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A landmark in art history and the most anticipated art publishing event of the new millennium.
Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 100 short essays, each focusing on a crucial event―the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition―to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' texts are more than 600 of the most important works of the century, many reproduced in full color.
The book's flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues.
In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. Two roundtable discussions ―one at midcentury, the other at the close of the book―consider the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.
600 illustrations, 400 in color
- Sales Rank: #150109 in Books
- Brand: Brand: Thames and Hudson
- Published on: 2005-03-17
- Original language: English
- Number of items: 1
- Dimensions: 10.90" h x 1.20" w x 8.60" l, 3.69 pounds
- Binding: Paperback
- 424 pages
- Used Book in Good Condition
Amazon.com Review
Here's an exceptional rarity: a large, sweeping art history text book so well-done it almost makes the reader wish she or he were back in school. It's rather amazing that it took so long for a book like Art Since 1900: Modernism, Antimodernism, and Postmodernism to exist: a balanced, seven hundred page historical tome written with multiple perspectives in mind. As any undergrad knows, H.W. Janson's ubiquitous History of Art was written as if art history were some sort of race to colonize ideas and imagery; you'll likely not miss Janson's fetish for pointing out who did what first. Penned by a nimble crew who all teach at Ivy League universities, Art Since 1900, which mirrors the development of psychoanalysis and the creation of a huge international art scene, is on a smaller scale a history of contemporary theory and the art world almost as much as it is the art itself. Attention is paid throughout to important exhibits and texts, pointing out the rippling effect throughout the art community of these mirrors and portals. The book is arranged so that there are one or two essays per year. In such a novel format, often undervalued movements are given as much respect as Cubism and Minimalism. There are entire chapters here on Fluxus, feminist art, the Assemblage movement, Lettrism, the Independent Group, Gutai, Kineticism, the Harlem Renaissance, Aktionism, earthworks, video art, and the aesthetics of ACT UP. As with any history, there are personalities whose works are emphasized over that of others; the scant attention given to Jean-Michel Basquiat, for instance, is a rather large question mark. Quibbles aside, it's a very important, and nearly immaculate, work. --Mike McGonigal
Images from Art Since 1900
From Publishers Weekly
This history, coming soon to a college survey class near you, is like the period of art it covers: as often obscure and frustrating as it is dazzling and insightful. The authors, four prominent art history professors, offer a work that is beyond reproach with regard to thoroughness and accuracy but, despite the rich pageant of ideas on parade, they rarely illuminate their subject with even the faintest spark of excitement. Art is presented as a series of problems (the problem of figuration, the problem of post-colonialism, the problem of history), as if the ideas behind art were interchangeable with art itself. Painter Paul Gauguin, for example, is dissected solely in terms of his ill-conceived notions of the primitive purity of non-Western cultures, which is a bit like judging a fine meal only by its cholesterol content. The book's rigorously academic prose often sounds like a debate the reader has happened into the middle of: e.g., "Any attempt to transform autonomy into a transhistorical, if not ontological precondition of aesthetic experience, however, is profoundly problematic." Despite these defects, the volume manages to be fast moving thanks to its snappy format-107 short chapters, each broken up by subheadings, illustrations and sidebars-and it cannot fail to impress through the sheer vigor and profusion of the ideas on display, from Cubism to Chris Burden. Indeed, the book is a kind of intellectual tilt-a-whirl, with no comforting H.W. Janson-style master narrative at its center. The authors leave their own authority in deconstructed shards in the first paragraph of the introduction, which invites readers to arrange the book's "puzzle pieces" according to individual need. It may be a lively ride to those already familiar with its terms, but to the uninitiated, this book will likely remain a series of broken conversations.
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
About the Author
Hal Foster is Townsend Martin Professor of Art and Archaeology at Princeton University. A co-editor of October magazine and books, he is the editor of The Anti-Aesthetic, and the author of Design and Crime, Recording, The Return of the Real, Compulsive Beauty and The Art-Architecture Complex.
Rosalind Krauss is University Professor of Modern Art and Theory at Columbia University.
Yve-Alain Bois is an author and professor of Art History at the Institute for Advanced Study, Princeton, New Jersey.
Benjamin H. D. Buchloh is the Andrew W. Mellon Professor of Modern Art at Harvard University.
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22 of 24 people found the following review helpful.
What's New
By Benjamin Lima
The publishers don't make it easy to see what's new in the second edition. Based on my initial examination, there is:
* "1949b" (Foster) on CoBRA and the New Brutalists
* "1962d" (Krauss) on Greenberg, abstraction and Pop
* "2007a" (Krauss) on Christian Marclay, Sophie Calle, William Kentridge, and the post-medium condition, with box on Brian O'Doherty and the white cube
* "2007c" (Foster) on Damien Hirst
* "2009a" (Joselit) on Tania Bruguera and Our Literal Speed
* "2009b" (Joselit) on Jutta Koether, Wade Guyton, R. H. Quaytman among others, transitive painting and "Painting Beside Itself"
* "2009c" (Joselit) on Harun Farocki, video games and modern war
* "2010a" (Joselit) on Ai Weiwei, Tate Modern and China
* "2010b" (Joselit) on Claire Fontaine and the avatar
21 of 24 people found the following review helpful.
here come the grownups
By J. Smith
Art Since 1900 probably shouldn't be read by artists, younger ones at least. Here is where all your sincerity, all your peer support, all your sudden joy in thinking you've finally got it right this time, goes to die, splattered like meaningless bracken against the wall of Context, of History. Probably what's enraged so many people so much about this book is that its authors, scholars of 20th century art if there ever were any, aren't in the least afraid to make judgements, to call a bad idea a bad idea, to explore the limits of an artwork's relevance to the question: can art still matter? The criticisms of the book all seem to want to posit some grand democracy of artistic endeavor, or better still an anarchy, all the while ignoring the fact that we've already gone past the point of anarchy and moved into pure spectacle, which can only exist within the disavowal of history, and of judgement. Utopia's already here, but this book wants to mean more than that. Ultimately its message seems to be, simply: not making crap takes hard work. Read it and suffer.
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