books:

	Art Since 1900: Modernism, Antimodernism, Postmodernism Hal Foster, Rosalind Krauss, ... Thames & Hudson, 2005 - 688 pages average customer review:based on 21 reviews view larger image
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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 twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms.

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.

The contributors: Yve-Alain Bois, Harvard University Benjamin Buchloh, Barnard College Hal Foster, Princeton University Rosalind Krauss, Columbia University

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Great Survey

Forget Gardener, these four giants of art history compile an international picture. Each year is represented by an article. One can read the book chronologically, topically, or by author. If you have to read a survey of art history, this is it.


here come the grownups

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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better than Sudoku!

Ok, parts of this book, especially the first few chapters, are really, really hard. But if you slow down enough, you can sometimes figure out what the author(s) are saying. Some of it is clearly written, so there must be at least one writer on board who can write for the educated masses.

This book does deal with a lot of issues that are important to contemporary visual artists, especially in the second half of the book. The roundtable discussion at the end is worth the price of admission alone.

The reproductions are really good.

I taught art history for a couple of years, and I would love to teach a class using this book. It raises a lot of issues that would be fun to talk about in a seminar. I wish I had had it when I was in graduate school in photography.

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Pretentious writing makes this a tedious read

I was initially excited about this book because of its sleek design and because it seemed to have a lot of information, including a good variety of art images, but then I began to actually read the sections for class. The writers of this book seem to make it difficult to understand just to make themselves sound smart. There is good analysis in the readings, I just think that it could be written much clearer so that you don't have to read it over and over just to understand one concept. There are also a lot of references that the writers assume you will know, so I wouldn't recommend this to someone who is new at art history.

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reviews: page 1, 2, 3, 4, 5

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modernism

	The Norton Anthology of Modern and Contemporary Poetry Naive: Modernism and Folklore in Contemporary Graphic Design Art on the Edge and Over: Searching for Art's Meaning in Contemporary ... Art Since 1900: Modernism, Antimodernism, Postmodernism, Vol. 1: ... Readings in Social Theory: The Classic Tradition to Post-Modernism

since

	The Making of the West: Peoples and Cultures, Vol. 2: Since 1500 Major Problems in American History, Volume II: Since 1865 Discovering the American Past: A Look at the Evidence, Vol. 2: Since ... Modern Architecture Since 1900 Worlds of History: A Comparative Reader, Volume Two: Since 1400