With the rise of Abstract Expressionism, New York City became the acknowledged center of the avant-garde. Diana Crane documents the transformation of the New York art world between 1940 and 1985, both in the artistic styles that emerged during this period and the expansion of the number and types of institutions that purchased and displayed various works. Crane's account is bu...(展开全部)

Convinced that all aspects of modern culture have been affected by avant-garde art, Poggioli explores the relationship between the avant-garde and civilization. Historical parallels and modern examples from all the arts are used to show how the avant-garde is both symptom and cause of many major extra-aesthetic trends of our time, and that the contemporary avant-garde is th...(展开全部)

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

彼得·比格尔（Peter Burger），1936年生，1971年起任德国不来梅大学法国文学与比较文学教授。著有《先锋派理论》、《现代主义的衰弱》、《唯心主义美学批判》、《中介一接受一功能》（论文集）和《艺术体制：现代德国文化与文学》（与克丽斯塔·比格尔合著）等。

Back in the USSR: 250 film posters capture the cultural energy of the pre-Stalin era At the intersection of the visual, graphic, and cinematic arts, film posters are a unique and thrilling record of a particular cultural Zeitgeist. This book brings together 250 posters from the pre-Stalin Soviet Union of the 1920s and 1930s to explore the energy and invention of this period, be...(展开全部)

This work is a philosophical intervention into contemporary cultural theory challenges the terms of its understanding of time and history. If Aristotle sought to understand time through change, might we not reverse the procedure and seek to understand change through time? Once we do this, argues Peter Osborne, it soon becomes clear that ideas such as avant-garde, modern, postmo...(展开全部)

Back in the USSR: 250 film posters capture the cultural energy of the pre-Stalin era At the intersection of the visual, graphic, and cinematic arts, film posters are a unique and thrilling record of a particular cultural Zeitgeist. This book brings together 250 posters from the pre-Stalin Soviet Union of the 1920s and 1930s to explore the energy and invention of this period, be...(展开全部)

哈尔·福斯特（Hal Foster, 1955-），美国著名艺术批评家和艺术史家，现任普林斯顿大学艺术与考古系汤森·马丁讲席教授，《十月》的编辑。曾主编著名的《反美学：后现代文化论集》（1983），是后现代批评家的杰出代表。他的批评实践活跃而多元化，著述甚丰，从早年的《重新编码：艺术，景观，文化政治》（1985）、《强迫性的美》（1993）、《实在的回归：世纪末的前卫艺术》（1995）和《设计之罪》（2002）等等，到近期的《艺术X建筑》（2011）、《第一个波普时代》（2012），迄今共计15本之多。 2010年，他获得了克拉克艺术中心颁发的杰出艺术写作奖。2013年，他获得了美国大学艺术学会颁发的马瑟奖，表彰他的写作“为我们这个时代艺术与文化的严肃研究工作，引入、激发并设立了一个极高的标准”。他的批评目光遍及日益复杂的种种文化工业机制，以细密的观...(展开全部)

Elaborates a dialectics of modernity, eternity and tradition.