编者简介 布莱恩•沃利斯，纽约国际摄影中心（ICP）总策划、展览部主任。曾任纽约当代艺术新美术馆策展人、《美国艺术》资深编辑。他为《艺术论坛》、《美国艺术》、《华盛顿邮报》、《纽约时报》等多家报刊撰稿，也在耶鲁大学威廉姆斯学院、纽约大学和纽约城市大学授课。 译者简介 宋晓霞，中央美术学院教授，艺术史博士。主持教育部“当代艺术实践与增强国家文化竞争力战略研究”、文化部“中国形象的海外生成：近20年中国当代艺术展海外调查”等项研究，完成中国美术家协会海外研修项目“从海外看中国形象的塑造”。曾在中央美术学院人文学院开设“西方视角与中国当代艺术研究”博硕专题课。

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful vo...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier volume "The End of the History of A...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier volume "The End of the History of A...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful vo...(展开全部)

As curator Steve Dietz has observed, new media art is like contemporary art--but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks, difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology, present the curator with novel cha...(展开全部)

As curator Steve Dietz has observed, new media art is like contemporary art--but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks, difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology, present the curator with novel cha...(展开全部)

The paradox at the heart of the return to realism in the interwar years, as seen in work by Moholy-Nagy, Brecht, and others. The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with ...(展开全部)

The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with powerfully individuated characters. But the celebrated return of the human in the interwar years was not as straightforward a...(展开全部)

Theodor W. Adorno broached key questions about the role of music in contemporary society and argued that it affected consciousness and was a means of social management and control. Asserting that music sociology can be greatly enriched by returning to Adorno's focus on music as a dynamic medium of social life, this book considers cognition, the emotions and music as a manageme...(展开全部)