Art since 1900: modernism, antimodernism, postmodernism
Gespeichert in:
| Beteiligte Personen: | , , , |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
London
Thames & Hudson
2004
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=013348033&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Literaturverz. S. 690 - 694 |
| Umfang: | 704 Seiten Illustrationen |
| ISBN: | 0500238189 |
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| 245 | 1 | 0 | |a Art since 1900 |b modernism, antimodernism, postmodernism |c Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh |
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Datensatz im Suchindex
| _version_ | 1819348610076114944 |
|---|---|
| adam_text | Contents
10 How to use this book
12 Preface
14 Introductions
15 Psychoanalysis in modernism and as method
22 The social history of art: modeis and concepts
32 Formalism and structuralism
40 Poststructuralism and deconstruction
1900-1909
52 1900a Sigmund Freud publishes The
Interpretation ofDreams: in Vienna, the rise
of the expressive art of Gustav Klimt, Egon
Schiele, and Oskar Kokoschka coincides
with the emergence of psychoanalysis.
57 1900b Henri Matisse visits Auguste
Rodin in his Paris Studio but rejects the
eider artist s sculptural style.
64 1903 Paul Gauguin dies in the Marquesas
Islands in the South Pacific: the recourse to
tribal art and primitivist fantasies in Gauguin
influences the early work of Andre Derain,
Henri Matisse, Pablo Picasso, and Ernst
Ludwig Kirchner.
box • The exotic and the naive
70 1906 Paul Cezanne dies at Aix-en-
Provence in southern France: following
the retrospectives of Vincent van Gogh
and Georges Seurat the preceding year,
Cezanne s death casts Postimpressionism as
the historical past, with Fauvism as its heir.
box • Roger Fry and the Bloomsbury Group
78 1907 With the stylistic inconsistencies
and primitivist impulses of Les Demoiselles
d Avignon, Pablo Picasso launches the
most formidable attack ever on mimetic
representation.
box • Gertrude Stein
85 1 908 Wilhelm Worringer publishes
Abstraction and Empathy, which contrasts
abstract art with representational art as
a withdrawal from the world versus an
engagement with it: German Expressionism
and English Vorticism elaborate this
psychological polarity in distinctive ways.
90 1 909 F. T. Marinetti publishes the first
Futurist manifesto on the front page of
Le Figaro in Paris: for the first time the
avant-garde associates itself with media
culture and positions itself in defiance of
history and tradition.
box • Eadweard Muybridge and
Etienne-Jules Marey
1910-1919
100 1910 Henri Matisse s Dance II and Music
are condemned at the Salon d Automne in
Paris: in these pictures, Matisse pushes his
concept of the decorative to an extreme,
creating an expansive visual field of color that
is difficult to behold.
106 1911 Pablo Picasso returns his borrowed
Iberian stone heads to the Louvre Museum
in Paris from which they had been stolen:
he transforms his primitivist style and
with Georges Braque begins to develop
Analytical Cubism.
box • GuillaUmS Apollinaire
112 1912- Cubist collage is invented amid a set
of conflicting circumstances and events: the
continuing inspiration of Symbolist poetry,
the rise of popular culture, and Socialist
protestsag^iQ^Uhe |(var in the Balkans.
118 1913 Robert Delaunay exhibits his
Windows paintings in Berlin: the initial
problems and paradigms of abstraction
are elaborated across Europe.
125 1914 Vladimir Tatlin develops his
constructions and Marcel Duchamp proposes
his readymades, the first as a transformation
of Cubism, the second as a break with it; in
doing so, they offer complementary critiques
of the traditional mediums of art.
box • The Peau de I Ours
130 1915 Kazimir Malevich shows his
Suprematist canvases at the 0.10
exhibition in Petrograd, thus bringing the
Russian Formalist concepts of art and
literature into alignment.
135 1916a In Zurich, the international movement
of Dada is launched in a double reaction to
the catastrophe of World War I and the
provocations of Futurism and Expressionism.
box • Dada journals
142 1916b Paul Strand enters the pages
of Alfred Stieglitz s magazine Camera Work:
the American avant-garde forms itself around
a complex relationship between photography
and the other arts.
box • The Armory Show
148 1917 After two years of intense research,
Piet Mondrian breaks through to abstraction,
an event immediately followed by the
launching of De Stijl, the earliest avant-garde
journal devoted to the cause of abstraction
in art and architecture.
154 1918 Marcel Duchamp paints Turn : his
last ever painting summarizes the departures
undertaken in his work, such as the use of
chance, the promotion of the readymade.
and photography s status as an index.
box • Rrose Selavy
160 1919 Pablo Picasso has his first solo
exhibition in Paris in thirteen years: the
onset of pastiche in his work coincides
with a widespread antimodernist reaction.
box • Sergei Diaghilev and the Ballets Russes
box • Rappel a I ordre
1920-1929
168 1920 The Dada Fair is held in Berlin:
the polarization of avant-garde culture and
cultural traditions leads to a politicization
of artistic practices and the emergence of
photomontage as a new medium.
174 1921 The members of the Moscow Institute
of Artistic Culture define Constructivism as
a logical practice responding to the demands
of a new collective society.
box • Soviet institutions
180 1922 Hans Prinzhom publishes Artistry
of the Mentally III: the art of the insane is
explored in the work of Paul Wee and Max Ernst.
185 1923 The Bauhaus, the most influential
school of modernist art and design in the
twentieth century, holds its first public
exhibition in Weimar, Germany.
190 1 924 Andre Breton publishes the first
issue of La Revolution surrealiste,
establishing the terms of Surrealist aesthetics.
box • Surrealist journals
196 1925a While the Art Deco exhibition in
Paris makes official the birth of modern kitsch,
Le Corbusier s machine aesthetics becomes
the bad dream of modernism and Aleksandr
Rodchenko s Workers Club advocates a
new relationship between men and objects.
box • Black Deco
202 1925b Curator Gustav F. Hartlaub organizes
the first exhibition of Neue Sachlichkeit
painting at the Kunsthalle, Mannheim:
a variation of the international tendencies of
the rappel a I ordre, this new magic realism
signals the end of Expressionism and Dada
practices in Germany.
208 1926 El Lissitzky s Demonstration Room
and Kurt Schwitters s Merzbau are installed
in Hanover, Germany: the architecture of the
museum as archive and the allegory of modernist
space as melancholia are dialectically conceived
by the Constructivist and the Dadaist.
212 1 927a After working as a commercial
artist in Brussels, Rene Magritte joins the
Surrealist movement in Paris, where his art
plays on the idioms of advertising and the
ambiguities of language and representation.
216 1927b Constantin Brancusi produces a
stainless-steel cast of The Newborn: his
sculpture unleashes a battle between models
of high art and industrial production, brought
to a head in the US trial over his Bird in Space.
220 1927c Charles Sheeler is commissioned
by Ford to document its new River Rouge
plant: North American modernists develop
a lyrical relation to the machine age, which
Georgia O Keeffe extends to the natural world.
box • MoMA and Alfred H. Barr, Jr.
226 1928 The publication of Unism in Painting
by Wladyslaw Stzreminski, followed in 1931
by a book on sculpture he coauthored with
Katarzyna Kobro, The Composition of Space,
marks the apogee of the internationalization
of Constructivism.
232 1 929 The Film und Foto exhibition,
organized by the Deutscher Werkbund and
held in Stuttgart from May 18 to July 7, displays
a spectrum of international photographic
practices and debates: the exhibition demarcates
a climax in twentieth-century photography
and marks the emergence of a new critical
theory and historiography of the medium.
1930-1939
240 1930a The introduction of mass consumer
and fashion magazines in twenties and thirties
Weimar Germany generates new frameworks
for the production and distribution of photographic
imagery and helps foster the emergence of
a group of important women photographers.
245 1930b Georges Bataille reviews L Art
primitif in Documents, making apparent a rift
within the avant-garde s relation to primitivism
and a deep split within Surrealism.
box • Carl Einstein
250 1931 Alberto Giacometti, Salvador Dali,
and Andre Breton publish texts on the
object of symbolic function in the magazine
Le Surrealisme au service de la revolution;
Surrealism extends its aesthetic of fetishism
and fantasy into the realm of object-making,
255 1 933 Scandal breaks out over the portrait
of Lenin by Diego Rivera in the murals for the
Rockefeller Center: the Mexican mural
movement produces public political mural
work in various American locations and
establishes a precedent for political avant-
garde art in the United States.
260 1934a At the First All Union Congress
of Writers, Andrei Zhdanov lays down the
doctrine of Soviet Socialist Realism.
266 1934b In The Sculptor s Aims, Henry
Moore articulates a British aesthetic of direct
carving in sculpture that mediates between
figuration and abstraction, between
Surrealism and Constructivism.
271 1935 Walter Benjamin drafts The Work of
Art in the Age of Mechanical Reproduction,
Andre Malraux initiates The Museum without
Walls, and Marcel Duchamp begins the
Botte-en-Valise: the impact of mechanical
reproduction, surfacing into art through
photography, is felt within aesthetic theory,
art history, and art practice.
276 1936 As part of Franklin D. Roosevelt s
New Deal, Walker Evans, Dorothea Lange,
and other photographers are commissioned
to document rural America in the grip of the
Great Depression.
box • Works Progress Administration
281 1937a The European powers contest one
another in national pavilions of art, trade, and
propaganda at the International Exhibition in
Paris, while the Nazis open the Degenerate
Art exhibition, a vast condemnation of
modernist art, in Munich.
286 1937b Naum Gabo, Ben Nicholson, and
Leslie Martin publish Circle in London, solidifying
the institutionalization of geometric abstraction.
1940-1944
292 1942a The depoliticization of the American
avant-garde reaches the point of no return
when Clement Greenberg and the editors
of Partisan Review bid farewell to Marxism.
297 1942b As World War II forces many
Surrealists to emigrate from France to the
United States, two shows in New York reflect
on this condition of exile in different ways.
box • Exiles and emigres
box • Peggy Guggenheim
302 1 943 James A. Porter s Modern Negro
Art, the first scholarly study of African-
American art, is published in New York
as the Harlem Renaissance promotes race
awareness and heritage.
308 1944a Piet Mondrian dies, leaving
unfinished Victory Boogie-Woogie, a work
that exemplifies his conception of painting
as a destructive enterprise.
313 1944b At the outbreak of World War II,
the Old Masters of modern art—Matisse,
Picasso, Braque, and Bonnard—consider
their refusal to flee occupied France as an act
of resistance against barbarity: discovered at
the Liberation, the style they had developed
during the war years presents a challenge to
the new generation of artists.
318 Roundtable I Art at mid-century
1945-1949
332 1 945 David Smith makes Pillar of Sunday:
constructed sculpture is caught between the
craft basis of traditional art and the industrial
basis of modern manufacturing.
337 1946 Jean Dubuffet exhibits his hautes
pates, which confirm the existence of
a new, scatological trend in postwar French
art, soon to be named informel.
box* Art brut
343 1947a Josef Albers begins his Variant
paintings at Black Mountain College in North
Carolina a year after Laszlo Moholy-Nagy
dies in Chicago: imported to the United
States, the model of the Bauhaus is
transformed by different artistic imperatives
and institutional pressures.
348 1947b The publication of Possibilities in
New York marks the coalescence of Abstract
Expressionism as a movement.
355 1949 Life magazine asks its readers
Is he the greatest living painter in the United
States? : the work of Jackson Pollock
emerges as the symbol of advanced art.
1950-1959
362 1951 Barnett Newman s second exhibition
fails: he is ostracized by his fellow Abstract
Expressionists, only later to be hailed as
a father figure by the Minimalist artists.
368 1953 Composer John Cage collaborates
on Robert Rauschenberg s Tire Print: the
indexical imprint is developed as a weapon
against the expressive mark in a range of
work by Rauschenberg, Ellsworth Kelly, and
Cy Twombly.
373 1955a The first Gutai exhibition in Japan
marks the dissemination of modernist art
through the media and its reinterpretation by
artists outside the United States and Europe,
also exemplified by the rise of the Neoconcretist
group in Brazil.
379 1955b The Le mouvement show at
the Galerie Denise Rene in Paris launches
kineticism.
385 1 956 The exhibition This is Tomorrow
in London marks the culmination of research
into postwar relations between art, science,
technology, product design, and popular
culture undertaken by the Independent
Group, forerunners of British Pop art.
391 1957a Two small vanguard groups,
the Lettrist International and the Imaginist
Bauhaus, merge to form the Situationist
International, the most politically engaged
of all postwar movements.
box • Two theses from The Society of the Spectacle
398 1957b Ad Reinhardt writes Twelve Rules
for a New Academy : as avant-garde
paradigms in painting are reformulated in
Europe, the monochrome and grid are
explored in the United States by Reinhardt,
Robert Ryman, Agnes Martin, and others.
404 1958 Jasper Johns s Target with Four
Faces appears on the cover of Artnews
magazine: for some artists like Frank Stella,
Johns presents a model of painting in
which figure and ground are fused in a
single image-object; for others, he opens up
the use of everyday signs and conceptual
ambiguities alike.
box • Ludwig Wittgenstein
411 1959a Lucio Fontana has his first
retrospective: he uses kitsch associations
to question idealist modernism, a critique
extended by his protege Piero Manzoni.
415 1959b At the San Francisco Art
Association, Bruce Conner shows CHILD,
a mutilated figure in a high chair made in
protest against capital punishment:
a practice of assemblage and environment
is developed on the West Coast by Conner,
Wallace Berman, Ed Kienhoiz, and others
that is more scabrous than its equivalents
in New York, Paris, or elsewhere.
421 1 959C The Museum of Modern Art in
New York mounts New Images of Man :
existentialist aesthetics extend into a Cold
War politics of figuration in the work of
Alberto Giacometti, Jean Dubuffet, Francis
Bacon, Willem de Kooning, and others.
box • Art and the Cold War
426 1959d Richard Avedon s Observations
and Robert Frank s The Americans establish
the dialectical parameters of New York
School photography.
1960-1969
434 1960a Critic Pierre Restany organizes
a group of diverse artists in Paris to form
Nouveau Realisme, redefining the
paradigms of collage, the readymade,
and the monochrome.
box: The neo-avant-garde
439 1960b Clement Greenberg publishes
Modernist Painting : his criticism reorients
itself and in its new guise shapes the debates
of the sixties,
box • Leo Steinberg: the flatbed picture plane
445 1 960C Roy Lichtenstein and Andy Warhol
start to use cartoons and advertisements as
sources for paintings, followed by James
Rosenquist, Ed Ruscha, and others:
American Pop art is born.
4so 1961 In December, Claes Oldenburg
opens The Store in New York s East Village,
an environment that mimicked the setting
of surrounding cheap shops and from
which all the items were for sale: throughout
the winter and the following spring, ten
different happenings would be performed
by Oldenburg s Ray Gun Theater in
The Store locale.
456 1962a In Wiesbaden, West Germany,
George Maciunas organizes the first of
a series of international events that mark
the formation of the Fluxus movement.
464 1 962b In Vienna, a group of artists
including Gunter Brus, Otto Muhl, and
Hermann Nitsch come together to form
Viennese Actionism.
470 1 962c Spurred by the publication of The
Great Experiment: Russian Art 1863-1922
by Camilla Gray, Western interest revives
in the Constructivist principles of Vladimir
Tatlin and Aleksandr Rodchenko, which are
elaborated in different ways by younger
artists such as Dan Flavin, Carl Andre, Sol
LeWitt, and others.
box • Artforum
475 1963 After publishing two manifestos
with the painter Eugen Schonebeck, Georg
Baselitz exhibits Die Grosse Nacht im Eimer
(Great Night Down the Drain) in Berlin.
480 1964a On July 20, the twentieth
anniversary of the failed Stauffenberg coup
against Hitler, Joseph Beuys publishes his
fictitious autobiography and generates an
outbreak of public violence at the Festival
of New Art in Aachen, West Germany.
486 1964b Thirteen Most Wanted Men by
Andy Warhol is installed, momentarily, on
the facade of the State Pavilion at the
World s Fair in New York.
492 1965 Donald Judd publishes Specific
Objects : Minimalism receives its theorization
at the hands of its major practitioners, Judd
and Robert Morris.
box • Maurice Merleau-Ponty
496 1966a Marcel Duchamp completes his
installation Etant Donnes in the Philadelphia
Museum of Art: his mounting influence
on younger artists climaxes with the
posthumous revelation of this new work.
500 1966b The exhibition Eccentric
Abstraction opens in New York: the work of
Louise Bourgeois, Eva Hesse, Yayoi Kusama,
and others points to an expressive alternative
to the sculptural language of Minimalism.
505 1967a Publishing A Tour of the
Monuments of Passaic, New Jersey, Robert
Smithson marks entropy as a generative
concept of artistic practice in the late sixties.
509 1967b The Italian critic Germano Celant
mounts the first Arte Povera exhibition.
515 1967c For their first manifestation,
the four artists of the French group
BMPT paint in public, each artist repeating
exactly from canvas to canvas a simple
configuration of his choice: their form of
Conceptualist painting is the latest in a line
of attacks against official abstraction in
postwar France.
521 1968a Two major museums committed to
the most advanced European and American
art of the sixties—the Stedelijk Van
Abbemuseum in Eindhoven and the
Stadtisches Museum Abteiberg in
Monchengladbach—exhibit the work of
Bernd and Hilla Becher, placing them at
the forefront of an interest in Conceptual
art and photography.
527 1968b Conceptual art manifests itself
in publications by Sol LeWitt, Dan Graham,
and Lawrence Weiner, while Seth Siegelaub
organizes its first exhibitions.
box • Artists journals
box • Deskilling
534 1969 The exhibition When Attitudes
Become Form in Bern and London surveys
Postminimalist developments, while Anti-
Illusion: Procedures/Materials in New York
focuses on Process art, the three principal
aspects of which are elaborated by Richard
Serra, Robert Morris, and Eva Hesse.
1970-1979
540 1 970 Michael Asher installs his Pomona
College Project: the rise of site-specific work
opens up a logical field between modernist
sculpture and Conceptual art.
545 1971 The Guggenheim Museum in New
York cancels Hans Haacke s show and
suppresses Daniel Buren s contribution to the
Sixth Guggenheim International Exhibition:
practices of institutional critique encounter
the resistance of the Minimalist generation.
box • Michel Foucautt
549 1972a Marcel Broodthaers installs his
Musee d Art Moderne, Departement des
Aigles, Section des Figures, in Dusseldorf,
West Germany.
554 1972b The international exhibition
Documenta 5, held in Kassel, West
Germany, marks the institutional acceptance
of Conceptual art in Europe.
560 1973 The Kitchen Center for Video, Music,
and Dance opens its own space in New York:
video art claims an institutional space
between visual and Performance art,
television and film.
565 1 974 With Trans-fixed, in which Chris
Burden is nailed to a Volkswagen Beetle,
American Performance art reaches an
extreme limit of physical presence, and
many of its adherents abandon, moderate,
or otherwise transform its practice.
570 1 975 As filmmaker Laura Mulvey publishes
her landmark essay Visual Pleasure and
Narrative Cinema, feminist artists like Judy
Chicago and Mary Kelly develop different
positions on the representation of women.
box • Theory journals
576 1976 In New York, the founding of P.S.1
coincides with the Metropolitan Museum s
King Tut exhibition: important shifts in the
institutional structure of the art world are
registered by both alternative spaces and
the blockbuster show.
580 1977 The Pictures exhibition identifies
a group of young artists whose strategies
of appropriation and critiques of originality
advance the notion of postmodernism in art.
1980-1989
586 1 980 Metro Pictures opens in New York:
a new group of galleries emerges in order
to exhibit young artists involved in
a questioning of the photographic image and
its uses in news, advertising, and fashion.
box • Jean Baudrillard
590 1984a Victor Burgin delivers his lecture
The Absence of Presence: Conceptualism
and Post-Modernisms : the publication of
this and other lectures by Allan Sekula and
Martha Rosier signals a new approach to
the legacies of Anglo-American
photoconceptualism and to the writing of
photographic history and theory.
596 1984b Fredric Jameson publishes
Postmodernism, or the Cultural Logic
of Late Capitalism, as the debate over
postmodernism extends beyond art and
architecture into cultural politics, and divides
into two contrary positions.
box • Cultural studies
600 1 986 Endgame: Reference and Simulation
in Recent Painting and Sculpture opens in
Boston: as some artists play on the collapse
of sculpture into commodities, others
underscore the new prominence of design
and display.
605 1987 The first ACT-UP action is staged:
activism in art is reignited by the AIDS crisis,
as collaborative groups and political
interventions come to the fore, and a new
kind of queer aesthetics is developed.
box • The US Art Wars
612 1988 Gerhard Richter paints October 18,
1977: German artists contemplate the
possibility of the renewal of history painting.
box • Jurgen Habermas
617 1989 Les Magiciens de la terre,
a selection of art from several continents,
opens in Paris: postcolonial discourse and
multicultural debates affect the production as
well as the presentation of contemporary art.
box • Aboriginal art
1990-2003
624 1 992 Fred Wilson presents Mining the
Museum in Baltimore: institutional critique
extends beyond the museum, and an
anthropological model of project art based
on fieldwork is adapted by a wide range
of artists.
box • Interdisciplinary
630 1993a Martin Jay publishes Downcast
Eyes, a survey of the denigration of vision
in modern philosophy: this critique of visuality
is explored by a number of contemporary
artists.
635 1 993b As Rachel Whiteread s House,
a casting of a terrace house in east London,
is demolished, an innovative group of women
artists comes to the fore in Britain.
639 1993C In New York, the Whitney Biennial
foregrounds work focused on identity amid
the emergence of a new form of politicized
art by African-American artists.
645 1994a A mid-career exhibition of Mike
Kelley highlights a pervasive concern with
states of regression and abjection, while
Robert Gober, Kiki Smith, and others use
figures of the broken body to address
problems of sexuality and mortality.
650 1 994b William Kentridge completes Felix
in Exile, joining Raymond Pettibon and others
in demonstrating the renewed importance
of drawing.
654 1 998 An exhibition of large video
projections by Bill Viola tours several
museums: the projected image becomes
a pervasive format in contemporary art.
box • The spectacularization of art
659 2001 A mid-career exhibition of Andreas
Gursky at the Museum of Modern Art in New
York signals the new dominance of a pictorial
photography, which is often effected through
digital means.
664 2003 With exhibits such as Utopia
Station and Zone of Urgency, the Venice
Biennale exemplifies the informal and
discursive nature of much recent artmaking
and curating.
670 Roundtable I The predicament of
contemporary art
681 Glossary
690 Further reading
695 Selected useful websites
695 Picture credits
699 Index
|
| any_adam_object | 1 |
| author | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- |
| author_GND | (DE-588)123940362 (DE-588)120118599 (DE-588)112840965 (DE-588)122729110 |
| author_facet | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- |
| author_role | aut aut aut aut |
| author_sort | Foster, Hal 1955- |
| author_variant | h f hf r e k re rek y a b yab b h d b bhd bhdb |
| building | Verbundindex |
| bvnumber | BV020026743 |
| callnumber-first | N - Fine Arts |
| callnumber-label | N6490 |
| callnumber-raw | N6490 |
| callnumber-search | N6490 |
| callnumber-sort | N 46490 |
| callnumber-subject | N - Visual Arts |
| classification_rvk | LH 65820 |
| ctrlnum | (OCoLC)186538377 (DE-599)BVBBV020026743 |
| dewey-full | 709.04 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 709 - History, geographic treatment, biography |
| dewey-raw | 709.04 |
| dewey-search | 709.04 |
| dewey-sort | 3709.04 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| era | Geschichte 1900-2000 Geschichte 1900-2003 gnd Geschichte 1900-2011 gnd Geschichte 1900-2015 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 1900-2003 Geschichte 1900-2011 Geschichte 1900-2015 |
| format | Book |
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| id | DE-604.BV020026743 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T12:10:29Z |
| institution | BVB |
| isbn | 0500238189 |
| language | English |
| lccn | 2004102006 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-013348033 |
| oclc_num | 186538377 |
| open_access_boolean | |
| owner | DE-824 DE-473 DE-BY-UBG DE-703 DE-739 DE-634 DE-11 DE-188 DE-Y3 DE-255 DE-Y2 DE-Y7 DE-B170 |
| owner_facet | DE-824 DE-473 DE-BY-UBG DE-703 DE-739 DE-634 DE-11 DE-188 DE-Y3 DE-255 DE-Y2 DE-Y7 DE-B170 |
| physical | 704 Seiten Illustrationen |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Thames & Hudson |
| record_format | marc |
| spellingShingle | Foster, Hal 1955- Krauss, Rosalind E. 1941- Bois, Yve-Alain 1952- Buchloh, Benjamin H. D. 1941- Art since 1900 modernism, antimodernism, postmodernism Konst - historia - 1900-talet sao Art, Modern 20th century Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4114333-4 |
| title | Art since 1900 modernism, antimodernism, postmodernism |
| title_auth | Art since 1900 modernism, antimodernism, postmodernism |
| title_exact_search | Art since 1900 modernism, antimodernism, postmodernism |
| title_full | Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh |
| title_fullStr | Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh |
| title_full_unstemmed | Art since 1900 modernism, antimodernism, postmodernism Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh |
| title_short | Art since 1900 |
| title_sort | art since 1900 modernism antimodernism postmodernism |
| title_sub | modernism, antimodernism, postmodernism |
| topic | Konst - historia - 1900-talet sao Art, Modern 20th century Kunst (DE-588)4114333-4 gnd |
| topic_facet | Konst - historia - 1900-talet Art, Modern 20th century Kunst |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=013348033&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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