Book Description
"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death.
With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.
Customer Reviews:
Pictures of Nothing.......2007-10-13
This is a very good collection of lectures given about abstract art. It gives some valuable clues as to the genealogy of modern art.
overrated and wordy.......2007-09-19
a disappointing book - pretentious and unenlightening - get hilton kramer's "the trium of modernism" instead!
They really need a Zero Star category for books like this one.......2007-07-24
I watched the excellent series on art on DVD called "Power of Art" by Simon Schama. The last episode of the series is on Mark Rothko, an abstract painter. It made me want to learn more about abstract art, so I bought this book. Annnt! Thanks for playing. This book is a dog. It didnt help me understand abstract art one bit . In fact, it goes on and on about pieces of "art," but does not explain them beyond being smears or smudges or works of technique. The basis of abstract art is not explained at all.
BTW, it appears from this book that these guys were often making paintings just as rude jabs at one another's work.
I found the book a total waste.
Review by P Hutchings, Melbourne, Australia.......2007-06-13
Kirk Varnedoe's Pictures of Nothing is a masterpiece of empirical art chronology/criticism. It is gritty and on the ground. This is a relief after Danto's warmed-over Hegel and Clement Greenberg's star-spangled marx with a small M. If one might venture any hypothesis about the artists about whom Varnedoe wrote it would have to face, square on, any counter-instances. No Zeitgeist, just Popperian falsifiablility. Good. It is of course a pity for those of us who were not in New York at the right time. But, that's life.
Patrick Hutchings
Department of Philopsophy
University of Melbourne
Australia
Abstraction clarified.......2007-02-07
A brilliant and thorough explication of contemporary abstract art. The lectures were not intended for
arts professionals but are a literate and enjoyable guide to the visual arts since Jackson Pollock.
Average customer rating:
- beating their cannons into canon
- Eh.
- Language is a barrier!
- art since 1900: modernism, antimodernism, postmodernism
- Ideological Claptrap
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Art Since 1900: Modernism, Antimodernism, Postmodernism
Hal Foster ,
Rosalind Krauss ,
Yve-Alain Bois , and
Benjamin Buchloh
Manufacturer: Thames & Hudson
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Binding: Hardcover
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ASIN: 0500238189 |
Amazon.com
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
Book Description
A landmark in art history and the most anticipated art publishing event of the new millennium.
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
Customer Reviews:
beating their cannons into canon.......2007-04-18
I suspect that a number of these comments were inspired by a scathing review in the Wall Street Journal by Eric Gibson (the "culture war" ones at least). But maybe not...
I would have liked to write a more critical review of this book, although, or perhaps, because I liked it so much, but with all of these rather "blunt" opinions, it is hard to do anything but just praise it. Still, I'll throw out a couple of points of critique:
1. It is obvious that the authors are trying to create a kind of definitive history of 20th century art. This is in part based on their particular take, and indeed, sometimes this is more evident than others (esp. the closer you get to the present), but in general it is a very thorough book (presenting numerous positions). That they were among the founding editors of October should make it more interesting to read than otherwise. Needless to say, it should also be read in this way. There is definitely a certain direction to this work. But isn't that what writing and scholarship is all about? See also point 3.
2. I do wish that they would call into question some more of their own philosophical and political "foundations." For the most part, much like in October, their critique and development of Marxism, structuralism, psychoanalysis, "post-structuralism" etc. all seem to focus on a historical or art historical USE of these fields rather than going to the "heart of the matter" and maybe trying to address them on a philosophical or for that matter on a "real-political" level. It would be nice to be able to read the work from a philosophical or political vantage point too, not just an art historical one...they seem to SOMETIMES ironically mirror their "blunt" critic's weak position of lumping everything into one common trend of "continental philosophy" or "postmodernism" etc.
3. The tension between textbook and the "avant-garde" art critic: I find this to be sometimes a bit too much, end up asking myself, am I in some "contemporary art 101 class?" or am I directly "on the front"...but in the end I find this also to be interesting. Trying to make an institution, a textbook classic out of all of these disparate attempts to undermine such an idea... I hope the next version is less well-mannered and proper and a bit crazier (less a text book).
Eh........2006-11-10
The reproductions are good and very useful, but the language is a bit convoluted.
Language is a barrier!.......2006-08-07
The Publisher's Weekly review spoke volumns about this book. It was well written, however for the majority of the students in the class I attended this book left them more puzzeled than informed. One of the reasons the instructor order this title was due to the organization of the chapters. It is broken down according to dates and not periods. This was a novel new way to present art history because you suddenly realize how art periods overlaps. One period does not come and suddenly end, it is a melding of periods, especially in the 20th and 21st centuries. If you already have a basic knowledge of 20th century art this is well worth adding to your library. If you are new to 20th century art ask your instructor to supply you with alternative titles that are written less like a doctorial thesis.
art since 1900: modernism, antimodernism, postmodernism.......2006-07-02
great book at a much better price than I could get elsewhere, even with coupons, etc.
thanks!
Ideological Claptrap.......2006-03-02
As a professional art historian who teaches twentieth century art at public university, I find this book to be virtually worthless. Not only do the authors leave out artists from their book because they don't adhere to their own rigid ideological orthodoxies, but the book is very badly written; they undermine their own arguments by constantly lapsing into semi-meaningless jargon. A good postmodernist/ Marxist perspective in a general introduction to twentieth century would be useful, but these authors are too inept and arrogant to bring it off.
Book Description
This classic account of the history of the visual arts from the end of World War II to the new millennium has now been completely rewritten, revised, expanded, and updated. The fifth edition reflects the latest developments in a wide-ranging introduction and nine new chapters that deal with the radical transformations that have taken place in contemporary art. Among the topics covered are the increasing dominance of photography, film, and video, and the emergence of a new post-Post-Expressionist group of "Abject" artists whose work stresses feelings of alienation in Western industrial societies, often through the reintroduction of narrative. The emergence of an opposing trend of idealizing classicism, particularly in Italy and Russia, is discussed, and there is increased coverage of the burgeoning practice of art "on the periphery" in Third World countries, where artists have absorbed Western modernism and then created new terms of reference for artistic expression adapted to their own cultures. Numerous additional reproductions illustrate all the recent developments in this completely redesigned edition, and there are a full bibliography and comprehensive chronologies of key events. No other account of the art of the last fifty-five years provides as much up-to-date information about art issues, developments, and players. 100 color and 190 b/w illustrations.
Book Description
No other introductory book presents the diversity and complexity of postwar American art from Abstract Expressionism to the present as clearly and succinctly as this groundbreaking survey. David Joselit traces and analyzes the contradictory formal, ideological, and political conditions during this period that made American art predominant throughout the world.
Social and cultural transformations rooted in mass media technologies—photography, television, video, and the Internet—elevated consumer commodities to the status of legitimate art subjects, as in pop and installation art, and also brought about a mechanization of the creative act. Canonical movements and figures are discussed at length—Pollock, Rothko, Krasner, Oldenburg, Johns, Warhol, Paik, Ruscha, Sherman, Schnabel, Koons, Barney, and others—in juxtaposition with lesser known contemporary artists and practices. 183 illustrations, 80 in color.
Book Description
This ambitious reference work charts the major works and movements, the most important theoretical developments, and the historical, social, political, and aesthetic issues in contemporary art since 1945, primarily in the Euro-American context.Dual chronological and thematic coverage of the major issues enables the reader to engage with multiple perspectives on current art movements and conceptual issues, and to consider future directions in the field. Topics covered include culture wars, public space, diaspora, new technologies, the artist, identity politics, the body, poststructuralism, and visual culture. The Companion also covers debates central to contemporary art practice and theory such as those addressing formalism, the avant-garde, and the society of the spectacle.Bringing together leading cultural critics and scholars from art history and allied fields to comment on the crucial historical and theoretical issues and debates that have conditioned our understanding of the contemporary visual arts, this volume offers new approaches toward the analysis of the visual arts in general. A stellar reference work, it is written for students and scholars of contemporary visual culture, art history, and visual theory, as well as the general reader interested in the development of this interdisciplinary field.
Book Description
This fourth and final volume in the bestselling series on Royal Navy warship development presents an in-depth and lucid account of British warship construction in the challenging half-century since World War II. After considering the wartime legacy and lingering austerity, the authors cover some of the ambitious ideas for the bigger ships like the reconstruction of the carrier Victorious, and the conversion of fleet destroyers into anti-submarine frigates. But most of the book is devoted to new construction, with chapters on all the major categories and new information on designs that remained on the drawing board. It concludes with a survey of the most significant technological innovations and an analysis of the impact of the Falklands War. D. K. Brown's personal knowledge and experience and George Moore's in-depth research on declassified material add up to a crowning finale of an internationally acclaimed series. 200 plans and illustrations. 10 x 12 inches.
Customer Reviews:
Fascinating, but don't let this be your first book about modern warships.......2005-10-25
The consummately experienced D. K. Brown herein offers an enrapturing look into the design and construction of postwar ships for the Royal Navy. It is not a history of the ships by any means; rather, it is a history of their design. Brown offers insight into designers' minds, discussing why decisions were made and weighing their merit. For example, many wonder why two classes of similarly-sized escorts (Types 42 & 22) were built simultaneously. Brown explains that because of the different roles the ships were designed for, and hence different equipment and other requirements, a common hull would probably have proven less efficient. He also describes in detail the evolution of strategic thinking and design philosophy that came about after the cancellation of the CVA-01 large carrier cancelled in 1966. Together with the politics and economics of modern warship building, Brown reviews some of the advances to the art of naval architecture made by Royal Navy constructors since the last world war, and looks ahead to some new developments on the horizon.
Average customer rating:
- When starlets were starlets
- first hand review
- Capturing the glamour and style of Hollywood's yesteryears
- Capturing the glamour and style of Hollywood's yesteryears
- This is an extraordinary undertaking, a "jewel" of a find.
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The Way We Wore: Styles of the 1930s and '40s and Our World Since Then
Marsha Hunt
Manufacturer: Fallbrook Pub Ltd
ProductGroup: Book
Binding: Hardcover
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Gowns by Adrian : The MGM Years 1928-1941
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Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers (Dover Books on Fashion)
ASIN: 1882747003 |
Customer Reviews:
When starlets were starlets.......2005-08-18
There's basically three reasons to buy this book:
1) For the clothing styles of (primarily) the 1930s and '40s, as noted in the book's title.
2) For the many movie stills (most featuring actress Marsha Hunt) reproduced therein, a cinemaphile and collector's delight.
3) For the vast array of photographs of the gorgeous Marsha Hunt, certainly an actress who did not (and does not) receive the accolades due her for her natural beauty!
In addition to her beauty being overlooked, Hunt also did not receive the props due her for her superb acting ability -- and Ms. Hunt was also one smart gal. This is a big, thick, well-written book with tons of photos, and I HIGHLY RECOMMEND it for fans of fashion, movies and female pulchritude (and Marsha Hunt)!
Note, however, the price that dealers are trying to squeeze out of this volume: typically about $100 to almost $200! Don't be ripped-off by dealers trying to bleed you on this book. It was originally published at $49.95, and you can typically find it on eBay for about (or below) that price. In addition, The Drama Book Shop in New York City has copies available for $49.95 (plus shipping), and they have CONTINUED to get a new supply of copies in -- which means there must be a good amount of copies of this book lying in a warehouse somewhere! Buy this book now, but don't overpay!
first hand review.......2003-05-24
i actually worked with this lovely film star of the 40's and 50's and helped advise her as to paper, format, type face etc. in getting this book printed. it is one of the pure joys of my life and i felt transported to another era as i was welcomed into her home in Sherman Oaks and was treated to lunch and great stories of her era
Barbara Ludwig Hooper
Tucson, Arizona
Capturing the glamour and style of Hollywood's yesteryears.......2000-11-22
This is a wonderful "cofffee table" book filled with the author's personal collection of black and white photos capturing the fashions of classic times. She was a model and a movie star and her notes and reflections are as interesting as the history captured through the photos. This book is a great reference for costume or clothing designers who want to recreate the style and panache of this period.
Capturing the glamour and style of Hollywood's yesteryears.......2000-11-22
This is a wonderful "cofffee table" book filled with the author's personal collection of black and white photos capturing the fashions of classic times. She was a model and a movie star and her notes and reflections are as interesting as the history captured through the photos. This book is a great reference for costume or clothing designers who want to recreate the style and panache of this period.
This is an extraordinary undertaking, a "jewel" of a find........1998-06-24
What a delight and pleasure it was to read "The Way We Wore." It is truly a one-of-a-kind effort. An extraordinary read and treasure. Ms. Hunt (and her publisher) have given us a jewel of a book. Film buffs and fashion designers will find they MUST have this rare & timely, work in their library.
Book Description
Since 1945 the modern revolution in sculpture has gathered pace, and even the term sculpture has ceased to be the fixed category it once was. In Sculpture Since 1945, Andrew Causey provides a ground-breaking account of the development of post-War sculpture.
In over 130 beautiful illustrations, Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He also explores the use of everyday objects and the importance of sculptural context,
discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth art, landscape sculpture, installation, and performance art. A final chapter brings the discussion of sculpture right up to the present day by examining sculpture since 1980. The holistic picture of
post-War sculpture which emerges in Sculpture Since 1945 establishes for the first time key events and themes around which future debate will center.
Customer Reviews:
Quick and efficient.......2007-08-13
As an overview of a large amount of sculpture, this book is great. I think it would take multiple readings to get a full understanding since everything is discussed briefly. It's a perfect size to carry around instead of most art books that are about the size of textbooks.
Clear and Condense.......2007-02-11
This book is a effective and clear review of sculpture from 1945 up to the present. I enjoyed the color plates, the clear descriptions and use it often for resource.
great art history book.......2001-03-30
I checked out this book from the public library and read it twice before I started learning sculpture. Now I finally bought it and I'm still reading it. It's a wonderful book a have to get inspired from the masterpieces. Know the trends and thoughts in the sculpture field. Helps you create artworks from a border point of view, also improve the criticism knowledge.
Book Description
"I can think of no better way . . . to more efficiently and compactly review the ambitious, ingenious, irreverent, and sometimes exasperating art of our time."
-Art Journal Widely praised when it first appeared in 1995, Art Since 1940 tells the story of six decades of art in America and Europe through a series of in-depth biographical profiles of individual artists, astutely linked by illuminating discussions of the cultural influences on their work. Artnews hailed this lively volume as "a fascinating book" by "a superb critic and art historian." For this Second Edition, the author adds a new final chapter and extensively reworks the last quarter of the book to incorporate current thinking on the art of the last 20 years. 351 photographs, 246 in full color, 8 1/2 x 11" JONATHAN FINEBERG, winner of a Pulitzer Fellowship for critical writing and author of scores of articles, books, and catalogues on modern and contemporary art, is professor of art history at the University of Illinois. He lives in Urbana, Illinois.
Customer Reviews:
Illuminating Book.......2006-07-05
I used this book when I was a student and have referred to it multiple times since I graduated. Simply said, I love it. It presents the work of artists of the major movements in a clear way, without the jargon that is so common in other art books. I would recommend it for anyone interested in modern and contemporary art or anyone who has been to a museum of modern art and not understood what they are looking at. It is also a great affirmation to all of us working in creative fields that there are actual people producing this work, and Fineberg beautifully illuminates these personalities.
Ewwww..............2006-03-23
Let me start off by saying that I'm not a fan of contemporary art. That being said, this book is incredibly difficult to read. For me, each sentence took several re-reads before I could get some type of clue as to what he was trying to say. I consider myself a good reader and this book was way out there with the uppity language. My husband would get a kick out of me reading sentences to him, just because they were impossible to understand. If you like this sort of thing, then you might like the book. I, however, did not like the book. I also did not like how they would describe a work of art in great detail, yet show you a totally different piece from that artist. It made if difficult to visually see what they were talking about. My professor did a much better job explaining the material covered in this book.
No Photography!.......2004-10-01
By this book, 1940 marked the time that photography died and was replaced by vast amounts of performance art. Can you seriously present a "survey" of contemporary art without even acknowledging photography in any form?
Bad Religion.......2004-05-15
This book by Finberg is professionally written, edited, and with lots of high quality color examples of the art being discussed. It covers a wide range of individual artists and art movements from the 1940's onward. The problem with book is that the range is not wide enough. Fienberg doesn't give equal treatment to art forms, and the visual arts even begin to take a backseat to performances and installations. It can be argued that new genres of art have emerged and should be discussed, but certainly not at the expense of other forms in a book presented as "art since the 1940's". There is a lot of art since the 1940's that isn't mentioned, though it should be, either because of significant cultural impact, or because of influence on artists that are discussed in the book. For example, there is no mention of animation of any kind, and relatively little coverage of realism, figurative work, design, comics, or advertising. Whether certain people like it or not, Ansel Adams, Walt Disney, Gottfried Helnwein, H.R. Giger, Dr. Suess, and Playboy magazine have had a major impact and more worldwide recognition than virtually all of the artists Fineberg discusses. While some may cast these off as unworthy of discussion in a book about "high art", knowledge of the evolution and integration of the "low arts" is essential to understand concepts of "pop art", "appropriation", "feminist art", and "post modernism". Fineberg's tone is celebratory with certain artists more than others, and makes odd choices on which artists to give the most attention to. The reason I titled this review "bad religion" is because this book is like a sermon about art by someone who is presenting their own doctrine, rather than telling the whole story. If you read this hoping to be educated about art, you are out of luck, unless your goal is to sound intellectual while sipping wine at the opening reception of the next retrospective show of minimalist art in Los Angeles, New York, or Chicago. Oh, it might also be useful if you are writing a paper for an art history class...
excellent!.......2002-11-12
I purchased this book for my Contemporary Art class. It's chock full of great information, and lots of excellent quality samples of art throughout. Worth getting if you're interested in 'educating' yourself in the vernacular of art -- both modernism and contemporary.
Book Description
Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language.
The source materials presented--almost all of them previously untranslated into English--are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.
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