- ISBN: 9780136062066 | 0136062067
- Cover: Paperback
- Copyright: 7/27/2009
Long consideredthesurvey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Elizabeth Mansfield, an experienced art historian and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.
Elizabeth C. Mansfield is Associate Professor of art history at New York University. A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso’s Demoiselles d’Avignon to the contemporary performance and body art of Orlan. A fellow at the National Humanities Center in 2008-09, she received the College Art Association’s Charles Rufus Morey book award in 2008 for Too Beautiful to Picture: Zeus, Myth, and Mimesis. (http://arthistory.as.nyu.edu/object/ElizabethMansfield.html)
The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.
| Foreword: A Short History of History of Modern Art | |
| The Art of Looking | |
| Experience and Interpretation | |
| A Book That Moves with the Times | |
| Preface | |
| What's New: Chapter-by-chapter revisions | |
| The Origins of Modern Art | |
| Source: Théophile Gautier, preface to Mademoiselle de Maupin (1835) | |
| Making Art and Artists: The Role of the Critic | |
| A Marketplace for Art | |
| Context: Modernity and Modernism the Modern Artist | |
| What Does It Mean to Be an Artist?: From Academic | |
| Emulation toward Romantic Originality | |
| Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism | |
| Technique: Printmaking Techniques | |
| History Painting | |
| Landscape Painting | |
| The Search for Truth: Early Photography, Realism, and Impressionism | |
| New Ways of Seeing: Photography and its Influence | |
| Technique: Daguerreotype versus Calotype | |
| Only the Truth: Realism | |
| France | |
| England | |
| Seizing the Moment: Impressionism and the Avant-Garde | |
| Manet and Whistler | |
| From Realism to Impressionism | |
| Nineteenth-Century Art in the United States | |
| Early American Artists and the Hudson River School | |
| New Styles and Techniques in Later Nineteenth- | |
| Source: Charles Baudelaire, from his "Salon of 1859" | |
| Century American Art | |
| Post-Impressionism | |
| The Poetic Science of Color: Seurat and the Neo-Impressionists | |
| Form and Nature: Paul Cézanne | |
| Early Career and Relation to Impressionism | |
| Later Career | |
| The Triumph of Imagination: Symbolism | |
| Reverie and Representation: Moreau, Puvis, and Redon | |
| The Naive Art of Henri Rousseau | |
| An Art Reborn: Rodin and Sculpture at the Fin-de-Siècle | |
| Early Career and The Gates of Hell | |
| The Burghers of Calais and Later Career | |
| Exploring New Possibilities: Claudel and Rosso | |
| Primitivism and the Avant-Garde: Gauguin and Van Gogh | |
| Gauguin | |
| Source: Paul Gauguin, from Noa Noa (1893) | |
| Van Gogh | |
| Source: Vincent van Gogh, from a letter to his brother Theo van Gogh, 6 August 1888 | |
| A New Generation of Prophets: The Nabis | |
| Vuillard and Bonnard | |
| Montmartre: At Home with the Avant-Garde | |
| The Origins of Modern Architecture and Design | |
| Safeguarding Culture: Revivalist Tendencies in Nineteenth-Century Architecture | |
| American Classicism | |
| European Eclecticism | |
| "A Return to Simplicity": The Arts and Crafts Movement and Experimental Architecture | |
| Experiments in Synthesis: Modernism beside the Hearth | |
| Palaces of Iron and Glass: The Influence of Industry | |
| Source: Joris-Karl Huysmans, from the review Le Fer, 1889 | |
| "Form Follows Function": The Chicago School and the Origins of the Skyscraper | |
| Source: Louis Sullivan, "The Tall Office Building Artistically Considered,"1896 | |
| Art Nouveau and the Beginnings of Expressionism | |
| With Beauty at the Reins of Industry: Aestheticism and Art Nouveau | |
| Natural Forms for the Machine Age: The Art Nouveau | |
| Aesthetic | |
| Painting and Graphic Art | |
| SOURCE: Sigmund Freud, from The Interpretation of Dreams, 1899 | |
| Architecture and Design | |
| Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France | |
| Scandinavia | |
| Northern and Central Europe | |
| The New Century: Experiments in Color and Form Fauvism | |
| "Purity of Means"in Practice: Henri Matisse's Early Career | |
| Earliest Works | |
| Matisse's Fauve Period | |
| SOURCE: Charles Baudelaire, Invitation to the Voyage, 1857 | |
| The Influence of African Art | |
| "Wild Beasts" | |
| Tamed: Derain, Vlaminck, and Dufy | |
| Religious Art for a Modern Age: Georges Rouault | |
| The Belle époque on Film: the Lumière Brothers and Lartigue | |
| Context: Early Motion Pictures | |
| Modernism on a Grand Scale: Matisse's Art after Fauvism | |
| Forms of the Essential: Constantin Brancusi | |
| Expressionism in Germany | |
| From Romanticism to Expressionism: Corinth and Modersohn-Becker | |
| SOURCE: Paula Modersohn-Becker, Letters and journal | |
| Spanning the Divide between Romanticism and Expressionism: Die Brücke | |
| Kirchner | |
| Technique: Woodcuts and Woodblock Prints | |
| Nolde | |
| Heckel, Müller, Pechstein, and Schmidt-Rottluff | |
| Die Brücke's Collapse | |
| The Spiritual Dimension: Der Blaue Reiter | |
| Kandinsky | |
| Münter | |
| Werefkin | |
| Marc | |
| Macke | |
| Jawlensky | |
| Klee | |
| Feininger | |
| Expressionist Sculpture | |
| Self-Examination: Expressionism in Austria | |
| Schiele | |
| Kokoschka | |
| Context: The German Empire | |
| Cubism | |
| Immersed in Tradition: Picasso's Early Career | |
| Barcelona and Madrid | |
| Blue and Rose Periods | |
| Context: Women as Patrons of the Avant-Garde | |
| Les Demoiselles d:Avignon | |
| Beyond Fauvism: Braque's Early Career | |
| "Two Mountain Climbers Roped Together": Braque, Picasso, and the Development of Cubism | |
| "Analytic Cubism,"1909-11 | |
| "Synthetic Cubism,"1912-14 | |
| Technique: Collage | |
| Constructed Spaces: Cubist Sculpture | |
| Braque and Picasso | |
| Archipenko | |
| Duchamp-Villon | |
| Lipchitz | |
| Laurens | |
| An Adaptable Idiom: Developments in Cubist Painting in Paris | |
| Gris | |
| Gleizes and Metzinger | |
| Léger | |
| Other Agendas: Orphism and Other Experimental Art in Paris, 1910-14 | |
| Duchamp | |
| Early Twentieth-Century Architecture | |
| Modernism in Harmony with Nature: Frank Lloyd | |
| Wright | |
| Early Houses | |
| The Larkin Building | |
| Mid-Career Crisis | |
| Temples for the Modern City: American Classicism 1900-15 | |
| New Simplicity Versus Art Nouveau: Vienna Before World War I | |
| Tradition and Innovation: The German Contribution to Modern Architecture | |
| Behrens and Industrial Design | |
| Context: The Human Machine: Modern Workspaces | |
| Expressionism in Architecture | |
| Toward the International Style: The Netherlands and Belgium | |
| Berlage and Van de Velde | |
| New Materials, New Visions: France in the Early | |
| Twentieth Century | |
| Technique: Modern Materials | |
| European Responses to Cubism | |
| Fantasy Through Abstraction: Chagall and the Metaphysical School | |
| Chagall | |
| De Chirico and the Metaphysical School | |
| "Running on Shrapnel": Futurism in Italy | |
| Source: Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism | |
| Balla | |
| Bragaglia | |
| Severini | |
| Carrà | |
| Boccioni | |
| Sant:Elia | |
| "Our Vortex is Not Afraid:" | |
| Wyndham Lewis and Vorticism | |
| Context: The Omega Workshops | |
| A World Ready for Change: The Avant-Garde in Russia | |
| Larionov, Goncharova, and Rayonism | |
| Popova and Cubo-Futurism | |
| Malevich and Suprematism | |
| El Lissitzky's Prouns | |
| Technique: Axonometry | |
| Kandinsky in the Early Soviet Period | |
| Utopian Visions: Russian Constructivism | |
| Innovations in Sculpture | |
| Tatlin | |
| Rodchenko | |
| Stepanova and Rozanova | |
| Pevsner, Gabo, and the Spread of Constructivism | |
| Picturing the Wasteland: Western Europe during World War I | |
| Context: The Art of Facial Prosthetics | |
| The World Turned Upside Down: The Birth of Dada | |
| The Cabaret Voltaire and Its Legacy Arp | |
| "Her Plumbing and Her Bridges": Dada Comes to America | |
| Duchamp's Early Career | |
| SOURCE: Anonymous (Marcel Duchamp), "The Richard Mutt Case" | |
| Duchamp's Later Career Picabia | |
| Man Ray and the American Avant-Garde | |
| "Art is Dead": Dada in Germany | |
| Hausmann, Höch, and Heartfield | |
| Schwitters Ernst | |
| Idealism and Disgust: The "New Objectivity"in Germany Grosz Dix | |
| The Photography of Sander and Renger-Patzsch Beckmann | |
| Context: Degenerate Art | |
| Art in France after World War I | |
| Eloquent Figuration: Les Maudits | |
| Modigliani | |
| Soutine | |
| Utrillo | |
| Dedication to Color: Matisse's Later Career | |
| Response to Cubism, 1914-16 | |
| Renewal of Coloristic Idiom, 1917-c. 1930 | |
| An Art of Essentials, c. 1930-54 | |
| Context: Matisse in Merion, Pennsylvania | |
| Celebrating the Good Life: Dufy's Later Career | |
| Eclectic Mastery: Picasso's Career after the War | |
| Parade and Theatrical Themes | |
| Context: Diaghilev's Ballets Russes | |
| Postwar Classicism | |
| Cubism Continued | |
| Sensuous Analysis: Braque's Later Career | |
| Austerity and Elegance: Léger, Le Corbusier, and Ozenfant | |
| Clarity, Certainty, and Order: de Stijl and the Pursuit of Geometric Abstraction | |
| The de Stijl Idea | |
| Source: De Stijl "Manifesto 1" (1918, published in de Stijl in 1922) | |
| Mondrian: Seeking the Spiritual Through the Rational | |
| Early Work | |
| Neoplasticism | |
| The Break with de Stijl Van Doesburg, de Stijl, and Elementarism | |
| De Stijl Realized: Sculpture and Architecture | |
| Vantongerloo | |
| Van :t Hoff and Oud | |
| Rietveld | |
| Van Eesteren | |
| Bauhaus and the Teaching of Modernism | |
| Audacious Lightness: The Architecture of Gropius | |
| The Building as Entity: The Bauhaus | |
| Source: Walter Gropius, from Bauhaus Manifesto (1919) | |
| Bauhaus Dessau | |
| The Vorkurs: Basis of the Bauhaus Curriculum | |
| Moholy-Nagy | |
| Josef Albers | |
| Klee | |
| Kandinsky | |
| Die Werkmeistern: Craft Masters at the Bauhaus | |
| Schlemmer | |
| Stölzl | |
| Breuer and Bayer | |
| Technique: Industry into Art into Industry | |
| "The Core from which Everything Emanates": International Constructivism and the Bauhaus Gabo | |
| Pevsner | |
| Baumeister | |
| From Bauhaus Dessau to Bauhaus U.S.A. | |
| Mies van der Rohe | |
| Bauhaus U.S.A. | |
| Surrealism and Its Discontents | |
| Context: Fetishism | |
| Breton and the Background to Surrealism | |
| The Two Strands of Surrealism | |
| Political Context and Membership | |
| Context: Trotsky and International Socialism between the Wars | |
| "Art is a Fruit": Arp's Later Career | |
| Hybrid Menageries: Ernst's Surrealist Techniques | |
| "Night, Music, and Stars": Mirá and Organic-;Abstract | |
| Surrealism | |
| Methodical Anarchy: André | |
| Masson | |
| Enigmatic Landscapes: Tanguy and Dalí | |
| Dalí | |
| Source: Georges Bataille, from The Cruel Practice of Art (1949) | |
| Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam | |
| Matta and Lam | |
| Women and Surrealism: Oppenheim, Cahun, Tanning, and Carrington | |
| Never Quite "One of Ours": Picasso and Surrealism | |
| Painting and Graphic Art, mid-1920s to 1930s | |
| Guernica and Related Works | |
| Sculpture, late 1920s to 1940s | |
| Pioneer of a New Iron Age: Julio González | |
| Surrealism's Sculptural Language: Giacometti's Early Career | |
| Surrealist Sculpture in Britain: Moore | |
| Bizarre Juxtapositions: Photography and Surrealism | |
| Atget's Paris | |
| Man Ray, Kertész, Tabard, and the Manipulated Image | |
| The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson | |
| An English Perspective: Brandt | |
| American Art Before World War II | |
| America Undisguised: The Eight and Social Criticism | |
| Henri, Sloan, Prendergast, and Bellows | |
| Source: Walt Whitman, first stanza of Crossing Brooklyn Ferry (1856) | |
| Two Photographers: Riis and Hine Brooks | |
| A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle | |
| Stieglitz and Steichen | |
| Technique: Style through Medium, Photogravure and Gelatin-Silver Prints | |
| Weber, Hartley, Marin, and Dove O: Keeffe | |
| Straight Photography: Strand, Cunningham, and Adams | |
| Coming to America: The Armory Show | |
| Sharpening the Focus on Color and Form: Synchromism and Precisionism | |
| Synchromism | |
| Precisionism | |
| The Harlem Renaissance | |
| Painting the American Scene: Regionalists and Social | |
| Realists | |
| Benton, Wood, Hopper | |
| Grandma Moses and Horace Pippin | |
| Bishop, Shahn and Blume | |
| Context: The Sacco and Vanzetti Trial | |
| Documents of an Era: American Photographers Between the Wars | |
| Social Protest and Personal Pain: Mexican Artists | |
| Rivera | |
| Orozco | |
| Siqueiros | |
| Kahlo | |
| Tamayo | |
| Modotti's Photography in Mexico | |
| The Avant-Garde Advances: Toward American Abstract Art | |
| Exhibitions and Contact with Europe | |
| Davis | |
| Diller and Pereira | |
| Avery and Tack | |
| Sculpture in America Between the Wars | |
| Lachaise and Nadelman | |
| Storrs and Roszak | |
| Calder | |
| Abstract Expressionism and the New American Sculpture | |
| Context: Artists and Cultural Activism | |
| Mondrian in New York: The Tempo of the Metropolis | |
| Entering a New Arena: Modes of Abstract Expressionism | |
| Source: Clement Greenberg, from Modernist Painting (first published in 1960) | |
| The Picture as Event: Experiments in Gestural Painting | |
| Hofmann | |
| Gorky | |
| Willem de Kooning | |
| Pollock | |
| Source: Harold Rosenberg, from The American Action Painters (first published in 1952) | |
| Krasner | |
| Kline | |
| Tomlin and Tobey | |
| Guston | |
| Elaine de Kooning and Grace Hartigan | |
| Complex Simplicities: Color Field Painting | |
| Rothko | |
| Newman | |
| Still | |
| Reinhardt | |
| Gottlieb | |
| Motherwell | |
| Baziotes | |
| Drawing in Steel: Constructed Sculpture | |
| Smith and Dehner | |
| Di Suvero and Chamberlain | |
| Textures of the Surreal: Biomorphic Sculpture and Assemblage | |
| Noguchi | |
| Bourgeois | |
| Cornell | |
| Nevelson | |
| Expressive Vision: Developments in American Photography | |
| Capa and Miller | |
| White, Siskind, Porter, and Callahan | |
| Levitt and DeCarava | |
| Postwar European Art | |
| Context: Samuel Beckett and the Theatre of the Absurd | |
| Revaluations and Violations: Figurative Art in France | |
| Picasso | |
| Giacometti | |
| Richier | |
| Balthus | |
| Dubuffet | |
| A Different Art: Abstraction in France | |
| Fautrier, Van Velde, Hartung, and Soulages | |
| Wols, Mathieu, Riopelle, and Vieira da Silva | |
| De Staë;l | |
| "Pure Creation": Concrete Art | |
| Bill and Lohse | |
| Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain | |
| Morandi | |
| Marini and Manzù | |
| Afro | |
| Fontana | |
| Source: Lucio Fontana, from The White Manifesto (1946) | |
| Burri | |
| Tàpies | |
| "Forget It and Start Again": The CoBrA Artists and Hundertwasser | |
| Jorn | |
| Appel | |
| Alechinsky | |
| Hundertwasser | |
| Figures in the Landscape: British Painting and Sculpture | |
| Bacon | |
| Sutherland | |
| Freud | |
| Moore | |
| Hepworth | |
| Marvels of Daily Life: European Photographers | |
| Bischof | |
| Sudek | |
| Doisneau | |
| Nouveau Réalisme and Pop Art | |
| Context: The Marshall Plan and the "Marilyn Monroe Doctrine" | |
| "Extroversion is the Rule": Europe's New Realism | |
| Klein | |
| Tinguely and Saint-Phalle | |
| Arman | |
| César | |
| Raysse | |
| Christo and Jeanne-Claude | |
| Rotella, Manzoni and Broodthaers | |
| "This is Tomorrow": Pop Art in Britain | |
| Hamilton and Paolozzi | |
| Blake and Kitaj | |
| Hockney | |
| Signs of the Times: Pop Art in the United States | |
| Rauschenberg | |
| Johns | |
| Getting Closer to Life: Happenings and Environments | |
| Kaprow, Grooms, and Early Happenings | |
| Segal | |
| Oldenburg | |
| "Just Look at the Surface": The Imagery of Everyday Life | |
| Dine | |
| Samaras and Artschwager | |
| Rivers | |
| Lichtenstein | |
| Warhol | |
| Technique: Screenprinting | |
| Rosenquist, Wesselmann, and Indiana Lindner, Marisol, Sister Corita | |
| Poetics of the "New Gomorrah": West Coast Artists | |
| Thiebaud | |
| Kienholz | |
| Jess | |
| Ruscha | |
| Jiménez | |
| Personal Documentaries: The Snapshot Aesthetic in American Photography | |
| Playing by the Rules: Sixties Abstraction | |
| Drawing the Veil: Post Painterly Abstraction | |
| Source: Clement Greenberg, from Post Painterly Abstraction (1964) | |
| Francis and Mitchell | |
| Frankenthaler, Louis, and Olitski | |
| Poons | |
| At an Oblique Angle: Diebenkorn and Twombly | |
| Forming the Unit: Hard-Edge Painting | |
| Seeing Things: Op Art | |
| Vasarely | |
| Riley and Anuszkiewicz | |
| New Media Mobilized: Motion and Light | |
| Mobiles and Kinetic Art | |
| Artists Working with Light | |
| The Limits of Modernism: Minimalism | |
| Caro | |
| Stella | |
| Smith, Judd, Bladen, and Morris | |
| SOURCE: Tony Smith, from a 1966 Interview in Artforum | |
| LeWitt, Andre, and Serra | |
| Technique: Minimalist Materials: Cor-Ten Steel | |
| Minimalist Painters | |
| Complex Unities: Photography and Minimalism | |
| Modernism in Architecture at Mid-Century | |
| "The Quiet Unbroken Wave": The Later Work of Wright and Le Corbusier | |
| Wright During the 1930s | |
| Le Corbusier | |
| Purity and Proportion: The International Style in America | |
| The Influence of Gropius and Mies van der Rohe | |
| Skyscrapers | |
| Domestic Architecture | |
| Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia | |
| Finland | |
| Great Britain | |
| France | |
| Germany and Italy | |
| Latin America, Australia, and Japan | |
| Breaking the Mold: Experimental Housing | |
| Context: Women in Architecture | |
| Arenas for Innovation: Major Public Projects | |
| Cultural Centers, Theaters, and Museums in America | |
| Urban Planning and Airports | |
| Architecture and Engineering | |
| Technique: The Dymaxion House | |
| Conceptualism and Activist Art | |
| Art as Language | |
| Art & Language, Kosuth | |
| Context: Semiotics | |
| Weiner, Huebler, Barry | |
| Keeping Time: Baldessari, Kawara, Darboven | |
| Conceptual Art as Cultural Critique | |
| Haacke, Asher | |
| Lawler, Wilson | |
| Buren | |
| Extended Arenas: Performance Art and Video | |
| Fluxus | |
| Context: The Situationists | |
| Beuys | |
| The Medium Is the Message: Early Video Art | |
| Paik | |
| Nauman | |
| Campus' | |
| Video Art | |
| When Art Becomes Artist: Body Art | |
| Schneemann, Wilke | |
| Mendieta | |
| Acconci | |
| Burden | |
| Gilbert and George, Anderson, and Horn | |
| Radical Alternatives: Feminist Art | |
| The Feminist Arts Program | |
| Erasing the Boundaries between Art and Life: Later | |
| Feminist Art | |
| Kelly | |
| Guerrilla Girls | |
| Antoni | |
| Invisible to Visible: Art and Racial Politics | |
| OBAC, Afri-COBRA, and SPARC | |
| Ringgold and Folk Traditions | |
| Social and Political Critique: Hammons, Colescott | |
| The Concept of Race: Piper | |
| Post-Minimalism | |
| Big Outdoors: Earthworks and Land Art | |
| Context: Environmentalism | |
| Monumental Works | |
| Source: Robert Smithson, from "Cultural Confinement," | |
| originally published in Artforum (1972) | |
| Landscape as Experience | |
| Abakanowicz's Site-Specific Sculpture | |
| Visible Statements: Monuments and Public Sculpture | |
| Metaphors for Life: Process Art | |
| Arte Povera: Merz, Kounellis | |
| Body of Evidence: Figurative Art | |
| Traditional Realism | |
| Photorealism | |
| Hanson's Superrealist Sculpture | |
| Stylized Naturalism | |
| Animated Surfaces: Pattern and Decoration | |
| Figure and Ambiguity: New Image Art | |
| Rothenberg and Moskowitz | |
| Sultan and Jenney | |
| Borofsky and Bartlett | |
| Chicago Imagists: Nutt and Paschke | |
| Steir | |
| New Image Sculptors: Shapiro and Flanagan | |
| Postmodernism | |
| Poststructuralism | |
| Postmodernism in Architecture | |
| "Complexity and Contradiction": The Reaction Against | |
| Modernism Sets In Source: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972) | |
| In Praise of "Messy Vitality": Postmodernist Eclecticism | |
| Venturi, Rauch, and Scott Brown, and Moore | |
| Hollein, Stern, and Isozaki | |
| Ironic Grandeur: Postmodern Architecture and History | |
| Johnson | |
| Stirling, Jahn, Armajani, and Foster | |
| Pei and Freed | |
| Ando and Pelli | |
| What Is a Building?: Deconstruction | |
| Context: Deconstruction versus Deconstructivism | |
| Structure as Metaphor: Architectural Abstractions | |
| Flexible Spaces: Architecture and Urbanism | |
| Plater-Zyberk and Duany | |
| Koolhaas and the OMA | |
| Postmodern Practices: Breaking Art History | |
| Appropriation: Kruger, Levine, Prince, and Sherman Kruger | |
| Holzer, McCollum, and Tansey | |
| Painting through History | |
| Primal Passions: Neo-Expressionism | |
| German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff | |
| Polke, Richter, and Kiefer | |
| SOURCE: Gerhard Richter, from "Notes 1964-;1965" | |
| Italian Neo-Expressionism: Clemente, Chia, and Cucchi | |
| Technique: Choosing Media | |
| American Neo-Expressionism: Schnabel, Salle, and Fischl | |
| Regarding Representation: Painting and Photography in the 1980s | |
| Longo | |
| The Starns | |
| Gilbert and George | |
| Searing Statements: Painting as Social Conscience | |
| Golub and Spero | |
| Coe and Applebroog | |
| In the Empire of Signs: Neo-Geo | |
| Neo-Geo Abstraction: Halley and Bleckner | |
| The Sum of Many Parts: Abstraction in the 1980s | |
| Murray | |
| Winters | |
| Taaffe | |
| Scully | |
| Wall of Fame: Graffiti and Cartoon Artists | |
| Haring, Basquiat | |
| Wojnarowicz and Wong | |
| Rollins and KOS | |
| Painting Art History | |
| Currin, Yuskavage | |
| Contemporary Art and the Renegotiation of Modernism | |
| Context: National Endowment for the Arts | |
| Context: International Art Exhibitions | |
| Commodity Art | |
| Postmodern Arenas: Installation Art | |
| CoLab, Ahearn, Osorio | |
| Kabakov | |
| Viola | |
| Strangely Familiar: British and American Sculpture | |
| Reprise and Reinterpretation: Art History as Art | |
| Meeting Points: Exploring a Postmodern Abstraction | |
| Contemporary Art and Globalization | |
| Context: Modern Art Exhibitions and Postcolonialism | |
| Lines That Define Us: Locating and Crossing Borders | |
| Art and the Expression of Culture | |
| Growing into Identity | |
| Identity as Place | |
| Skin Deep: Identity and the Body | |
| Body as Self | |
| Filming the Body | |
| The Absent Body | |
| The Art of Biography | |
| Globalization and Arts Institutions | |
| Interventions in the Global Museum | |
| Designing a Global Museum | |
| Context: Avant-tainment | |
| Context: Pritzker Prize | |
| Glossary | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
What is included with this book?
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
Please wait while the item is added to your bag...
