- Verfasser (DE-588)123940362 aut Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yves Alain Bois, Benjamin H.D. Buchloh, David Joselit Third edition London Thames & Hudson 2016 896 Seiten Illustrationen 28 cm txt rdacontent n rdamedia nc rdacarrier Hier auch später erschienene, unveränderte Nachdrucke Geschichte 1900-2003 gnd rswk-swf Geschichte 1900-2015 gnd rswk-swf Geschichte 1900-2011 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kunst (DE-588)4114333-4 s Geschichte 1900-2015 z DE-604 Geschichte 1900-2003 z 1\p DE-604 Geschichte 1900-2011 z 2\p DE-604 Krauss, Rosalind E. 1941- Verfasser (DE-588)120118599 aut Bois, Yve-Alain 1952- Verfasser (DE-588)112840965 aut Buchloh, Benjamin H. D. 1941- Verfasser (DE-588)122729110 aut Joselit, David ca. 20. Jh. Verfasser (DE-588)188395563 aut Überarbeitung von 2. ed. 2011 978-0-500-23889-9 (DE-604)BV040107073 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029264408&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 3 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 | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- Joselit, David ca. 20. Jh 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, Yves Alain Bois, Benjamin H.D. Buchloh, David Joselit |
| title_fullStr | Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yves Alain Bois, Benjamin H.D. Buchloh, David Joselit |
| title_full_unstemmed | Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yves Alain Bois, Benjamin H.D. Buchloh, David Joselit |
| 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=029264408&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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