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دسته بندی: هنر ویرایش: 7 نویسندگان: H. H. Arnason, Elizabeth C. Mansfield سری: ISBN (شابک) : 0205259472, 9780205259472 ناشر: Pearson سال نشر: 2012 تعداد صفحات: 835 زبان: English فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود) حجم فایل: 146 مگابایت
کلمات کلیدی مربوط به کتاب تاریخ هنر مدرن: تاریخ، تاریخ و نقد، هنر و عکاسی، تاریخ هنر، علوم انسانی، کتاب های درسی جدید، مستعمل و اجاره ای، بوتیک تخصصی
در صورت تبدیل فایل کتاب History of Modern Art به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.
توجه داشته باشید کتاب تاریخ هنر مدرن نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.
مروری جامع - در قالبهای دیجیتال و چاپی موجود است تاریخچه هنر مدرن یک مرور کلی بصری از حوزه هنر مدرن است. روندها و تأثیرات در نقاشی، مجسمه سازی، عکاسی و معماری را از اواسط قرن نوزدهم تا به امروز دنبال می کند. ویرایش هفتم بحث های خود را در مورد شرایط اجتماعی که بر تولید و استقبال از هنر مدرن و معاصر تأثیر گذاشته است عمیق می کند. اهداف یادگیری پس از تکمیل این کتاب، خوانندگان باید بتوانند: ریشه های هنر مدرن را درک کنید ارائه تحلیلی از آثار هنری بر اساس عناصر رسمی و زمینه ای تأثیر شرایط اجتماعی بر هنر مدرن را بشناسید
A Comprehensive Overview — available in digital and print formats History of Modern Art is a visual comprehensive overview of the modern art field. It traces the trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. The seventh edition deepens its discussions on social conditions that have affected the production and reception of modern and contemporary art. Learning Goals Upon completing this book, readers should be able to: Understand the origins of modern art Provide an analysis of artworks based on formal and contextual elements Recognize the influences of social conditions on modern art
Preface xii Acknowledgments xiii Why Use this Seventh Edition xiv Chapter-by-chapter Revisions xiv 1 The Origins of Modern Art 1 SOURCE: Théophile Gautier, Preface to Mademoiselle de Maupin (1835) 2 Making Art and Artists: The Role of the Critic 2 A Marketplace for Art 3 CONTEXT: Modernity and Modernism 3 The Modern Artist 3 What Does It Mean to Be an Artist?: From Academic Emulation toward Romantic Originality 4 Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism 5 History Painting 6 TECHNIQUE : Printmaking Techniques 6 Landscape Painting 9 2 The Search for Truth: Early Photography, Realism, and Impressionism 14 New Ways of Seeing: Photography and its InfluenceTECHNIQUE : Daguerreotype versus Calotype 15 Only the Truth: Realism 20 France 20 England 22 Seizing the Moment: Impressionism and the Avant-Garde 24 Manet and Whistler 24 From Realism to Impressionism 28 Nineteenth-Century Art in the United States 36 SOURCE: Charles Baudelaire, from his “Salon of 1859” 36 Later Nineteenth-Century American Art 37 14 3 Post-Impressionism42 The Poetic Science of Color: Seurat and the Neo-Impressionists 43 Form and Nature: Paul Cézanne 45 Early Career and Relation to Impressionism 46 Later Career 48 The Triumph of Imagination: Symbolism 50 Reverie and Representation: Moreau, Puvis, and Redon 50 The Naive Art of Henri Rousseau 52 An Art Reborn: Rodin and Sculpture at the Fin de Siècle 53 Early Career and The Gates of Hell 54 The Burghers of Calais and Later Career 56 Exploring New Possibilities: Claudel and Rosso 58 Primitivism and the Avant-Garde: Gauguin and Van Gogh 59 Gauguin 59 SOURCE : Paul Gauguin, from Noa Noa (1893) 61 Van Gogh 62 SOURCE : Vincent van Gogh, from a letter to his brother Theo van Gogh, August 6, 1888 62 A New Generation of Prophets: The Nabis 64 Vuillard and Bonnard 65 Montmartre: At Home with the Avant-Garde 67 4 Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism 70 “A Return to Simplicity”: The Arts and Crafts Movement and Experimental Architecture 70 Experiments in Synthesis: Modernism beside the Hearth 72 SOURCE : Walter Pater, from the Conclusion to Studies in the History of the Renaissance (1873) 74 With Beauty at the Reins of Industry: Aestheticism and Art Nouveau 74 Natural Forms for the Machine Age: The Art Nouveau Aesthetic 76 Painting and Graphic Art 76 SOURCE : Sigmund Freud, from The Interpretation of Dreams (1899) 78 Art Nouveau Architecture and Design 79 Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France 84 Scandinavia 84 Northern and Central Europe 87 5 The New Century: Experiments in Color and Form 90 Fauvism 90 “Purity of Means” in Practice: Henri Matisse’s Early Career 91 Earliest Works 91 Matisse’s Fauve Period 92 SOURCE : Charles Baudelaire, Invitation to the Voyage (1857) 93 The Influence of African Art 97 “Wild Beasts” Tamed: Derain, Vlaminck, and Dufy 99 Religious Art for a Modern Age: Georges Rouault 101 The Belle Époque on Film: The Lumière Brothers and Lartigue 102 CONTEXT: Early Motion Pictures 102 Modernism on a Grand Scale: Matisse’s Art after Fauvism 103 Forms of the Essential: Constantin Brancusi 106 6 Expressionism in Germany and Austria 111 From Romanticism to Expressionism: Corinth and Modersohn-Becker 112 SOURCE : Paula Modersohn-Becker, Letters and Journal 113 Spanning the Divide between Romanticism and Expressionism: Die Brücke 114 Kirchner 114 TECHNIQUE : Woodcuts and Woodblock Prints 117 Nolde 117 Heckel, Müller, Pechstein, and Schmidt-Rottluff 118 Die Brücke’s Collapse 121 The Spiritual Dimension: Der Blaue Reiter 121 Kandinsky 122 Münter 124 Werefkin 125 Marc 126 Macke 127 Jawlensky 128 Klee 128 Feininger 129 Expressionist Sculpture 130 Self-Examination: Expressionism in Austria 132 Schiele 132 Kokoschka 133 CONTEXT: The German Empire 134 7 Cubism136 Immersed in Tradition: Picasso’s Early Career 137 Barcelona and Madrid 137 Blue and Rose Periods 137 CONTEXT: Women as Patrons of the Avant-Garde 140 Les Demoiselles d’Avignon 142 Beyond Fauvism: Braque’s Early Career 144 “Two Mountain Climbers Roped Together”: Braque, Picasso, and the Development of Cubism 146 Analytic Cubism, 1909–11 147 Synthetic Cubism, 1912–14 152 TECHNIQUE : Collage 152 Constructed Spaces: Cubist Sculpture 155 Braque and Picasso 155 Archipenko 157 Duchamp-Villon 158 Lipchitz 158 Laurens 159 An Adaptable Idiom: Developments in Cubist Painting in Paris 160 Gris 160 Gleizes and Metzinger 162 Léger 163 Other Agendas: Orphism and Other Experimental Art in Paris, 1910–14 163 Duchamp 166 8 Early Modern Architecture 169 “Form Follows Function”: The Chicago School and the Origins of the Skyscraper 169 SOURCE : Louis Sullivan, “The Tall Office Building Artistically Considered” (1896) 172 Modernism in Harmony with Nature: Frank Lloyd Wright 172 Early Houses 173 The Larkin Building 175 Mid-Career Crisis 176 Temples for the Modern City: American Classicism 1900–15 176 New Simplicity Versus Art Nouveau: Vienna Before World War I 177 Tradition and Innovation: The German Contribution to Modern Architecture 179 Behrens and Industrial Design 180 CONTEXT: The Human Machine: Modern Workspaces 180 Expressionism in Architecture 181 Toward the International Style: The Netherlands and Belgium 183 Berlage and Van de Velde 183 TECHNIQUE : Modern Materials 184 New Materials, New Visions: France in the Early Twentieth Century 184 9 European Art after Cubism 186 Fantasy Through Abstraction: Chagall and the Metaphysical School 186 Chagall 187 De Chirico and the Metaphysical School 188 “Running on Shrapnel”: Futurism in Italy 189 SOURCE : Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism 189 Balla 191 Bragaglia 192 Severini 192 Carrà 194 Boccioni 194 Sant’Elia 196 “Our Vortex is Not Afraid”: Wyndham Lewis and Vorticism 197 CONTEXT : The Omega Workshops 197 A World Ready for Change: The Avant-Garde in Russia 198 Larionov, Goncharova, and Rayonism 199 Popova and Cubo-Futurism 200 Malevich and Suprematism 202 El Lissitzky’s Prouns 204 TECHNIQUE: Axonometry 204 Kandinsky in the Early Soviet Period 205 Utopian Visions: Russian Constructivism 207 Innovations in Sculpture 207 Tatlin 207 Rodchenko 209 Stepanova and Rozanova 210 Pevsner, Gabo, and the Spread of Constructivism 211 10 Picturing the Wasteland: Western Europe during World War I 213 CONTEXT : The Art of Facial Prosthetics 213 The World Turned Upside Down: The Birth of Dada 214 The Cabaret Voltaire and Its Legacy 214 Arp 216 “Her Plumbing and Her Bridges”: Dada Comes to America 218 Duchamp’s Early Career 219 SOURCE : Anonymous (Marcel Duchamp), “The Richard Mutt Case” 221 Duchamp’s Later Career 222 Picabia 225 Man Ray and the American Avant-Garde 226 “Art is Dead”: Dada in Germany 227 Hausmann, Höch, and Heartfield 228 Schwitters 230 Ernst 231 Idealism and Disgust: The “New Objectivity” in Germany 233 Grosz 235 Dix 236 The Photography of Sander and Renger-Patzsch 238 Beckmann 238 CONTEXT : Degenerate Art 240 11 Art in France after World War I 242 Eloquent Figuration: Les Maudits 242 Modigliani 242 Soutine 243 Utrillo 245 Dedication to Color: Matisse’s Later Career 246 Response to Cubism, 1914–16 246 Renewal of Coloristic Idiom, 1917–c. 1930 247 An Art of Essentials, c. 1930–54 249 CONTEXT : Matisse in Merion, Pennsylvania 250 Celebrating the Good Life: Dufy’s Later Career 250 Eclectic Mastery: Picasso’s Career after the War 250 Parade and Theatrical Themes 252 CONTEXT : Diaghilev’s Ballets Russes 253 Postwar Classicism 254 Cubism Continued 255 Guernica and Related Works 257 Sensuous Analysis: Braque’s Later Career 258 Austerity and Elegance: Léger, Le Corbusier, and Ozenfant 259 12 Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction 262 The de Stijl Idea 262 SOURCE: De Stijl “Manifesto 1” (1918, published in de Stijl in 1922) 262 Mondrian: Seeking the Spiritual Through the RationalEarly Work 263 Neoplasticism 264 The Break with de Stijl 266 Van Doesburg, de Stijl, and Elementarism 268 De Stijl Realized: Sculpture and Architecture 270 Vantongerloo 271 Van ’t Hoff and Oud 271 Rietveld 272 Van Eesteren 274 263 13 Bauhaus and the Teaching of Modernism 275 Audacious Lightness: The Architecture of Gropius 275 The Building as Entity: The Bauhaus 277 SOURCE: Walter Gropius, from the Bauhaus Manifesto (1919) 277 Bauhaus Dessau 278 The Vorkurs: Basis of the Bauhaus Curriculum 279 Moholy-Nagy 279 Josef Albers 281 Klee 282 Kandinsky 285 Die Werkmeistern: Craft Masters at the Bauhaus 286 Schlemmer 287 Stölzl 287 Breuer and Bayer 288 TECHNIQUE: Industry into Art into Industry 289 “The Core from which Everything Emanates”: International Constructivism and the Bauhaus 289 Gabo 289 Pevsner 291 Baumeister 292 From Bauhaus Dessau to Bauhaus U.S.A. 292 Mies van der Rohe 292 Bauhaus U.S.A. 295 14 Surrealism297 Breton and the Background to Surrealism 297 CONTEXT : Fetishism 298 The Two Strands of Surrealism 299 Political Context and Membership 299 CONTEXT : Trotsky and International Socialism Between the Wars 300 “Art is a Fruit”: Arp’s Later Career 300 Hybrid Menageries: Ernst’s Surrealist Techniques 302 “Night, Music, and Stars”: Miró and Organic–Abstract Surrealism 304 Methodical Anarchy: André Masson 307 Enigmatic Landscapes: Tanguy and Dalí 308 Dalí 309 SOURCE : Georges Bataille, from The Cruel Practice of Art (1949) 309 Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam 313 Matta and Lam 317 Women and Surrealism: Oppenheim, Cahun, Maar, Tanning, and Carrington 318 Never Quite “One of Ours”: Picasso and Surrealism 322 Painting and Graphic Art, mid-1920s to 1930s 322 Sculpture, late 1920s to 1940s 324 Pioneer of a New Iron Age: Julio González 325 Surrealism’s Sculptural Language: Giacometti’s Early Career 326 Surrealist Sculpture in Britain: Moore 330 Bizarre Juxtapositions: Photography and Surrealism 331 Atget’s Paris 332 Man Ray, Kertész, Tabard, and the Manipulated Image 332 The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson 334 An English Perspective: Brandt 337 15 American Art Before World War II 338 American Artist as Cosmopolitan: Romaine Brooks 338 The Truth about America: The Eight and Social Criticism 339 Sloan, Prendergast, and Bellows 339 SOURCE : Robert Henri, excerpts from The Art Spirit, a collection of his writings and notes 341 Two Photographers: Riis and Hine 341 A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle 342 Stieglitz and Steichen 343 Weber, Hartley, Marin, and Dove 345 O’Keeffe 347 Straight Photography: Strand, Cunningham, and Adams 349 Coming to America: The Armory Show 350 Sharpening the Focus on Color and Form: Synchromism and Precisionism 351 Synchromism 351 Precisionism 352 The Harlem Renaissance 354 Painting the American Scene: Regionalists and Social Realists 355 Benton, Wood, and Hopper 356 CONTEXT : American Primitives 356 Bishop, Shahn, and Blume 360 CONTEXT : The Sacco and Vanzetti Trial 361 Documents of an Era: American Photographers Between the Wars 361 Social Protest and Personal Pain: Mexican Artists 364 Rivera 364 Orozco 365 Siqueiros 366 Kahlo 367 Tamayo 367 Modotti’s Photography in Mexico 368 The Avant-Garde Advances: Toward American Abstract Art 368 Exhibitions and Contact with Europe 368 Davis 369 Diller and Pereira 370 Avery and Tack 371 Sculpture in America Between the Wars 372 Lachaise and Nadelman 372 Roszak 373 Calder 374 16 Abstract Expressionism and the New American Sculpture 377 Mondrian in New York: The Tempo of the Metropolis 377 CONTEXT : Artists and Cultural Activism 379 Entering a New Arena: Modes of Abstract Expressionism 379 The Picture as Event: Experiments in Gestural Painting 380 Hofmann 380 SOURCE: Clement Greenberg, from Modernist Painting (first published in 1960) 380 Gorky 380 Willem de Kooning 382 Pollock 384 SOURCE: Harold Rosenberg, from The American Action Painters (first published in 1952) 386 Krasner 387 Kline 388 Tomlin and Tobey 389 Guston 390 Elaine de Kooning and Grace Hartigan 391 Complex Simplicities: Color Field Painting 392 Rothko 392 Newman 395 Still 396 Reinhardt 396 Gottlieb 397 Motherwell 398 Baziotes 400 Drawing in Steel: Constructed Sculpture 401 Smith and Dehner 401 Di Suvero and Chamberlain 404 Textures of the Surreal: Biomorphic Sculpture and Assemblage 404 Noguchi 404 Bourgeois 405 Cornell 406 Nevelson 407 Expressive Vision: Developments in American Photography 408 Capa and Miller 408 White, Siskind, and Porter 408 Levitt and DeCarava 409 17 Postwar European Art 411 CONTEXT: Samuel Beckett and the Theater of the Absurd 411 Re-evaluations and Violations: Figurative Art in France 412 Picasso 412 Giacometti 412 Richier 414 Balthus 415 Dubuffet 416 A Different Art: Abstraction in France 418 Fautrier, Van Velde, Hartung, and Soulages 418 Wols, Mathieu, Riopelle, and Vieira da Silva 420 De Staël 422 “Pure Creation”: Concrete Art 423 Bill and Lohse 423 Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain 425 Morandi 425 Marini and Manzù 426 Afro 427 Fontana 428 SOURCE: Lucio Fontana, from The White Manifesto (1946) 429 Burri 430 Tàpies 430 “Forget It and Start Again”: The CoBrA Artists and Hundertwasser 431 Jorn 431 Appel 431 Alechinsky 432 Hundertwasser 433 The Postwar Body: British Sculpture and Painting 433 Hepworth 434 Moore 435 Bacon 435 Sutherland 439 Freud 440 Marvels of Daily Life: European Photographers 442 Sudek 442 Bischof 443 Doisneau 443 18 Nouveau Réalisme and Fluxus 444 CONTEXT: The Marshall Plan and the “Marilyn Monroe Doctrine” 444 SOURCE : Manifesto of Nouveau Réalisme, signed October 27, 1960 445 “Sensibility in Material Form”: Klein 445 Tinguely and Saint-Phalle 447 Arman 449 César 449 Raysse 450 Christo and Jeanne-Claude 450 Rotella and Manzoni 451 Fluxus 452 CONTEXT: The Situationists 453 Ono and Beuys 454 19 Taking Chances with Popular Culture 456 “This is Tomorrow”: Pop Art in Britain 456 Hamilton and Paolozzi 457 SOURCE : Marshall McLuhan, from Understanding Media: The Extensions of Man (1964) 457 Blake and Kitaj 458 Hockney 459 Signs of the Times: Assemblage and Pop Art in the United States 460 Rauschenberg 460 Johns 462 TECHNIQUE : Encaustic 464 Getting Closer to Life: Happenings and Environments 466 Kaprow, Grooms, and Early Happenings 466 Segal 468 Oldenburg 469 “Just Look at the Surface”: The Imagery of Everyday Life 471 Dine 471 Samaras and Artschwager 472 Rivers 474 Lichtenstein 475 Warhol 476 Rosenquist, Indiana, and Wesselmann 478 TECHNIQUE : Screenprinting 479 Axell, Marisol, and Sister Corita 481 Poetics of the “New Gomorrah”: West Coast Artists 483 Thiebaud 483 Kienholz 483 Jess 484 Ruscha 485 Jiménez 486 Personal Documentaries: The Snapshot Aesthetic in American Photography 487 20 Playing by the Rules: 1960s Abstraction 490 Drawing the Veil: Post Painterly Abstraction 490 SOURCE : Clement Greenberg, from Post Painterly Abstraction (1964) 491 Francis and Mitchell 491 Frankenthaler, Louis, and Olitski 493 Poons 496 At an Oblique Angle: Diebenkorn 497 Forming the Unit: Hard-Edge Painting 498 Seeing Things: Op Art 503 Vasarely 503 Riley 504 New Media Mobilized: Motion and Light 505 Mobiles and Kinetic Art 507 Artists Working with Light 508 The Limits of Modernism: Minimalism 510 Caro 511 Stella 512 Smith, Judd, and Morris 514 SOURCE : Tony Smith, from a 1966 interview in Artforum 514 LeWitt, Andre, and Serra 518 TECHNIQUE: Minimalist Materials: Cor-Ten Steel 520 Minimalist Painters 521 Complex Unities: Photography and Minimalism 526 21 Modernism in Architecture at Mid-Century 527 “The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier 527 Wright During the 1930s 528 Le Corbusier 531 Purity and Proportion: The International Style in America 535 The Influence of Gropius and Mies van der Rohe 535 Skyscrapers 537 Domestic Architecture 540 Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia 541 Finland 541 Great Britain 543 France 543 Germany and Italy 544 Latin America, Australia, and Japan 546 Breaking the Mold: Experimental Housing 549 CONTEXT : Women in Architecture 550 Arenas for Innovation: Major Public Projects 552 Cultural Centers, Theaters, and Museums in America 552 Urban Planning and Airports 556 Architecture and Engineering 557 TECHNIQUE: The Dymaxion House 557 22 Conceptual and Activist Art 558 Art as Language 558 Art & Language, Kosuth 559 CONTEXT : Semiotics 559 Weiner, Huebler, and Barry 560 Keeping Time: Baldessari, Kawara, and Darboven 560 Conceptual Art as Cultural Critique 562 Broodthaers, Buren, and Sanjouand 562 Haacke and Asher 565 Lawler and Wilson 566 The Medium Is the Message: Early Video Art 567 Paik 567 Nauman 568 Campus’s Video Art 568 When Art Becomes Artist: Body Art 569 Abromovic and Ulay 569 Schneemann and Wilke 570 Mendieta 571 Acconci 572 Burden 572 Gilbert and George, Anderson, and Horn 574 Radical Alternatives: Feminist Art 575 The Feminist Art Program 575 Erasing the Boundaries between Art and Life: Later Feminist Art 578 Kelly 578 Guerrilla Girls 579 Antoni and Fleury 579 Invisible to Visible: Art and Racial Politics 581 OBAC, Afri-COBRA, and SPARC 581 Ringgold and Folk Traditions 583 Social and Political Critique: Hammons and Colescott 584 The Concept of Race: Piper 586 23 Post-Minimalism, Earth Art, and New Imagists 587 Metaphors for Life: Process Art 588 Arte Povera: Merz and Kounellis 595 Big Outdoors: Earthworks and Land Art 596 Monumental Works 597 CONTEXT : Environmentalism 597 SOURCE: Robert Smithson, from “Cultural Confinement,” originally published in Artforum (1972) 599 Landscape as Experience 601 Public Statements: Monuments and Large-Scale Sculpture 606 Body of Evidence: Figurative Art 610 Photorealism 610 Hanson’s Superrealist Sculpture 614 Stylized Naturalism 614 Animated Surfaces: Pattern and Decoration 618 Figure and Ambiguity: New Image Art 621 Rothenberg and Moskowitz 621 Sultan and Jenney 622 Borofsky and Bartlett 624 Chicago Imagists: Nutt and Paschke 625 Steir 626 New Image Sculptors: Shapiro and Flanagan 627 24 Postmodernism 629 CONTEXT: Poststructuralism 629 Postmodernism in Architecture 630 “Complexity and Contradiction”: The Reaction Against Modernism Sets In 631 SOURCE: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972) 632 In Praise of “Messy Vitality”: Postmodernist Eclecticism 632 Venturi, Rauch, Scott Brown, and Moore 632 Piano, Rogers, and a Postmodern Museum 636 Hollein, Stern, and Isozaki 636 Ironic Grandeur: Postmodern Architecture and History 640 Johnson 640 Stirling, Jahn, Armajani, and Foster 641 Pei and Freed 643 Ando and Pelli 646 What Is a Building?: Constructivist and Deconstructivist Architecture 647 CONTEXT: Deconstruction versus Deconstructivism 648 Structure as Metaphor: Architectural Allegories 651 Flexible Spaces: Architecture and Urbanism 654 Plater-Zyberk and Duany 655 Koolhaas and the OMA 656 Postmodern Practices: Breaking Art History 658 Appropriation: Kruger, Levine, Prince, and Sherman 658 Holzer, McCollum, and Tansey 663 25 Painting through History 666 Primal Passions: Neo-Expressionism 666 German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff 667 Polke, Richter, and Kiefer 670 SOURCE: Gerhard Richter, from “Notes 1964–1965” 672 Italian Neo-Expressionism: Clemente, Chia, and Cucchi 675 TECHNIQUE : Choosing Media 676 American Neo-Expressionism: Schnabel, Salle, and Fischl 676 Searing Statements: Painting as Social Conscience 680 Golub and Spero 680 Coe and Applebroog 682 In the Empire of Signs: Neo-Geo 683 Neo-Geo Abstraction: Halley and Bleckner 683 The Sum of Many Parts: Abstraction in the 1980s 684 Murray 685 Winters 685 Taaffe 686 Scully 686 Taking Art to the Streets: Graffiti and Cartoon Artists 687 Haring and Basquiat 687 CONTEXT: HIV/AIDS and the Art World 689 Wojnarowicz and Wong 690 Rollins and KOS 691 Painting Art History 692 Currin and Yuskavage 692 26 New Perspectives on Art and Audience 695 Commodity Art 695 CONTEXT: National Endowment for the Arts 696 CONTEXT: International Art Exhibitions 697 Postmodern Arenas: Installation Art 701 CoLab, Ahearn, and Osorio 701 Kabakov 702 Viola 704 Strangely Familiar: British and American Sculpture 704 Reprise and Reinterpretation: Art History as Art 710 Representing Art History 710 The Anxiety of Artistic Influence 711 Cutting Art History Down to Size 713 DIY in the Artist's Studio 714 SOURCE : Jorge Luis Borges, On Exactitude in Science (1946, originally published as a mock literary discovery) 717 Reorienting Art History's Centers and Peripheries 717 New Perspectives on Childhood and Identity 719 The Art of Biography 722 Meeting Points: New Approaches to Abstraction 726 27 Contemporary Art and Globalization 729 CONTEXT: Modern Art Exhibitions and Postcolonialism 729 Lines That Define Us: Locating and Crossing Borders 730 Art and the Expression of Culture 730 Identity as Place 735 Skin Deep: Identity and the Body 742 Body as Self 742 The Sensual Body 742 The Absent Body 746 Occupying the Art World 750 Globalization and Arts Institutions 754 Interventions in the Global Museum 754 CONTEXT: Avant-tainment 756 Designing a Global Museum 757 CONTEXT: Pritzker Prize 759 Glossary 761 Bibliography 763 Index 790 Credits 809