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An instant classic—a lively new introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramović's performance art to today's biennale circuit and million-dollar auctions.Encountering a work of contemporary art, a viewer might ask, "What does it mean?" "Is it really art?" and "Why does it cost so much?" These are not the questions that E. H. Gombrich set out to answer in his magisterial The Story of Art. Contemporary art seems totally unlike what came before it, departing from the road map supplied by Raphael, Dürer, Rembrandt, and other European masters.In The Story of Contemporary Art, Tony Godfrey picks up where Gombrich left off, offering a lively introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramović's performance art to today's biennale circuit and million-dollar auctions. Godfrey, a curator and writer on contemporary art, chronicles important developments in pop art, minimalism, conceptualism, installation art, performance art, and beyond.

'Thank God for yellow ochre, cadmium red medium, and permanent green light'How does a painter see the world? Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candor and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks, and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' —Jerry Saltz, New York Magazine

Traces the history of the German school of art, the Bauhaus, and examines the activities of its teachers and students.

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

Claude Monet is considered one of the most influential artists of all time. He is a founder of the French Impressionist art movement, and today his paintings sell for millions of dollars. While Monet was alive, however, his work was often criticized and he struggled financially. With over one hundred black-and-white illustrations, this book unveils a true portrait of the artist!

Proust's binoculars, 1964 / Roger Shattuck The crisis of the ancien scopic régime, 1993 / Martin Jay Memory images, 1927 / Siegfried Kracauer Space and the collective memory, 1925 / Maurice Halbwachs Outmoded spaces, 1993 / Hal Foster House and universe, 1958 / Gaston Bachelard Realms of memory, 1984 / Pierre Nora Memories and images, 2004 / Paul Ricoeur The infinite line, 2004 / Briony Fer The sadness of the machine, 2001 / Ollivier Dyens Garden center '44, 1944-72 / Joseph Cornell Places (notes on a work in progress), 1974 / Georges Perec Perec: uncovering the infra-ordinary, 2006 / Michael Sheringham In conversation with W.J.T. Mitchell, 1994 / Robert Morris Idris Khan, 2010 / Francis Hodgson The journey-form (3): temporal bifurcations, 2009 / Nicolas Bourriaud Clarice Lispector: the approach, 1979 / Hélène Cixous Uta Barth, 2000 / Margaret Sundell Resistance to replication, 2007 / Margaret Iversen Analogue, chance and memory, 2011 / Michael Newman The ontology of performance: representation without reproduction, 1993 / Peggy Phelan Apparition, 2003 / Roger Malbert Addict-love, 2008 / Tom Burr Portrait of an image: a portfolio by Roni Horn, 2005 / Lauren Sedofsky Past future/split attention, 1972 / Dan Graham Subject as object, 2001 / Anne Rorimer On Kent State (1970), 1972 / Richard Hamilton The industrialization of memory, 1996 / Bernard Stiegler Pierre Huyghe: The third memory (1999), 2007 / Tom McDonough Documents into monuments: archives as meditations on time, 2008 / Okwui Enwezor Crystals, 2005 / Daniel Birnbaum Kota Ezawa: Lennon Sontag Beuys (2004), 2005 / Megan Ratner Living with ghosts: from appropriation to invocation in contemporary art, 2007 / Jan Verwoert Retro/Necro: from beyond the grave of the politics of re-enactment, 2007 / Pia & Galia Kollective Marina Abramovic's Time, 2010 / Abigail Levine One-person protests: notes about going (back) there, 2008 / Johanna Burton Strange temporalities, 1994 / Victor Burgin Make me stop smoking, 2006 / Rabih Mroué Lost in narration: in conversation with Anthony Downey, 2012 / Rabih Mroué The anarchive, 2008 / Tom McDonough Negative images, 2006 / Lisa Saltzman In the dark regions of the world, 2000 / Hans Rudolf Reust Latent archives, roving lens, 2006 / Uriel Orlow Kutlug Ataman: Küba, 2005 / Peter Suchin Being-political, 2010 / T.J. Demos Stan Douglas' Inconsolable memories, 2006 / Sylvie Fortin.

Dance's galvanizing and transformative presence in art and theory over the last decade becomes part of a broader investigation of its dialogue with modernism's legacies.This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography.Dance—because of its ephemerality, corporeality, precariousness, scoring, and performativity—is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project—a central concern for both art and critical thought in our time.This title is published in collaboration with Sadler's Wells, London.

The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.After a long period in eclipse, documentary has undergone a marked revival in recent art. This has been spurred by two phenomena: the exhibition of photographic and video work on political issues at Documenta and numerous biennials; and increasing attention to issues of injustice, violence, and trauma in the war zones of the endemically conflict-ridden twenty-first century. The renewed attention to photography and video in the gallery and museum world has helped make documentary one of the most prominent modes of art-making today. Unsurprisingly, this development has been accompanied by a rich strain of theoretical and historical writing on documentary.This anthology provides a much-needed contextual grounding for documentary art. It explores the roots of documentary in modernism and its critique under postmodernism; surveys current theoretical thinking about documentary; and examines a wide range of work by artists within, around, or against documentary through their own writings and interviews.Artists surveyed include:Kutlug Ataman, Ursula Biemann, Hasan Elahi, Harun Farocki, Omer Fast, Joan Fontcuberta, Regina José Galindo, David Goldblatt, Craigie Horsfield, Alfredo Jaar, Emily Jacir, Lisa F. Jackson, Philip Jones Griffiths, An-My Le, Renzo Martens, Boris Mikhailov, Daido Moriyama, Walid Raad, Michael Schmidt, Sean SnyderWriters include:James Agee, Ariella Azoulay, Walter Benjamin, Adam Broomberg, Judith Butler, Oliver Chanarin, Georges Didi-Huberman, John Grierson, David Levi Strauss, Elizabeth McCausland, Carl Plantinga, Jacques Rancière, Martha Rosler, Jean-Paul Sartre, Allan Sekula, W. Eugene Smith, Susan Sontag, Hito Steyerl, Trinh T. Minh-ha

An examination of contemporary art's engagement with three modes of abstraction.This anthology reconsiders crucial aspects of abstraction's resurgence in contemporary art, exploring three equally significant strategies explored in current practice: formal abstraction, economic abstraction, and social abstraction. In the 1960s, movements as diverse as Latin American neo-concretism, op art and “eccentric abstraction” disrupted the homogeneity, universality, and rationality associated with abstraction. These modes of abstraction opened up new forms of engagement with the phenomenal world as well as the possibility of diverse readings of the same forms, ranging from formalist and transcendental to socio-economic and conceptual.In the 1980s, the writings of Peter Halley, Fredric Jameson, and others considered an increasingly abstracted world in terms of its economic, social, and political conditions—all of which were increasingly manifested through abstract codes or sites of style. Such economic abstraction is primarily addressed in art through subject or theme, but Deleuze and Guattari's notion of art as abstract machine opens up possibilities for art's role in the construction of a new kind of social reality. In more recent art, a third strand of abstraction emerges: a form of social abstraction centered on the strategy of withdrawal. Social abstraction implies stepping aside, a movement away from the mainstream, suggesting the possibilities for art to maneuver within self-organized, withdrawn initiatives in the field of cultural production.Artists surveyed include:Lee Bontecou, Louise Bourgeois, Amilcar de Castro, Paul Cézanne, Lygia Clark, Kajsa Dahlberg, Stephan Dillemuth, Marcel Duchamp, Gardar Eide Einarsson, Günther Förg, Liam Gillick, Ferreira Gullar, Jean Hélion, Eva Hesse, Jakob Jakobsen, Jasper Johns, Donald Judd, Wassily Kandinsky, Sol LeWitt, Piet Mondrian, Bruce Nauman, Hélio Oiticica, Blinky Palermo, Lygia Pape, Mai-Thu Perret, Jackson Pollock, Tobias Rehberger, Bridget Riley, Emily Roysden, Lucas Samaras, Julian Stanczak, Frank Stella, Hito Steyerl, Theo van DoesburgWriters include:Alfred H. Barr Jr., Ina Blom, Lynne Cooke, Anthony Davies, Judi Freeman, Peter Halley, Brian Holmes, Joe Houston, Fredric Jameson, Lucy R. Lippard, Sven Lütticken, Nina Möntmann, Gabriel Perez-Barreiro, Catherine Quéloz, Gerald Raunig, Irit Rogoff, Meyer Schapiro, Kirk Varnedoe, Stephan Zepke

A survey of contemporary art and theory that proposes alternatives to outdated linear models of timeWhat does 'contemporary' actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades. If clock time--a linear measurement that can be unified, followed and owned--is largely the invention of capitalist modernity and binds us to its strictures, how can we extricate ourselves and discover alternative possibilities of experiencing time? Recent art has explored such diverse registers of temporality as wasting and waiting, regression and repetition, d j vu and seriality, unrealized possibility and idleness, non-consummation and counter-productivity, the belated and the premature, the disjointed and the out-of-sync--all of which go against sequentialist time and index slips in chronological experience. While such theorists as Giorgio Agamben and Georges Didi-Huberman have proposed "anachronistic" or "heterochronic" readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question. This collection surveys contemporary art and theory that proposes a wealth of alternatives to outdated linear models of time.Artists surveyed include Marina Abramovic, Francis Alÿs, Matthew Buckingham, Janet Cardiff, Paul Chan, Olafur Eliasson, Bea Fremderman, Toril Johannessen, On Kawara, Joachim Koester, Christian Marclay, nova Milne, Trevor Paglen, Katie Patterson, Raqs Media Collective, Dexter Sinister, Simon Starling, Hito Steyerl, Hiroshi Sugimoto, Tehching Hsieh, Time/Bank, Mark von SchlegellWriters include Giorgio Agamben, Mieke Bal, Geoffrey Batchen, Hans Belting, Walter Benjamin, Franco Berardi, Daniel Birnbaum, Georges Didi-Huberman, Dogen Zenji, Peter Galison, Boris Groys, Brian Dillon, Elena Filipovic, Joshua Foer, Elizabeth Grosz, Adrian Heathfield, Rachel Kent, Bruno Latour, George Kubler, Doreen Massey, Alexander Nagel, Jean-Luc Nancy, Daniel Rosenberg, Michel Serres, Michel Siffre, Nancy Spector, Nato Thompson, Christopher Wood, George Woodcock