Takes the po mo leftist party line to the point of overbearance, but a solid guide to the major figures and movements of the past century. Not exactly light reading, this panoply of scholarly texts is divided into two major time periods, 20th century pre and post war, with roundtable discussions after each by the authors, and is bookended by a superb introduction and a very selective glossary It s not exactly a narrative non fiction either, as one can easily move around to whichever chapter suits their fancy and the readings are theoretically driven, but it was great to read cover to cover this view of art history Having done so, I now feel that art is one of the best, if not THE best, stories that can be told Much of my own critical writing, including The Sublime Parody and the Transconceptual Manifesto , come out of what once was a hack research oriented approach to artmaking involving the writings of the writers in this circle, starting in the late 2000 s with Nicholas Cullinan s From Vietnam to Fiat nam The Politics of Arte Povera and an assortment of slapdash readings in another popular compendium, Art In Theory 1900 2000 An Anthology of Changing Ideas Little did I know that the work fueled by the concepts of these prior texts and of course experiences of looking at art would become a topographical schema hellbent on a restructuration of post riot 9 11 Obama presidency internet dynamics, akin to Joseph Beuy s social sculpture but recuperated by either a consumer capitalist society at large or a marginalized art world academic, commercial gallery, museum, etc already advancing a capitalist agenda towards a period of a mosaic fractal themes and meta themes, akin to memes but with interwoven thematic superstructures These themes themselves are workable mediums and meta mediums, a reworking of the meaning of medium through which choice intersubjective exchanges and the discursivity surrounding them form a cohesive artistic movement perhaps best described as Ribaldry It is not a new medium at all that defines this movement, but in fact, a new kind of Artist, the Spartist half technologically soft engineered and half crowd sourfed non physical human is the logical extension of the 20th century robot cyborg automaton He, or she, or wother, or it is a shapeless telematic organism whose intelligent design incorporates decolonization strategies that are contradictorily espousing modernist claiming of proto spirituality in the guise of diction and or piction in maintaining a type fictional topological no mans land, the extension of an outdated global village concept S A friend of mine who is an art history professor recently recommended this one as the best guide to modern art Now, I do despise nearly all modern art, but back when I was in college I did enjoy reading Art News the way some people enjoy watching horror movies No he s not going to pick up the hitchhiker with the crazy eyes, is he HE DID No he s not going to pay 12 million for a shark some dude poured formaldehyde over, is he HE DID I pity the unfortunate student who is assigned this textbook for class The writing in this book is anti student, as if they were not stressed out enough. I m absolutely obsessed with this book Anyone with a love for modern art should purchase it It s well organized and get be read at a leisurely pace Beautiful images, insightful commentary I would definitely recommend the two volume format. Students of art history must have this book It contains great reference material, is a great starting point for paper topics, has great summaries of famous people, is simply a beautiful book with beautiful illustrations and interesting writing though I could do without the slightly masturbatory roundtable transcript A very well done pile of art historical puzzle pieces rather than an attempt at rigid chronology, this enjoyable if often biased postmodernist agenda driven book should not be one s ONLY art history guide, but it should be respectfully consulted. In This Groundbreaking And Original Work Of Scholarship, Four Of The Most Influential And Provocative Art Historians Of Our Time Have Come Together To Provide A Comprehensive History Of Art In The th And s Centuries, An Age When Artists Have Sought Constantly To Overturn The Traditions Of The Past And Expectations Of The Present In Order To Invent New Practices And Forms Adopting An Innovative Year By Year Approach, Foster, Krauss, Bois And Buchloh Present Than One Hundred Short Essays, Each Focusing On A Crucial Event Such As The Creation Of A Seminal Work, The Publication Of An Artistic Manifesto, Or The Opening Of A Major Exhibition To Tell The Story Of The Dazzling Diversity Of Practice And Interpretation That Characterized The Art Of The Period Are Explored In Depth, As Are The Frequent And Sustained Antimodernist Reactions That Proposed Alternative Visions Of Art And The World Illustrating The Authors Fine Texts Are Than Six Hundred Of The Most Important Works Of The Century, Most Reproduced In Full Colour The Book S Flexible Structure And Extensive Cross Referencing Allow Readers To Plot Their Own Course Through The Book And To Follow Any One Of The Many Narratives That Unfold Through The Century, Whether That Be The History Of A Medium Such As Photography Or Painting, The Development Of Art In A Particular Country, The Influence Of A Movement Such As Surrealism Or Feminism, Or The Emergence Of A Stylistic Or Conceptual Category Like Abstraction Or Minimalism And Issues Surrounding The Art In Their Perceptive Introductions, The Four Authors Set Out And Explain The Different Methods Of Art History At Work In The Book, Providing The Reader With The Conceptual Tools To Further His Or Her Own Study Two Roundtable Discussions One At Mid Century, The Other At The Close Of The Book Consider Some Of The Questions Raised By The Preceding Decades And Look Ahead To The Art Of The Future A Glossary Of Terms And Concepts Completes This Extraordinary Volume a solid overview, for sure i appreciate the aesthetics of the layout, it s a beautiful series i have some qualms with the chronological structure and the theoretical camps of the authors themselves, but still worthwhile. Read it for my art history course No fault of the book, I just don t like art history. most of my last yr has been reading this book excellent, skewed, and trendy what any contemporary art history book should be.
Hal Foster is a Professor of Art and Archaeology at Princeton University specializing in 20th century art Note for the comic book artist, see
- 704 pages
- Art Since 1900: Modernism, Antimodernism, Postmodernism
- Hal Foster
- 06 January 2018 Hal Foster