An edition of Art since 1900
(2004)
Art since 1900
modernism, antimodernism, postmodernism
Second edition.
by Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh
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"Acclaimed as the definitive work on the subject, Art Since 1900 is essential reading for anyone seeking to understand the complexities of art in the modern age. Conceived by four of the most influential art historians of our time, this extraordinary book has now been brought right up to date to include the latest developments in contemporary art.
For the new edition, the original authors Foster, Krauss, Bois and Buchloh have been joined by Professor David Joselit to provide the most comprehensive critical history of art in the twentieth and twenty-first centuries ever published.
With a clear year-by-year structure, the authors present more than one hundred and twenty articles, each focusing on a crucial event - such as the creation of a seminal work, the publication of an important text, or the opening of a major exhibition - to tell the many stories of art from 1900 to the present. All the key turning-points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent antimodernist reactions' alternative visions of art and the world.
This expanded edition contains new essays on the De Stijl movement, the use of mannequins and the automaton in Dada, and modernist graphic design between the wars, as well as discussions of the global emergence of Chinese artists, the influence of gaming and social networking, and the impact of the market on current practice.
Flexible structure and extensive cross-referencing enable readers to plot their own course through the century and to follow any one of the many narratives that unfold, be it the history of a medium such as painting, the development of art in a particular country, the influence of a movement such as Surrealism, or the emergence of a stylistic or conceptual body of work such as abstraction or minimalism.
Illustrations include more than seven hundred of the canonical (and anti-canonical) works of the century. A four-part introduction sets out the methodologies that govern the discipline of art history. Two roundtable discussions consider some of the questions raised by the preceding decades and look ahead to the future. Background information on key events, places and people is provided in themed boxes throughout the book, while an expanded glossary, full bibliography and list of websites add to the reference value of this outstanding volume."--Pub. desc.
Publish Date
2011
Language
English
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Art since 1900: modernism, antimodernism, postmodernism
2011
in English
- Second edition.
0500289522 9780500289525
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Art Since 1900: Modernism, Antimodernism, Postmodernism
March 15, 2005, Thames & Hudson
Hardcover
in English
0500238189 9780500238189
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Art since 1900: modernism, antimodernism, postmodernism
2004, Thames & Hudson
in English
0500238189 9780500238189
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ART SINCE 1900: MODERNISM, ANTIMODERNISM, POSTMODERNISM; HAL FOSTER...ET AL.
Publish date unknown, THAMES & HUDSON
in Undetermined
0500238189 9780500238189
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Book Details
Table of Contents
v. 1. 1900-1944
v. 2. 1945-2010.
v. 1. How to use this book
Preface: a readers' guide
Introductions
Psychoanalysis in modernism and as method / Hal Foster
The social history of art: models and concepts / Benjamin H.D. Buchloh
Formalism and structuralism / Yve-alain Bois
Poststructuralism and deconstruction / Rosalind Krauss
1900-1909: 1900a. Sigmund Freud publishes The Interpretation of Dreams; in Vienna, the rise of the expressive art of Gustav Klimt, Egon Schiele, and Oskar Kokoschka coincides with the emergence of psychoanalysis
1900b. Henri Matisse visits Auguste Rodin in his Paris studio but rejects the elder artist's sculptural style
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
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
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
1908. 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
1909. 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. 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
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: Guillaume Apollinaire
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 protests against the war in the Balkans
1913. Robert Delaunay exhibits his "Windows" paintings in Berlin; the initial problems and paradigms of abstraction are elaborated across Europe
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 l'Ours"
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
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
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
1917a. After two years of intense research, Piet Mondrian breaks through to abstraction and goes on to invent Neoplasticism
1917b. In October 1917, the journal De Stijl is launched by Theo van Doesburg in the small Dutch town of Leiden. It appears monthly until 1922, after which publication is irregular. The last issue dates from 1932 as a posthumous homage to van Doesburg shortly after his death in a Swiss sanatorium
1918. Marcel Duchamp paints Tu m': 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
1919. Pablo Picasso has his first solo exhibition in Paris in thirteen years; the onset of pastiche in his work coincides with a widespread anti-modernist reaction
box: Sergei Diaghilev and the Ballets Russes
box: Rappel a l'ordre.
1920-1929. 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
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
1922. Hans Prinzhorn publishes Artistry of the Mentally Ill; the "art of the insane" is explored in the work of Paul Klee and Max Ernst
1923. The Bauhaus, the most influential school of modernist art and design in the twentieth century, holds its first public exhibition in Weimar, Germany
1924. Andre Breton publishes the first issue of La Revolution Surrealiste, establishing the terms of Surrealist aesthetics
box: Surrealist journals
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
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 l'ordre, this new "magic realism" signals the end of Expressionism and Dada practices in Germany
1925c. Oskar Schlemmer publishes The Theater of the Bauhaus, presenting the mannequin and the automaton as models of the modern performer; other artists, especially women involved in Dada, explore the allegorical potential of the doll and the puppet
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
1927a. 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
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
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.
1928a. 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
1928b. The publication of Die neue Typographie by Jan Tschichold confirms the impact of the Soviet avant-garde's production on book design and advertisement in capitalist Western European countries, and ratifies the emergence of an international style
1929. 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. 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
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 Einsein
1931a. 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
1931b. As Joan Miro reaffirms his vow to "assassinate painting" and Alexander Calder's delicate mobiles are replaced by the stolid stabiles, European painting and sculpture display a new sensibility that reflects Georges Bataille's concept of the "formless"
1933. 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
1934a. At the First All Union Congress of Writers, Andrei Zhdanov lays down the doctrine of Soviet Socialist Realism
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
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 Boite-en-Valise; the impact of mechanical reproduction, surfacing into art through photography, is felt within aesthetic theory, art history, and art practice
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
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
1937b. Naum Gabo, Ben Nicholson, and Leslie Martin publish Circle in London, solidifying the institutionalization of geometric abstraction
1937c. Pablo Picasso unveils Guernica in the Spanish Republican pavilion of the International Exhibition in Paris.
1940-1944. 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
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: Exile and emigres
box: Peggy Guggenheim
1943. 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
1944a. Piet Mondrian dies, leaving unfinished Victory Boogie-Woogie, a work that exemplifies his conception of painting as a destructive enterprise
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
Roundtable. Art at midcentury.
v. 2. 1945-1949. 1945. David Smith makes Pillar of Sunday: constructed sculpture is caught between the craft basis of traditional art and the industrial basis of modern manufacturing
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
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
1947b. The publication of Possibilities in New York marks the coalescence of Abstract Expressionism as a movement
1949a. 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
1949b. Cobra, a loose band of young artists from Copenhagen, Brussels, and Amsterdam, launches its eponymous magazine, in which they advocate a return to "the vital source of life"; meanwhile in England, the New Brutalists propose a bare aesthetic adequate to the austere conditions of the postwar world.
1950-1959. 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
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
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
1955b. The "Le mouvement" show at the Galerie Denise Rene in Paris launches kineticism
1956. 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
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
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
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
1959a. Lucio Fontana has his first retrospective; he uses kitsch associations to question idealist modernism, a critique extended by his protege Piero Manzoni
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 Kienholz, and others that is more scabrous than its equivalents in New York, Paris, or elsewhere
1959c. 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
1959d. Richard Avedon's Observations and Robert Frank's The Americans establish the dialectical parameters of New York School photography.
1960-1969. 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
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
1960c. 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
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
1962a. In Wiesbaden, West Germany, George Maciunas organizes the first of a series of international events that mark the formation of the Fluxus movement
1962b. In Vienna, a group of artists including Gunter Brus, Otto Muhl, and Hermann Nitsch come together to form Viennese Actionism
1962c. 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
1962d. Clement Greenberg is the first to acknowledge the abstract side of early Pop art, a characteristic that would feature time and again in the work of its leading proponents and those who followed them
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
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
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
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
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
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
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
1967b. The Italian critic Germano Celant mounts the first Arte Povera exhibition
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
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
1968b. Conceptual art manifests itself in publications by Sol LeWitt, Dan Graham, and Lawrence Weiner, while Seth Siegelaub organizes its first exhibitions
box: Artist' journals
box: Deskilling
1969. The exhibition "When Attitudes Become Form" in Bern and London surveys Postminimalist developments, while "Anti-Illusion: Materials/Procedures" 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. 1970. Michael Asher installs his Pomona College Project; the rise of site-specific work opens up a logical field between modernist sculpture and Conceptual art
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 Foucault
1972a. Marcel Broodthaers installs his "Musee d'Art Moderne, Departement des Aigles, Section des Figures," in Dusseldorf, West Germany
1972b. The international exhibition Documenta 5, held in Kassel, West Germany, marks the institutional acceptance of Conceptual art in Europe
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
1974. 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
1975. 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
1976. In New York, the founding of P.S. 1 coincides with the Metropolitan Museum of Art's "King Tut" exhibition; important shifts in the institutional structure of the art world are registered by both alternative spaces and the blockbuster show
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. 1980. 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
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 Rosler signals a new approach to the legacies of Anglo-American photoconceptualism and to the writing of photographic history and theory
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
1986. "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
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
1988. Gerhard Richter paints October 18, 1977; German artists contemplate the possibility of the renewal of history painting
box: Jurgen Habermas
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.
1990-1999. 1992. 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: Interdisciplinarity
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
1993b. 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
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
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
1994b. William Kentridge completes Felix in Exile, joining Raymond Pettibon and others in demonstrating the renewed importance of drawing
1998. 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
box: McLuhan, Kittler, and new media.
2000-2010. 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
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
2007a. With a large retrospective at the Cite de la Musique, Paris acknowledges the importance of American artist Christian Marclay for the future of avant-garde art; the French foreign ministry expresses in its own belief in this future by sending Sophie Calle to represent France at the Venice Biennale; while the Brooklyn Academy of Music commissions the South African William Kentridge to design the sets for their production of The Magic Flute
box: Brian O'Doherty and the "white cube"
2007b. "Unmonumental: The Object in the 21st Century" opens at New York's New Museum: the show marks a new focus on assemblage and accumulations among a younger generation of sculptors
2007c. As Damien Hirst exhibits For the Love of God, a platinum cast of a human skull studded with diamonds costing ℗Đ14 million and for sale for ℗Đ50 million, some art is explicitly positioned as a media sensation and a market investment
2009a. Tania Bruguera presents Generic Capitalism at the multimedia conference "Our Literal Speed," a performance that visualizes the assumed bonds and networks of trust and likemindedness among its art-world audience by transgressing those very bonds
2009b. Jutta Koether shows "Lux Interior" at Reena Spaulings Gallery in New York, an exhibition that introduces performance and installation into the heart of painting's meaning; the impact of networks on even the most traditional aesthetic mediums
painting
is widespread among artists in Europe and the United States
2009c. Harun Farocki exhibits a range of works on the subject of war and vision at the Ludwig Museum in Cologne and Raven Row in London that demonstrate the relationship between popular forms of new media entertainment such as video games and the conduct of modern war
2010a. Ai Weiwei's large-scale installation Sunflower Seeds opens in the Turbine Hall of London's Tate Modern; Chinese artists respond to China's rapid modernization and economic growth with works that both engage with the country's abundant labor market and morph into social and mass-employment projects in their own right.
2010b. French artist Claire Fontaine, whose "operation" by two human assistants is itself an explicit division of labor, dramatizes the economies of art in a major retrospective at the Museum of Contemporary Art in North Miami, Florida; the show marks the emergence of the avatar as a new form of artistic subjecthood.
Roundtable. The predicament of contemporary art
Glossary
Further reading
Selected useful websites
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