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Foreword: A Short History of History of Modern Art | |
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The Art of Looking | |
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Experience and Interpretation | |
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A Book That Moves with the Times | |
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Preface | |
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What's New: Chapter-by-chapter revisions | |
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The Origins of Modern Art | |
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SOURCE: Thÿophile Gautier, preface to Mademoiselle de Maupin (1835) | |
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Making Art and Artists: the Role of the Critic | |
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A Marketplace for Art | |
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CONTEXT: Modernity and Modernism the Modern Artist | |
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What Does It Mean to Be an Artist?: From Academic | |
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Emulation toward Romantic Originality | |
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Making Sense of a Turbulent World: the Legacy of Neoclassicism and Romanticism | |
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TECHNIQUE: Printmaking Techniques | |
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History Painting | |
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Landscape Painting | |
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The Search for Truth: Early Photography, Realism, and Impressionism | |
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New Ways of Seeing: Photography and its Influence | |
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TECHNIQUE: Daguerreotype versus Calotype | |
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Only the Truth: Realism | |
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France | |
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England | |
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Seizing the Moment: Impressionism and the Avant-Garde | |
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Manet and Whistler | |
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From Realism to Impressionism | |
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Nineteenth-Century Art in the United States | |
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Early American Artists and the Hudson River School | |
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New Styles and Techniques in Later Nineteenth- | |
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SOURCE: Charles Baudelaire, from his "Salon of 1859" | |
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Century American Art | |
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Post-Impressionism | |
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The Poetic Science of Color: Seurat and the Neo-Impressionists | |
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Form and Nature: Paul Cÿzanne | |
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Early Career and Relation to Impressionism | |
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Later Career | |
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The Triumph of Imagination: Symbolism | |
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Reverie and Representation: Moreau, Puvis, and Redon | |
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The Naive Art of Henri Rousseau | |
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An Art Reborn: Rodin and Sculpture at the Fin-de-Siécle | |
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Early Career and the Gates of Hell | |
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The Burghers of Calais and Later Career | |
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Exploring New Possibilities: Claudel and Rosso | |
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Primitivism and the Avant-Garde: Gauguin and Van Gogh | |
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Gauguin | |
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SOURCE: Paul Gauguin, from Noa Noa (1893) | |
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Van Gogh | |
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SOURCE: Vincent van Gogh, from a letter to his brother Theo van Gogh, 6 August 1888 | |
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A New Generation of Prophets: the Nabis | |
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Vuillard and Bonnard | |
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Montmartre: At Home with the Avant-Garde | |
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The Origins of Modern Architecture and Design | |
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Safeguarding Culture: Revivalist Tendencies in Nineteenth-Century Architecture | |
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American Classicism | |
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European Eclecticism | |
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"A Return to Simplicity": the Arts and Crafts Movement and Experimental Architecture | |
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Experiments in Synthesis: Modernism beside the Hearth | |
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Palaces of Iron and Glass: the Influence of Industry | |
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SOURCE: Joris-Karl Huysmans, from the review Le Fer, 1889 | |
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"Form Follows Function": the Chicago School and the | |
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Origins of the Skyscraper | |
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SOURCE: Louis Sullivan, "The Tall Office Building Artistically Considered," 1896 | |
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Art Nouveau and the Beginnings of Expressionism | |
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With Beauty at the Reins of Industry: Aestheticism and Art Nouveau | |
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Natural Forms for the Machine Age: the Art Nouveau | |
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Aesthetic | |
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Painting and Graphic Art | |
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SOURCE: Sigmund Freud, from the Interpretation of Dreams, 1899 | |
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Architecture and Design | |
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Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France | |
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Scandinavia | |
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Northern and Central Europe | |
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The New Century: Experiments in Color and Form | |
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Fauvism | |
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"Purity of Means" in Practice: Henri Matisse's Early Career | |
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Earliest Works | |
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Matisse's Fauve Period | |
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SOURCE: Charles Baudelaire, Invitation to the Voyage, 1857 | |
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The Influence of African Art | |
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"Wild Beasts" Tamed: Derain, Vlaminck, and Dufy | |
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Religious Art for a Modern Age: Georges Rouault | |
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The Belle epoque on Film: the Lumiére Brothers and Lartigue | |
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CONTEXT: Early Motion Pictures | |
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Modernism on a Grand Scale: Matisse's Art after Fauvism | |
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Forms of the Essential: Constantin Brancusi | |
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Expressionism in Germany | |
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From Romanticism to Expressionism: Corinth and Modersohn-Becker | |
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SOURCE: Paula Modersohn-Becker, Letters and journal | |
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Spanning the Divide between Romanticism and Expressionism: Die Brücke | |
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Kirchner | |
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TECHNIQUE: Woodcuts and Woodblock Prints | |
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Nolde | |
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Heckel, Müller, Pechstein, and Schmidt-Rottluff | |
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Die Brücke's Collapse | |
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The Spiritual Dimension: Der Blaue Reiter | |
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Kandinsky | |
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Münter | |
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Werefkin | |
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Marc | |
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Macke | |
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Jawlensky | |
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Klee | |
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Feininger | |
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Expressionist Sculpture | |
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Self-Examination: Expressionism in Austria | |
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Schiele | |
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Kokoschka | |
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CONTEXT: the German Empire | |
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Cubism | |
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Immersed in Tradition: Picasso's Early Career | |
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Barcelona and Madrid | |
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Blue and Rose Periods | |
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CONTEXT: Women as Patrons of the Avant-Garde | |
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Les Demoiselles d'Avignon | |
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Beyond Fauvism: Braque's Early Career | |
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"Two Mountain Climbers Roped Together": Braque, Picasso, and the Development of Cubism | |
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"Analytic Cubism," 1909���11 | |
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"Synthetic Cubism," 1912���14 | |
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TECHNIQUE: Collage | |
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Constructed Spaces: Cubist Sculpture | |
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Braque and Picasso | |
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Archipenko | |
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Duchamp-Villon | |
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Lipchitz | |
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Laurens | |
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An Adaptable Idiom: Developments in Cubist Painting in Paris | |
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Gris | |
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Gleizes and Metzinger | |
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Lÿger | |
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Other Agendas: Orphism and Other Experimental Art in Paris, 1910���14 | |
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Duchamp | |
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Early Twentieth-Century Architecture | |
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Modernism in Harmony with Nature: Frank Lloyd | |
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Wright | |
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Early Houses | |
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The Larkin Building | |
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Mid-Career Crisis | |
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Temples for the Modern City: American Classicism 1900���15 | |
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New Simplicity Versus Art Nouveau: Vienna Before World War I | |
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Tradition and Innovation: the German Contribution to Modern Architecture | |
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Behrens and Industrial Design | |
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CONTEXT: the Human Machine: Modern Workspaces | |
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Expressionism in Architecture | |
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Toward the International Style: the Netherlands and Belgium | |
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Berlage and Van de Velde | |
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New Materials, New Visions: France in the Early | |
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Twentieth Century | |
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TECHNIQUE: Modern Materials | |
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European Responses to Cubism | |
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Fantasy Through Abstraction: Chagall and the Metaphysical School | |
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Chagall | |
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De Chirico and the Metaphysical School | |
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"Running on Shrapnel": Futurism in Italy | |
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SOURCE: Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism | |
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Balla | |
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Bragaglia | |
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Severini | |
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Carr�� | |
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Boccioni | |
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Sant'Elia | |
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"Our Vortex is Not Afraid:" Wyndham Lewis and Vorticism | |
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CONTEXT: the Omega Workshops | |
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A World Ready for Change: the Avant-Garde in Russia | |
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Larionov, Goncharova, and Rayonism | |
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Popova and Cubo-Futurism | |
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Malevich and Suprematism | |
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El Lissitzky's Prouns | |
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TECHNIQUE: Axonometry | |
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Kandinsky in the Early Soviet Period | |
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Utopian Visions: Russian Constructivism | |
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Innovations in Sculpture | |
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Tatlin | |
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Rodchenko | |
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Stepanova and Rozanova | |
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Pevsner, Gabo, and the Spread of Constructivism | |
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Picturing the Wasteland: Western Europe during World War I | |
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CONTEXT: the Art of Facial Prosthetics | |
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The World Turned Upside Down: the Birth of Dada | |
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The Cabaret Voltaire and Its Legacy | |
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Arp | |
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"Her Plumbing and Her Bridges": Dada Comes to America | |
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Duchamp's Early Career | |
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SOURCE: Anonymous (Marcel Duchamp), "The Richard Mutt Case" | |
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Duchamp's Later Career | |
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Picabia | |
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Man Ray and the American Avant-Garde | |
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"Art is Dead": Dada in Germany | |
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Hausmann, Höch, and Heartfield | |
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Schwitters | |
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Ernst | |
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Idealism and Disgust: the "New Objectivity" in Germany | |
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Grosz | |
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Dix | |
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The Photography of Sander and Renger-Patzsch Beckmann | |
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CONTEXT: Degenerate Art | |
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Art in France after World War I | |
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Eloquent Figuration: Les Maudits | |
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Modigliani | |
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Soutine | |
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Utrillo | |
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Dedication to Color: Matisse's Later Career | |
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Response to Cubism, 1914���16 | |
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Renewal of Coloristic Idiom, 1917���c. 1930 | |
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An Art of Essentials, c. 1930���54 | |
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CONTEXT: Matisse in Merion, Pennsylvania | |
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Celebrating the Good Life: Dufy's Later Career | |
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Eclectic Mastery: Picasso's Career after the War | |
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Parade and Theatrical Themes | |
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CONTEXT: Diaghilev's Ballets Russes | |
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Postwar Classicism | |
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Cubism Continued | |
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Sensuous Analysis: Braque's Later Career | |
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Austerity and Elegance: Lÿger, Le Corbusier, and Ozenfant | |
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Clarity, Certainty, and Order: de Stijl and the Pursuit of Geometric Abstraction | |
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The de Stijl Idea | |
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SOURCE: De Stijl "Manifesto 1" (1918, published in de Stijl in 1922) | |
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Mondrian: Seeking the Spiritual Through the Rational | |
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Early Work | |
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Neoplasticism | |
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The Break with de Stijl | |
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Van Doesburg, de Stijl, and Elementarism | |
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De Stijl Realized: Sculpture and Architecture | |
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Vantongerloo | |
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Van 't Hoff and Oud | |
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Rietveld | |
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Van Eesteren | |
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Bauhaus and the Teaching of Modernism | |
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Audacious Lightness: the Architecture of Gropius | |
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The Building as Entity: the Bauhaus | |
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SOURCE: Walter Gropius, from Bauhaus Manifesto (1919) | |
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Bauhaus Dessau | |
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The Vorkurs: Basis of the Bauhaus Curriculum | |
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Moholy-Nagy | |
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Josef Albers | |
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Klee | |
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Kandinsky | |
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Die Werkmeistern: Craft Masters at the Bauhaus | |
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Schlemmer | |
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Stölzl | |
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Breuer and Bayer | |
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TECHNIQUE: Industry into Art into Industry | |
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"The Core from which Everything Emanates": International Constructivism and the Bauhaus | |
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Gabo | |
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Pevsner | |
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Baumeister | |
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From Bauhaus Dessau to Bauhaus U.S.A | |
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Mies van der Rohe | |
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Bauhaus U.S.A | |
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Surrealism and Its Discontents | |
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CONTEXT: Fetishism | |
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Breton and the Background to Surrealism | |
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The Two Strands of Surrealism | |
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Political Context and Membership | |
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CONTEXT: Trotsky and International Socialism between the Wars | |
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"Art is a Fruit": Arp's Later Career | |
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Hybrid Menageries: Ernst's Surrealist Techniques | |
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"Night, Music, and Stars": Mirò and Organic Abstract | |
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Surrealism | |
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Methodical Anarchy: Andrÿ Masson | |
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Enigmatic Landscapes: Tanguy and Dalü | |
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Dalü | |
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SOURCE: Georges Bataille, from The Cruel Practice of Art (1949) | |
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Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam | |
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Matta and Lam | |
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Women and Surrealism: Oppenheim, Cahun, Tanning, and Carrington | |
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Never Quite "One of Ours": Picasso and Surrealism | |
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Painting and Graphic Art, mid-1920s to 1930s | |
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Guernicaand Related Works | |
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Sculpture, late 1920s to 1940s | |
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Pioneer of a New Iron Age: Julio Gonzà lez | |
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Surrealism's Sculptural Language: Giacometti's Early Career | |
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Surrealist Sculpture in Britain: Moore | |
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Bizarre Juxtapositions: Photography and Surrealism | |
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Atget's Paris | |
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Man Ray, Kertÿsz, Tabard, and the Manipulated Image | |
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The Development of Photojournalism: Brassa , Bravo, Model, and Cartier-Bresson | |
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An English Perspective: Brandt | |
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American Art Before World War II | |
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America Undisguised: the Eight and Social Criticism | |
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Henri, Sloan, Prendergast, and Bellows | |
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SOURCE: Walt Whitman, first stanza of Crossing Brooklyn Ferry (1856) | |
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Two Photographers: Riis and Hine Brooks | |
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A Rallying Place for Modernism: 291 Gallery and the | |
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Stieglitz Circle | |
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Stieglitz and Steichen | |
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TECHNIQUE: Style through Medium, Photogravure and Gelatin-Silver Prints | |
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Weber, Hartley, Marin, and Dove | |
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O'Keeffe | |
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Straight Photography: Strand, Cunningham, and Adams | |
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Coming to America: the Armory Show | |
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Sharpening the Focus on Color and Form: Synchromism and Precisionism | |
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Synchromism | |
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Precisionism | |
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The Harlem Renaissance | |
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Painting the American Scene: Regionalists and Social | |
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Realists | |
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Benton, Wood, Hopper | |
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Grandma Moses and Horace Pippin | |
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Bishop, Shahn and Blume | |
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CONTEXT: the Sacco and Vanzetti Trial | |
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Documents of an Era: American Photographers Between the Wars | |
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Social Protest and Personal Pain: Mexican Artists | |
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Rivera | |
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Orozco | |
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Siqueiros | |
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Kahlo | |
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Tamayo | |
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Modotti's Photography in Mexico | |
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The Avant-Garde Advances: Toward American Abstract Art | |
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Exhibitions and Contact with Europe | |
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Davis | |
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Diller and Pereira | |
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Avery and Tack | |
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Sculpture in America Between the Wars | |
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Lachaise and Nadelman | |
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Storrs and Roszak | |
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Calder | |
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Abstract Expressionism and the New American Sculpture | |
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CONTEXT: Artists and Cultural Activism | |
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Mondrian in New York: the Tempo of the Metropolis | |
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Entering a New Arena: Modes of Abstract Expressionism | |
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SOURCE: Clement Greenberg, from Modernist Painting (first published in 1960) | |
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The Picture as Event: Experiments in Gestural Painting | |
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Hofmann | |
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Gorky | |
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Willem de Kooning | |
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Pollock | |
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SOURCE: Harold Rosenberg, from The American Action Painters (first published in 1952) | |
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Krasner | |
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Kline | |
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Tomlin and Tobey | |
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Guston | |
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Elaine de Kooning and Grace Hartigan | |
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Complex Simplicities: Color Field Painting | |
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Rothko | |
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Newman | |
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Still | |
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Reinhardt | |
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Gottlieb | |
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Motherwell | |
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Baziotes | |
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Drawing in Steel: Constructed Sculpture | |
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Smith and Dehner | |
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Di Suvero and Chamberlain | |
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Textures of the Surreal: Biomorphic Sculpture and Assemblage | |
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Noguchi | |
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Bourgeois | |
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Cornell | |
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Nevelson | |
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Expressive Vision: Developments in American Photography | |
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Capa and Miller | |
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White, Siskind, Porter, and Callahan | |
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Levitt and DeCarava | |
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Postwar European Art | |
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CONTEXT: Samuel Beckett and the Theatre of the Absurd | |
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Revaluations and Violations: Figurative Art in France | |
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Picasso | |
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Giacometti | |
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Richier | |
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Balthus | |
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Dubuffet | |
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A Different Art: Abstraction in France | |
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Fautrier, Van Velde, Hartung, and Soulages | |
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Wols, Mathieu, Riopelle, and Vieira da Silva | |
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De Staýl | |
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"Pure Creation": Concrete Art | |
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Bill and Lohse | |
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Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain | |
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Morandi | |
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Marini and Manz | |
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Afro | |
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Fontana | |
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SOURCE: Lucio Fontana, from The White Manifesto (1946) | |
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Burri | |
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T��pies | |
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"Forget It and Start Again": the CoBrA Artists and Hundertwasser | |
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Jorn | |
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Appel | |
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Alechinsky | |
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Hundertwasser | |
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Figures in the Landscape: British Painting and Sculpture | |
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Bacon | |
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Sutherland | |
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Freud | |
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Moore | |
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Hepworth | |
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Marvels of Daily Life: European Photographers | |
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Bischof | |
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Sudek | |
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Doisneau | |
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Nouveau Rÿalisme and Pop Art | |
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CONTEXT: the Marshall Plan and the "Marilyn Monroe Doctrine" | |
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"Extroversion is the Rule": Europe's New Realism | |
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Klein | |
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Tinguely and Saint-Phalle | |
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Arman | |
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Cÿsar | |
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Raysse | |
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Christo and Jeanne-Claude | |
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Rotella, Manzoni and Broodthaers | |
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"This is Tomorrow": Pop Art in Britain | |
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Hamilton and Paolozzi | |
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Blake and Kitaj | |
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Hockney | |
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Signs of the Times: Pop Art in the United States | |
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Rauschenberg | |
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Johns | |
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Getting Closer to Life: Happenings and Environments | |
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Kaprow, Grooms, and Early Happenings | |
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Segal | |
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Oldenburg | |
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"Just Look at the Surface": the Imagery of Everyday Life | |
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Dine | |
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Samaras and Artschwager | |
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Rivers | |
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Lichtenstein | |
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Warhol | |
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TECHNIQUE: Screenprinting | |
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Rosenquist, Wesselmann, and Indiana Lindner, Marisol, Sister Corita | |
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Poetics of the "New Gomorrah": West Coast Artists | |
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Thiebaud | |
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Kienholz | |
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Jess | |
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Ruscha | |
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Jimÿnez | |
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Personal Documentaries: the Snapshot Aesthetic in | |
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American Photography | |
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Playing by the Rules: Sixties Abstraction | |
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Drawing the Veil: Post Painterly Abstraction | |
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SOURCE: Clement Greenberg, from Post Painterly Abstraction (1964) | |
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Francis and Mitchell | |
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Frankenthaler, Louis, and Olitski | |
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Poons | |
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At an Oblique Angle: Diebenkorn and Twombly | |
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Forming the Unit: Hard-Edge Painting | |
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Seeing Things: Op Art | |
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Vasarely | |
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Riley and Anuszkiewicz | |
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New Media Mobilized: Motion and Light | |
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Mobiles and Kinetic Art | |
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Artists Working with Light | |
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The Limits of Modernism: Minimalism | |
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Caro | |
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Stella | |
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Smith, Judd, Bladen, and Morris | |
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SOURCE: Tony Smith, from a 1966 Interview in Artforum | |
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LeWitt, Andre, and Serra | |
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TECHNIQUE: Minimalist Materials: Cor-Ten Steel | |
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Minimalist Painters | |
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Complex Unities: Photography and Minimalism | |
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Modernism in Architecture at Mid-Century | |
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"The Quiet Unbroken Wave": the Later Work of Wright and Le Corbusier | |
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Wright During the 1930s | |
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Le Corbusier | |
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Purity and Proportion: the International Style in America | |
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The Influence of Gropius and Mies van der Rohe | |
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Skyscrapers | |
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Domestic Architecture | |
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Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia | |
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Finland | |
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Great Britain | |
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France | |
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Germany and Italy | |
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Latin America, Australia, and Japan | |
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Breaking the Mold: Experimental Housing | |
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CONTEXT: Women in Architecture | |
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Arenas for Innovation: Major Public Projects | |
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Cultural Centers, Theaters, and Museums in America | |
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Urban Planning and Airports | |
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Architecture and Engineering | |
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TECHNIQUE: the Dymaxion House | |
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Conceptualism and Activist Art | |
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Art as Language | |
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Art & Language, Kosuth | |
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CONTEXT: Semiotics | |
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Weiner, Huebler, Barry | |
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Keeping Time: Baldessari, Kawara, Darboven | |
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Conceptual Art as Cultural Critique | |
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Haacke, Asher | |
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Lawler, Wilson | |
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Buren | |
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Extended Arenas: Performance Art and Video | |
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Fluxus | |
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CONTEXT: the Situationists | |
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Beuys | |
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The Medium Is the Message: Early Video Art | |
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Paik | |
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Nauman | |
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Campus' Video Art | |
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When Art Becomes Artist: Body Art | |
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Schneemann, Wilke | |
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Mendieta | |
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Acconci | |
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Burden | |
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Gilbert and George, Anderson, and Horn | |
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Radical Alternatives: Feminist Art | |
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The Feminist Arts Program | |
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Erasing the Boundaries between Art and Life: Later | |
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Feminist Art | |
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Kelly | |
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Guerrilla Girls | |
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Antoni | |
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Invisible to Visible: Art and Racial Politics | |
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OBAC, Afri-COBRA, and SPARC | |
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Ringgold and Folk Traditions | |
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Social and Political Critique: Hammons, Colescott | |
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The Concept of Race: Piper | |
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Post-Minimalism | |
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Big Outdoors: Earthworks and Land Art | |
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CONTEXT: Environmentalism | |
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Monumental Works | |
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SOURCE: Robert Smithson, from "Cultural Confinement," originally published in Artforum (1972) | |
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Landscape as Experience | |
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Abakanowicz's Site-Specific Sculpture | |
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Visible Statements: Monuments and Public Sculpture | |
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Metaphors for Life: Process Art | |
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Arte Povera: Merz, Kounellis | |
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Body of Evidence: Figurative Art | |
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Traditional Realism | |
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Photorealism | |
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Hanson's Superrealist Sculpture | |
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Stylized Naturalism | |
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Animated Surfaces: Pattern and Decoration | |
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Figure and Ambiguity: New Image Art | |
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Rothenberg and Moskowitz | |
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Sultan and Jenney | |
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Borofsky and Bartlett | |
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Chicago Imagists: Nutt and Paschke | |
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Steir | |
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New Image Sculptors: Shapiro and Flanagan | |
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Postmodernism | |
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CONTEXT: Poststructuralism | |
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Postmodernism in Architecture | |
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"Complexity and Contradiction": the Reaction Against | |
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Modernism Sets In | |
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SOURCE: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972) | |
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In Praise of "Messy Vitality": Postmodernist Eclecticism | |
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Venturi, Rauch, and Scott Brown, and Moore | |
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Hollein, Stern, and Isozaki | |
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Ironic Grandeur: Postmodern Architecture and History | |
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Johnson | |
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Stirling, Jahn, Armajani, and Foster | |
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Pei and Freed | |
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Ando and Pelli | |
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What Is a Building?: Deconstruction | |
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CONTEXT: Deconstruction versus Deconstructivism | |
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Structure as Metaphor: Architectural Abstractions | |
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Flexible Spaces: Architecture and Urbanism | |
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Plater-Zyberk and Duany | |
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Koolhaas and the OMA | |
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Postmodern Practices: Breaking Art History | |
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Appropriation: Kruger, Levine, Prince, and Sherman | |
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Kruger | |
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Holzer, McCollum, and Tansey | |
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Painting through History | |
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Primal Passions: Neo-Expressionism | |
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German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff | |
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Polke, Richter, and Kiefer | |
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SOURCE: Gerhard Richter, from "Notes 1964���1965" | |
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Italian Neo-Expressionism: Clemente, Chia, and Cucchi | |
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TECHNIQUE: Choosing Media | |
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American Neo-Expressionism: Schnabel, Salle, and Fischl | |
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Regarding Representation: Painting and Photography in the 1980s | |
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Longo | |
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The Starns | |
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Gilbert and George | |
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Searing Statements: Painting as Social Conscience | |
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Golub and Spero | |
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Coe and Applebroog | |
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In the Empire of Signs: Neo-Geo | |
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Neo-Geo Abstraction: Halley and Bleckner | |
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The Sum of Many Parts: Abstraction in the 1980s | |
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Murray | |
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Winters | |
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Taaffe | |
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Scully | |
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Wall of Fame: Graffiti and Cartoon Artists | |
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Haring, Basquiat | |
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Wojnarowicz and Wong | |
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Rollins and KOS | |
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Painting Art History | |
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Currin, Yuskavage | |
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Contemporary Art and the Renegotiation of Modernism | |
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CONTEXT: National Endowment for the Arts | |
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CONTEXT: International Art Exhibitions | |
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Commodity Art | |
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Postmodern Arenas: Installation Art | |
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CoLab, Ahearn, Osorio | |
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Kabakov | |
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Viola | |
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Strangely Familiar: British and American Sculpture | |
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Reprise and Reinterpretation: Art History as Art | |
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Meeting Points: Exploring a Postmodern Abstraction | |
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Contemporary Art and Globalization | |
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CONTEXT: Modern Art Exhibitions and Postcolonialism | |
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Lines That Define Us: Locating and Crossing Borders | |
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Art and the Expression of Culture | |
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Growing into Identity | |
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Identity as Place | |
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Skin Deep: Identity and the Body | |
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Body as Self | |
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Filming the Body | |
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The Absent Body | |
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The Art of Biography | |
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Globalization and Arts Institutions | |
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Interventions in the Global Museum | |
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Designing a Global Museum | |
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CONTEXT: Avant-tainment | |
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CONTEXT: Pritzker Prize | |
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Glossary | |
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Index | |