"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)

"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)

玛丽莲·斯托克斯塔德（著）： 教授、艺术史学家、策展人，曾任美国“高校艺术协会”（ College Art Association）主席、国际中世纪艺术中心主席，为斯潘塞艺术博物馆创始馆长，荣获美国女性艺术核心委员会（Women's Caucus for Art）终身成就奖、堪萨斯艺术委员会年度艺术教育家。《时代》杂志将她评为大学最受欢迎的100位女作家之一。 迈克尔·柯思伦（著）： 斯沃斯摩尔学院的艺术史教授，他曾任该院的美术系主任、中世纪研究协调员及人文中世纪、罗马艺术及建筑课程、美术通史课程等。 王春辰等（译）： 中央美术学院教授，博士生导师，中央美术学院美术馆副馆长，第55届威尼斯国际艺术双年展中国馆策展人，从事当代艺术与批评研究工作。

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto’s first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narr...(展开全部)

Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium Appeals to people interested in artist's use of photography and in contemporary art Tracks the efflorescence of photography as one of the most important mediums for contempor...(展开全部)

As a starting point, the author argues that formalist, contextual and post-structural approaches fail to provide an adequate account of all art, particularly art produced outside the Western tradition. He believes therefore that there are profound problems right at the heart of Western thinking about art, and his new framework is an attempt to resolve these problems. At the cor...(展开全部)

As a starting point, the author argues that formalist, contextual and post-structural approaches fail to provide an adequate account of all art, particularly art produced outside the Western tradition. He believes therefore that there are profound problems right at the heart of Western thinking about art, and his new framework is an attempt to resolve these problems. At the cor...(展开全部)

A landmark in art history and the most anticipated art publishing event of the new millennium. In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere so...(展开全部)