American Art Since 1900

First edition has title: Readings in American art since 1900.

An extraordinary synthesis of more than a century’s worth of art across Central and South America, Latin American Art Since 1900 covers everyone from popular figures such as Diego Rivera and Frida Kahlo, to a wide range of other artists who are less well-known outside Latin America. In this classic survey, now updated with full-color images throughout, Edward Lucie-Smith introduces the art of Latin America from 1900 to the present day. Lucie-Smith examines major artists such as Diego Rivera and Frida Kahlo, as well as dozens of less familiar Latin American artists and exiled artists from Europe and the United States who spent their lives in South America, such as Leonora Carrington. The author explains the political context for artistic development and sets the works in national, cultural, and international frameworks. Featured in this book are the artists who have searched for indigenous roots and local tradition; explored abstraction, expressionism, and new media; entered into dialogue with European and North American movements, while insisting on reaching a wide, popular audience for their work; and created an energetic, innovative, and varied art scene across the South American continent. With a new chapter that extends the discussion into the twenty-first century, a constant theme of Latin American Art Since 1960 is the embrace of the experimental and the new by artists across Latin America.

Discusses the 1913 Armory Show; the 1920s, a period of provincial Cubism; the 1930s of the American Scene painters and the WPA projects. Examines the 1940s Abstract Expressionists--including Gorky, Pollock, and de Kooning. Examines pop and op art, and the work of Jasper Johns and Frank Stella. Presents American sculpture from the works of Lachaise and Smith and Oldenburg and the conceptual works of Richard Serra and Sol LeWitt.

Groundbreaking in both its content and its presentation, Art Since 1900 has been hailed as a landmark study in the history of art. Conceived by some of the most influential art historians of our time, this extraordinary book has now been revised, expanded and brought right up to date to include the latest developments in the study and practice of art. It provides 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 130 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 myriad 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 that proposed alternative visions. This third edition includes a new introduction on the impact of globalization, as well as essays on the development of Synthetic Cubism, early avant-garde film, Brazilian modernism, postmodern architecture, Moscow conceptualism, queer art, South African photography, and the rise of the new museum of art. The book's 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. Illustrating the text are reproductions of almost eight hundred of the canonical (and anti-canonical) works of the century. A five-part introduction sets out the methodologies that govern the discipline of art history, informing and enhancing the reader's understanding of its practice today. 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 boxes throughout, while a glossary, full bibliography and list of websites add to the reference value of this outstanding volume. 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.

American Art to 1900 presents an astonishing variety of unknown, little-known, or undervalued documents to convey the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. The volume highlights such critically important themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, and more. With its hundreds of explanatory headnotes, this book reveals the documentary riches of American art and its many intersecting histories. -back cover.

Tourist art of the eighteenth and nineteenth centuries is generally of high quality and great aesthetic interest. Yet scholars have largely ignored these objects because their incorporation of Euro-North American influences, in both forms and motifs, has led to their dismissal as commercial, acculturated, and inauthentic. This exclusive location of authenticity and value in an idealized past silences the creative responses of Aboriginal people to repressive official policies of directed acculturation and denies their full participation in historical modernity. Throughout the eighteenth and nineteenth centuries the production, sale, and consumption of tourist art constituted a system for the circulation of objects within which images of Indianness were negotiated. To produce marketable commodities, Aboriginal people constructed images of themselves that mediated European notions of the savage, the natural, and the primitive. By accepting this imagery, colonizers and settlers naturalized their own identities as the rightful successors to the -Indians. While stereotypes of Indianness were being transported into parlours and bed chambers, the objects made for sale were also influencing the things Aboriginal people made for their own use. The beaded purses, pincushions, and shopping baskets brought Euro-American styles and concepts into Aboriginal communities, together with associated ideas of gender roles and domestic organization. An innovative combination of fieldwork, art historical analysis, and historical contextualization, this study is the first rigorous comparison of Native souvenir production with a wide range of Euro-American decorative arts and home crafts to identify the sources of object types and styles and revealing the innovative difference displayed by Aboriginal trade wares. Images newly uncovered in archives and travel literature - including depictions of Native vendors and makers - illustrate the book, along with never before displayed or published objects from museum collections in Europe and North America.

Joselit traces and analyzes the diversity and complexity of postwar American art from Abstract Expressionism to the present clearly and succinctly in this groundbreaking survey. 183 illustrations.