History of Modern Art (7th Edition)

Download History of Modern Art (7th Edition) written by H. H. Arnason, Elizabeth C. Mansfield in PDF format. This book is under the category Art and bearing the isbn/isbn13 number 205259472/9780205259472. You may reffer the table below for additional details of the book.


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H. H. Arnason, Elizabeth C. Mansfield


Pearson Education; 7th edition




832 pages









Book Description

History of Modern Art 7th edition (PDF) is a visual comprehensive overview of the modern art field. It traces the trends and influences in sculpture; painting; photography and architecture from the mid-nineteenth century to the present day. The latest 7th edition deepens its discussions on social conditions that have affected the production and reception of modern and contemporary art.

Learning Goals

Upon completing this ebook; readers should be able to:

  • Understand the origins of modern art
  • Recognize the influences of social conditions on modern art
  • Provide an analysis of artworks based on formal and contextual elements


Table of contents

Table of contents :
Preface xii
Acknowledgments xiii
Why Use this Seventh Edition xiv
Chapter-by-chapter Revisions xiv
The Origins of Modern Art 1
Théophile Gautier, Preface to Mademoiselle de
Maupin (1835) 2
Making Art and Artists: The Role of the Critic 2
A Marketplace for Art 3
CONTEXT: Modernity and Modernism 3
The Modern Artist 3
What Does It Mean to Be an Artist?: From Academic Emulation
toward Romantic Originality 4
Making Sense of a Turbulent World: The Legacy of
Neoclassicism and Romanticism 5
History Painting 6
TECHNIQUE : Printmaking Techniques 6
Landscape Painting 9
The Search for Truth: Early
Photography, Realism, and
Impressionism 14
New Ways of Seeing: Photography and its InfluenceTECHNIQUE : Daguerreotype versus Calotype 15
Only the Truth: Realism 20
France 20
England 22
Seizing the Moment: Impressionism and the
Avant-Garde 24
Manet and Whistler 24
From Realism to Impressionism 28
Nineteenth-Century Art in the United States 36
SOURCE: Charles Baudelaire, from his
“Salon of 1859” 36
Later Nineteenth-Century American Art 37
The Poetic Science of Color: Seurat and the
Neo-Impressionists 43
Form and Nature: Paul Cézanne 45
Early Career and Relation to Impressionism 46
Later Career 48
The Triumph of Imagination: Symbolism 50
Reverie and Representation: Moreau, Puvis, and
Redon 50
The Naive Art of Henri Rousseau 52
An Art Reborn: Rodin and Sculpture at the
Fin de Siècle 53
Early Career and The Gates of Hell 54
The Burghers of Calais and Later Career 56
Exploring New Possibilities: Claudel and Rosso 58
Primitivism and the Avant-Garde: Gauguin and
Van Gogh 59
Gauguin 59
SOURCE : Paul Gauguin, from Noa Noa (1893) 61
Van Gogh 62
SOURCE : Vincent van Gogh, from a letter to his brother
Theo van Gogh, August 6, 1888 62
A New Generation of Prophets: The Nabis 64
Vuillard and Bonnard 65
Montmartre: At Home with the Avant-Garde 67
Arts and Crafts, Art Nouveau, and the
Beginnings of Expressionism 70
“A Return to Simplicity”: The Arts and Crafts Movement
and Experimental Architecture 70
Experiments in Synthesis: Modernism beside the Hearth 72
SOURCE : Walter Pater, from the Conclusion to Studies in
the History of the Renaissance (1873) 74
With Beauty at the Reins of Industry: Aestheticism and
Art Nouveau 74
Natural Forms for the Machine Age: The Art Nouveau
Aesthetic 76
Painting and Graphic Art 76
SOURCE : Sigmund Freud, from The Interpretation of
Dreams (1899) 78
Art Nouveau Architecture and Design 79

Toward Expressionism: Late Nineteenth-Century
Avant-Garde Painting beyond France 84
Scandinavia 84
Northern and Central Europe 87
The New Century:
Experiments in Color and Form 90
Fauvism 90
“Purity of Means” in Practice: Henri Matisse’s
Early Career 91
Earliest Works 91
Matisse’s Fauve Period 92
SOURCE : Charles Baudelaire, Invitation to the Voyage
(1857) 93
The Influence of African Art 97
“Wild Beasts” Tamed: Derain, Vlaminck, and Dufy 99
Religious Art for a Modern Age: Georges Rouault 101
The Belle Époque on Film: The Lumière Brothers and
Lartigue 102
CONTEXT: Early Motion Pictures 102
Modernism on a Grand Scale: Matisse’s Art
after Fauvism 103
Forms of the Essential: Constantin Brancusi 106
Expressionism in Germany
and Austria 111
From Romanticism to Expressionism: Corinth and
Modersohn-Becker 112
SOURCE : Paula Modersohn-Becker, Letters and
Journal 113
Spanning the Divide between Romanticism and
Expressionism: Die Brücke 114
Kirchner 114
TECHNIQUE : Woodcuts and Woodblock Prints 117
Nolde 117
Heckel, Müller, Pechstein, and Schmidt-Rottluff 118
Die Brücke’s Collapse 121
The Spiritual Dimension: Der Blaue Reiter 121
Kandinsky 122
Münter 124
Werefkin 125
Marc 126
Macke 127
Jawlensky 128
Klee 128
Feininger 129
Expressionist Sculpture 130
Self-Examination: Expressionism in Austria 132
Schiele 132
Kokoschka 133
CONTEXT: The German Empire 134
Immersed in Tradition: Picasso’s Early Career 137
Barcelona and Madrid 137
Blue and Rose Periods 137
CONTEXT: Women as Patrons of the Avant-Garde 140
Les Demoiselles d’Avignon 142
Beyond Fauvism: Braque’s Early Career 144
“Two Mountain Climbers Roped Together”: Braque,
Picasso, and the Development of Cubism 146
Analytic Cubism, 1909–11 147
Synthetic Cubism, 1912–14 152
TECHNIQUE : Collage 152
Constructed Spaces: Cubist Sculpture 155
Braque and Picasso 155
Archipenko 157
Duchamp-Villon 158
Lipchitz 158
Laurens 159
An Adaptable Idiom: Developments in Cubist Painting in
Paris 160
Gris 160
Gleizes and Metzinger 162
Léger 163
Other Agendas: Orphism and Other Experimental Art in
Paris, 1910–14 163
Duchamp 166
Early Modern Architecture 169
“Form Follows Function”: The Chicago School and the
Origins of the Skyscraper 169
SOURCE : Louis Sullivan, “The Tall Office Building
Artistically Considered” (1896) 172
Modernism in Harmony with Nature: Frank Lloyd
Wright 172
Early Houses 173
The Larkin Building 175
Mid-Career Crisis 176
Temples for the Modern City: American Classicism
1900–15 176
New Simplicity Versus Art Nouveau: Vienna Before World
War I 177
Tradition and Innovation: The German Contribution to
Modern Architecture 179
Behrens and Industrial Design 180
CONTEXT: The Human Machine: Modern
Workspaces 180
Expressionism in Architecture 181
Toward the International Style: The Netherlands and
Belgium 183
Berlage and Van de Velde 183
TECHNIQUE : Modern Materials 184
New Materials, New Visions: France in the Early
Twentieth Century 184

European Art after Cubism 186
Fantasy Through Abstraction: Chagall and the Metaphysical
School 186
Chagall 187
De Chirico and the Metaphysical School 188
“Running on Shrapnel”: Futurism in Italy 189
SOURCE : Filippo Tommaso Marinetti, from The Founding
and Manifesto of Futurism 189
Balla 191
Bragaglia 192
Severini 192
Carrà 194
Boccioni 194
Sant’Elia 196
“Our Vortex is Not Afraid”: Wyndham Lewis and
Vorticism 197
CONTEXT : The Omega Workshops 197
A World Ready for Change: The Avant-Garde in
Russia 198
Larionov, Goncharova, and Rayonism 199
Popova and Cubo-Futurism 200
Malevich and Suprematism 202
El Lissitzky’s Prouns 204
TECHNIQUE: Axonometry 204
Kandinsky in the Early Soviet Period 205
Utopian Visions: Russian Constructivism 207
Innovations in Sculpture 207
Tatlin 207
Rodchenko 209
Stepanova and Rozanova 210
Pevsner, Gabo, and the Spread of Constructivism 211
Picturing the Wasteland: Western
Europe during World War I 213
CONTEXT : The Art of Facial Prosthetics 213
The World Turned Upside Down: The Birth of Dada 214
The Cabaret Voltaire and Its Legacy 214
Arp 216
“Her Plumbing and Her Bridges”: Dada Comes to
America 218
Duchamp’s Early Career 219
SOURCE : Anonymous (Marcel Duchamp), “The Richard
Mutt Case” 221
Duchamp’s Later Career 222
Picabia 225
Man Ray and the American Avant-Garde 226
“Art is Dead”: Dada in Germany 227
Hausmann, Höch, and Heartfield 228
Schwitters 230
Ernst 231
Idealism and Disgust: The “New Objectivity”
in Germany 233
Grosz 235
Dix 236
The Photography of Sander and Renger-Patzsch 238
Beckmann 238
CONTEXT : Degenerate Art 240
Art in France after World War I 242
Eloquent Figuration: Les Maudits 242
Modigliani 242
Soutine 243
Utrillo 245
Dedication to Color: Matisse’s Later Career 246
Response to Cubism, 1914–16 246
Renewal of Coloristic Idiom, 1917–c. 1930 247
An Art of Essentials, c. 1930–54 249
CONTEXT : Matisse in Merion, Pennsylvania 250
Celebrating the Good Life: Dufy’s Later Career 250
Eclectic Mastery: Picasso’s Career after the War 250
Parade and Theatrical Themes 252
CONTEXT : Diaghilev’s Ballets Russes 253
Postwar Classicism 254
Cubism Continued 255
Guernica and Related Works 257
Sensuous Analysis: Braque’s Later Career 258
Austerity and Elegance: Léger, Le Corbusier, and
Ozenfant 259
Clarity, Certainty, and Order:
De Stijl and the Pursuit of
Geometric Abstraction 262
The de Stijl Idea 262
SOURCE: De Stijl “Manifesto 1” (1918, published in
de Stijl in 1922) 262
Mondrian: Seeking the Spiritual Through the RationalEarly Work 263
Neoplasticism 264
The Break with de Stijl 266
Van Doesburg, de Stijl, and Elementarism 268
De Stijl Realized: Sculpture and Architecture 270
Vantongerloo 271
Van ’t Hoff and Oud 271
Rietveld 272
Van Eesteren 274
Bauhaus and the Teaching
of Modernism 275
Audacious Lightness: The Architecture of Gropius 275
The Building as Entity: The Bauhaus 277
SOURCE: Walter Gropius, from the Bauhaus Manifesto
(1919) 277
Bauhaus Dessau 278
The Vorkurs: Basis of the Bauhaus Curriculum 279
Moholy-Nagy 279
Josef Albers 281
Klee 282
Kandinsky 285
Die Werkmeistern: Craft Masters at the Bauhaus 286
Schlemmer 287
Stölzl 287

Breuer and Bayer 288
TECHNIQUE: Industry into Art into Industry 289
“The Core from which Everything Emanates”:
International Constructivism and the Bauhaus 289
Gabo 289
Pevsner 291
Baumeister 292
From Bauhaus Dessau to Bauhaus U.S.A. 292
Mies van der Rohe 292
Bauhaus U.S.A. 295
Breton and the Background to Surrealism 297
CONTEXT : Fetishism 298
The Two Strands of Surrealism 299
Political Context and Membership 299
CONTEXT : Trotsky and International Socialism Between
the Wars 300
“Art is a Fruit”: Arp’s Later Career 300
Hybrid Menageries: Ernst’s Surrealist Techniques 302
“Night, Music, and Stars”: Miró and Organic–Abstract
Surrealism 304
Methodical Anarchy: André Masson 307
Enigmatic Landscapes: Tanguy and Dalí 308
Dalí 309
SOURCE : Georges Bataille, from The Cruel Practice of Art
(1949) 309
Surrealism beyond France and Spain: Magritte, Delvaux,
Bellmer, Matta, and Lam 313
Matta and Lam 317
Women and Surrealism: Oppenheim, Cahun, Maar,
Tanning, and Carrington 318
Never Quite “One of Ours”: Picasso and Surrealism 322
Painting and Graphic Art, mid-1920s to 1930s 322
Sculpture, late 1920s to 1940s 324
Pioneer of a New Iron Age: Julio González 325
Surrealism’s Sculptural Language: Giacometti’s
Early Career 326
Surrealist Sculpture in Britain: Moore 330
Bizarre Juxtapositions: Photography and Surrealism 331
Atget’s Paris 332
Man Ray, Kertész, Tabard, and the Manipulated
Image 332
The Development of Photojournalism: Brassaï, Bravo,
Model, and Cartier-Bresson 334
An English Perspective: Brandt 337
American Art Before World War II 338
American Artist as Cosmopolitan: Romaine Brooks 338
The Truth about America: The Eight and Social
Criticism 339
Sloan, Prendergast, and Bellows 339
SOURCE : Robert Henri, excerpts from The Art Spirit,
a collection of his writings and notes 341
Two Photographers: Riis and Hine 341

A Rallying Place for Modernism: 291 Gallery and the
Stieglitz Circle 342
Stieglitz and Steichen 343
Weber, Hartley, Marin, and Dove 345
O’Keeffe 347
Straight Photography: Strand, Cunningham, and
Adams 349
Coming to America: The Armory Show 350
Sharpening the Focus on Color and Form: Synchromism
and Precisionism 351
Synchromism 351
Precisionism 352
The Harlem Renaissance 354
Painting the American Scene: Regionalists and Social
Realists 355
Benton, Wood, and Hopper 356
CONTEXT : American Primitives 356
Bishop, Shahn, and Blume 360
CONTEXT : The Sacco and Vanzetti Trial 361
Documents of an Era: American Photographers Between
the Wars 361
Social Protest and Personal Pain: Mexican Artists 364
Rivera 364
Orozco 365
Siqueiros 366
Kahlo 367
Tamayo 367
Modotti’s Photography in Mexico 368
The Avant-Garde Advances: Toward American
Abstract Art 368
Exhibitions and Contact with Europe 368
Davis 369
Diller and Pereira 370
Avery and Tack 371
Sculpture in America Between the Wars 372
Lachaise and Nadelman 372
Roszak 373
Calder 374
Abstract Expressionism and
the New American Sculpture 377
Mondrian in New York: The Tempo of the Metropolis 377
CONTEXT : Artists and Cultural Activism 379
Entering a New Arena: Modes of Abstract
Expressionism 379
The Picture as Event: Experiments in Gestural Painting 380
Hofmann 380
SOURCE: Clement Greenberg, from Modernist Painting
(first published in 1960) 380
Gorky 380
Willem de Kooning 382
Pollock 384
SOURCE: Harold Rosenberg, from The American Action
Painters (first published in 1952) 386
Krasner 387
Kline 388
Tomlin and Tobey 389
Guston 390
Elaine de Kooning and Grace Hartigan 391
Complex Simplicities: Color Field Painting 392
Rothko 392
Newman 395
Still 396
Reinhardt 396
Gottlieb 397
Motherwell 398
Baziotes 400
Drawing in Steel: Constructed Sculpture 401
Smith and Dehner 401
Di Suvero and Chamberlain 404
Textures of the Surreal: Biomorphic Sculpture and
Assemblage 404
Noguchi 404
Bourgeois 405
Cornell 406
Nevelson 407
Expressive Vision: Developments in American
Photography 408
Capa and Miller 408
White, Siskind, and Porter 408
Levitt and DeCarava 409
Postwar European Art 411
Samuel Beckett and the Theater of
the Absurd 411
Re-evaluations and Violations: Figurative Art in France 412
Picasso 412
Giacometti 412
Richier 414
Balthus 415
Dubuffet 416
A Different Art: Abstraction in France 418
Fautrier, Van Velde, Hartung, and Soulages 418
Wols, Mathieu, Riopelle, and Vieira da Silva 420
De Staël 422
“Pure Creation”: Concrete Art 423
Bill and Lohse 423
Postwar Juxtapositions: Figuration and Abstraction in Italy
and Spain 425
Morandi 425
Marini and Manzù 426
Afro 427
Fontana 428
SOURCE: Lucio Fontana, from The White Manifesto
(1946) 429
Burri 430
Tàpies 430
“Forget It and Start Again”: The CoBrA Artists and
Hundertwasser 431
Jorn 431
Appel 431
Alechinsky 432
Hundertwasser 433
The Postwar Body: British Sculpture and Painting 433
Hepworth 434
Moore 435
Bacon 435
Sutherland 439
Freud 440
Marvels of Daily Life: European Photographers 442
Sudek 442
Bischof 443
Doisneau 443
Nouveau Réalisme and Fluxus 444
The Marshall Plan and the “Marilyn Monroe
Doctrine” 444
SOURCE : Manifesto of Nouveau Réalisme, signed October
27, 1960 445
“Sensibility in Material Form”: Klein 445
Tinguely and Saint-Phalle 447
Arman 449
César 449
Raysse 450
Christo and Jeanne-Claude 450
Rotella and Manzoni 451
Fluxus 452
CONTEXT: The Situationists 453
Ono and Beuys 454
Taking Chances with
Popular Culture 456
“This is Tomorrow”: Pop Art in Britain 456
Hamilton and Paolozzi 457
SOURCE : Marshall McLuhan, from Understanding Media:
The Extensions of Man (1964) 457
Blake and Kitaj 458
Hockney 459
Signs of the Times: Assemblage and Pop Art in the United
States 460
Rauschenberg 460
Johns 462
TECHNIQUE : Encaustic 464
Getting Closer to Life: Happenings and Environments 466
Kaprow, Grooms, and Early Happenings 466
Segal 468
Oldenburg 469
“Just Look at the Surface”: The Imagery of
Everyday Life 471
Dine 471
Samaras and Artschwager 472
Rivers 474
Lichtenstein 475
Warhol 476
Rosenquist, Indiana, and Wesselmann 478
TECHNIQUE : Screenprinting 479
Axell, Marisol, and Sister Corita 481
Poetics of the “New Gomorrah”: West Coast Artists 483
Thiebaud 483
Kienholz 483
Jess 484
Ruscha 485
Jiménez 486
Personal Documentaries: The Snapshot Aesthetic in
American Photography 487

Playing by the Rules:
1960s Abstraction 490
Drawing the Veil: Post Painterly Abstraction 490
SOURCE : Clement Greenberg, from Post Painterly
Abstraction (1964) 491
Francis and Mitchell 491
Frankenthaler, Louis, and Olitski 493
Poons 496
At an Oblique Angle: Diebenkorn 497
Forming the Unit: Hard-Edge Painting 498
Seeing Things: Op Art 503
Vasarely 503
Riley 504
New Media Mobilized: Motion and Light 505
Mobiles and Kinetic Art 507
Artists Working with Light 508
The Limits of Modernism: Minimalism 510
Caro 511
Stella 512
Smith, Judd, and Morris 514
SOURCE : Tony Smith, from a 1966 interview in
Artforum 514
LeWitt, Andre, and Serra 518
TECHNIQUE: Minimalist Materials: Cor-Ten Steel 520
Minimalist Painters 521
Complex Unities: Photography and Minimalism 526
Modernism in Architecture
at Mid-Century 527
“The Quiet Unbroken Wave”: The Later Work of Wright
and Le Corbusier 527
Wright During the 1930s 528
Le Corbusier 531
Purity and Proportion: The International Style
in America 535
The Influence of Gropius and Mies van der Rohe 535
Skyscrapers 537
Domestic Architecture 540
Internationalism Contextualized: Developments in Europe,
Latin America, Asia, and Australia 541
Finland 541
Great Britain 543
France 543
Germany and Italy 544
Latin America, Australia, and Japan 546
Breaking the Mold: Experimental Housing 549
CONTEXT : Women in Architecture 550
Arenas for Innovation: Major Public Projects 552
Cultural Centers, Theaters, and Museums
in America 552
Urban Planning and Airports 556
Architecture and Engineering 557
TECHNIQUE: The Dymaxion House 557

Conceptual and Activist Art 558
Art as Language 558
Art & Language, Kosuth 559
CONTEXT : Semiotics 559
Weiner, Huebler, and Barry 560
Keeping Time: Baldessari, Kawara, and Darboven 560
Conceptual Art as Cultural Critique 562
Broodthaers, Buren, and Sanjouand 562
Haacke and Asher 565
Lawler and Wilson 566
The Medium Is the Message: Early Video Art 567
Paik 567
Nauman 568
Campus’s Video Art 568
When Art Becomes Artist: Body Art 569
Abromovic and Ulay 569
Schneemann and Wilke 570
Mendieta 571
Acconci 572
Burden 572
Gilbert and George, Anderson, and Horn 574
Radical Alternatives: Feminist Art 575
The Feminist Art Program 575
Erasing the Boundaries between Art and Life: Later
Feminist Art 578
Kelly 578
Guerrilla Girls 579
Antoni and Fleury 579
Invisible to Visible: Art and Racial Politics 581
OBAC, Afri-COBRA, and SPARC 581
Ringgold and Folk Traditions 583
Social and Political Critique: Hammons and Colescott 584
The Concept of Race: Piper 586
Post-Minimalism, Earth Art,
and New Imagists 587
Metaphors for Life: Process Art 588
Arte Povera: Merz and Kounellis 595
Big Outdoors: Earthworks and Land Art 596
Monumental Works 597
CONTEXT : Environmentalism 597
SOURCE: Robert Smithson, from “Cultural Confinement,”
originally published in Artforum (1972) 599
Landscape as Experience 601
Public Statements: Monuments and Large-Scale Sculpture 606
Body of Evidence: Figurative Art 610
Photorealism 610
Hanson’s Superrealist Sculpture 614
Stylized Naturalism 614
Animated Surfaces: Pattern and Decoration 618
Figure and Ambiguity: New Image Art 621
Rothenberg and Moskowitz 621
Sultan and Jenney 622
Borofsky and Bartlett 624
Chicago Imagists: Nutt and Paschke 625
Steir 626
New Image Sculptors: Shapiro and Flanagan 627
Postmodernism 629
CONTEXT: Poststructuralism 629
Postmodernism in Architecture 630
“Complexity and Contradiction”: The Reaction Against
Modernism Sets In 631
SOURCE: Robert Venturi, Denise Scott Brown, and Steven
Izenour, from Learning from Las Vegas (1972) 632
In Praise of “Messy Vitality”: Postmodernist
Eclecticism 632
Venturi, Rauch, Scott Brown, and Moore 632
Piano, Rogers, and a Postmodern Museum 636
Hollein, Stern, and Isozaki 636
Ironic Grandeur: Postmodern Architecture and
History 640
Johnson 640
Stirling, Jahn, Armajani, and Foster 641
Pei and Freed 643
Ando and Pelli 646
What Is a Building?: Constructivist and Deconstructivist
Architecture 647
CONTEXT: Deconstruction versus Deconstructivism 648
Structure as Metaphor: Architectural Allegories 651
Flexible Spaces: Architecture and Urbanism 654
Plater-Zyberk and Duany 655
Koolhaas and the OMA 656
Postmodern Practices: Breaking Art History 658
Appropriation: Kruger, Levine, Prince, and Sherman 658
Holzer, McCollum, and Tansey 663
Painting through History 666
Primal Passions: Neo-Expressionism 666
German Neo-Expressionism: Baselitz, Lüpertz, Penck,
and Immendorff 667
Polke, Richter, and Kiefer 670
SOURCE: Gerhard Richter, from “Notes 1964–1965” 672
Italian Neo-Expressionism: Clemente, Chia, and
Cucchi 675
TECHNIQUE : Choosing Media 676
American Neo-Expressionism: Schnabel, Salle, and
Fischl 676
Searing Statements: Painting as Social Conscience 680
Golub and Spero 680
Coe and Applebroog 682
In the Empire of Signs: Neo-Geo 683
Neo-Geo Abstraction: Halley and Bleckner 683
The Sum of Many Parts: Abstraction in the 1980s 684
Murray 685
Winters 685
Taaffe 686
Scully 686
Taking Art to the Streets: Graffiti and Cartoon Artists 687
Haring and Basquiat 687
CONTEXT: HIV/AIDS and the Art World 689
Wojnarowicz and Wong 690
Rollins and KOS 691
Painting Art History 692
Currin and Yuskavage 692
New Perspectives on Art
and Audience 695
Commodity Art 695
CONTEXT: National Endowment for the Arts 696
CONTEXT: International Art Exhibitions 697
Postmodern Arenas: Installation Art 701
CoLab, Ahearn, and Osorio 701
Kabakov 702
Viola 704
Strangely Familiar: British and American Sculpture 704
Reprise and Reinterpretation: Art History as Art 710
Representing Art History 710
The Anxiety of Artistic Influence 711
Cutting Art History Down to Size 713
DIY in the Artist’s Studio 714
SOURCE : Jorge Luis Borges, On Exactitude in Science
(1946, originally published as a mock literary
discovery) 717
Reorienting Art History’s Centers and Peripheries 717
New Perspectives on Childhood and Identity 719
The Art of Biography 722
Meeting Points: New Approaches to Abstraction 726
Contemporary Art
and Globalization 729
Modern Art Exhibitions and
Postcolonialism 729
Lines That Define Us: Locating and Crossing Borders 730
Art and the Expression of Culture 730
Identity as Place 735
Skin Deep: Identity and the Body 742
Body as Self 742
The Sensual Body 742
The Absent Body 746
Occupying the Art World 750
Globalization and Arts Institutions 754
Interventions in the Global Museum 754
CONTEXT: Avant-tainment 756
Designing a Global Museum 757
CONTEXT: Pritzker Prize 759

Glossary 761
Bibliography 763
Index 790
Credits 809


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