Art Since 1900: Modernism, Antimodernism, Postmodernism

  • Year2015
  • LanguageRussian
  • Edition5000
  • Pages816
  • BindingHardcover with dust jacket
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Garage publishing program in collaboration with Ad Marginem Press

This chronological account of the key events in art history since 1900 provides deep insight into art of the modern era.

Garage Museum of Contemporary Art and Ad Marginem Press present a Russian translation of Art Since 1900: Modernism, Antimodernism, Postmodernism by Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, David Joselit.

Edited by Andrey Fomenko, Alexey Shestakov
Traslations by G. Abdushelishvili, A. Bobrikov, O. Gavrikova, P. Yermakova, E. Kurova, V. Okhnich, O. Ryabukhina, A. Fomenko, A. Shestakov

As innovative in its form as it is in its content, Art Since 1900 is essential reading for anyone interested in art history. In 122 chapters it discusses the key works, exhibitions and texts from every single year of the last century, offering the reader not one, but many histories of art from 1900 until the present day. Progressing chronologically, the publication analyses every turning point and breakthrough in the development of modernism and postmodernism, as well as the contradictory antimodernist reactions.

The book’s flexible structure and abundance of cross-references allows readers to create their own course through 20th and 21st century art history, focusing on one of many possible themes, such as the history of painting, the trajectory of art in a particular country, or a specific movement.

Apart from a detailed account of the key moments in the history of art (important works, exhibitions and writings), the volume offers an overview of the main theoretical approaches to analysing art: from psychoanalytical critique and the social history of art to structuralism and post-structuralism.

Each of these approaches is described in a separate introductory essay mapping out its history and explaining its vocabulary. Collisions between different paradigms are made explicit — and with each author leaning towards one of them, the book becomes a Bakhtinian dialogue: each idea emerges in response to what the other authors have said. An actual discussion involving all the authors is presented in a chapter based on the round-table discussion “The predicament of contemporary art”.

The round-table discussion and the introductory chapters will be of particular interest to the Russian audience, as even today very few publications on contemporary Western art theory are available in Russian translation. As Garage Director Anton Belov has pointed out, “This work is considered essential reading on contemporary art history and theory and it was important for us to make it available to our audience. The book is already available in the Garage library and I hope it will be useful to many art professionals, teachers, and students. These will also have a chance to visit a series of seminars on the book to be held at our library.”

Each chapter is followed by a list of sources for further reading on the history of art in the 20th and 21st centuries. The book also contains an extensive bibliography, a list of Internet sources and a glossary.

Garage Museum of Contemporary Art and Ad Marginem Press would like to thank RDI.Culture foundation for their help on this project.

 

Authors

Rosalind Krauss is an American art critic, a major theoretician of contemporary art, a curator, and teacher. A disciple of the influential American art critic Clement Greenberg, she is a co-founder (in 1976) and editor of October, a leading theoretical journal on contemporary art.


Hal Foster is Professor of Art and Archaeology at Princeton. His publications include Recodings: Art, Spectacle, Cultural Politics; The Anti-Aesthetic: Essays on Postmodern Culture; Compulsive Beauty; The Return of the Real: The Avant-Garde at the End of the Century; Design and Crime (translated into Russian in 2014), and Prosthetic Gods.


Yve-Alain Bois is Professor of Art History at the School of Historical Studies at Princeton’s Institute for Advanced Study. He is the author of Painting as Model (translated into Russian in 2015), L’informe, mode d’emploi, and Matisse and Picasso.


Benjamin H. D. Buchloh — is Professor of Modern Art at Harvard University. His publications include Neo-Avantgarde and Culture Industry (translated into Russian in 2015), German Art Now, and many writings on particular artists, including Carl Andre, Marcel Broodthaers, Dan Graham, Gabriel Orozco, and Andy Warhol.


David Joselit is Professor of History of Art at Yale University and the author of Feedback: Television Against Democracy, Infinite Regress: Marcel Duchamp 1910-1941, and American Art Since 1945.

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