Art Since 1980

<p> <strong>In this section:</strong> </p> <ol> <li><strong>Brief Table of Contents</strong></li> <li><strong>Detailed Table of Contents</strong></li> </ol> <h2>BRIEF TABLE OF CONTENTS</h2> <ul> <li><strong>Introduction</strong></li> <li><strong>Chapter 1.</strong> Discovering the Contemporary</li> <li><strong>Chapter 2.</strong> Taking Pictures: Appropriation and Its Consequences</li> <li><strong>Chapter 3.</strong> Back to the Easel: Neo-Expressionism and the Return of Painting</li> <li><strong>Chapter 4.</strong> Into the Streets</li> <li><strong>Chapter 5.</strong> Commodities and Consumerism</li> <li><strong>Chapter 6.</strong> Memory and History</li> <li><strong>Chapter 7.</strong> Culture, Body, Self</li> <li><strong>Chapter 8.</strong> Eastward Expansion: Contemporary Art in Russia and China</li> <li><strong>Chapter 9.</strong> Engaging the Global Present</li> <li><strong>Chapter 10.</strong> New Metaphors and New Narratives</li> <li><strong>Chapter 11.</strong> The Art of Contemporary Experience</li> </ul> <p></p> <p></p> <h2>DETAILED TABLE OF CONTENTS</h2> <h3>Introduction</h3> <ul> <li>The Beginnings of Contemporaneity and the Object of Its Critique</li> <li>Clement Greenberg: Objects of Concern</li> <li>Beginning the Contemporary</li> <li>Exhibitions and the Art Market</li> <li>Narrative and Methods</li> </ul> <h3>Chapter 1. Discovering the Contemporary</h3> <ul> <li>New Movements and the New Metaphors</li> <li>Institutional Critique</li> <li>African-American Critiques</li> <li>Feminist Statements</li> </ul> <h3>Chapter 2. Taking Pictures: Appropriation and Its Consequences</h3> <ul> <li>Power on Display</li> <li>Identity and the Gaze</li> <li>Spaces of Action</li> </ul> <h3>Chapter 3. Back to the Easel: Neo-Expressionism and the Return of Painting</h3> <ul> <li>“A New Spirit in Painting”</li> <li>The United States</li> <li>Italy</li> <li>Germany</li> <li>Epilogue, Addenda, Errata</li> </ul> <h3>Chapter 4. Into the Streets</h3> <ul> <li>The East Village and the Alternative Scene</li> <li>Art in the Community</li> <li>From Marked Territory to the Mass Media</li> </ul> <h3>Chapter 5. Commodities and Consumerism</h3> <ul> <li>Market Forces</li> <li>Signs and Abstractions</li> <li>Commodity and Form in Europe</li> <li>The Internationalism of Commodity Art</li> </ul> <h3>Chapter 6. Memory and History</h3> <ul> <li>Memorializing War</li> <li>African-American Histories</li> <li>Art Histories and Civil Wars</li> </ul> <h3>Chapter 7. Culture, Body, Self</h3> <ul> <li>Body as Form and Content</li> <li>Changing Strategies: Body as Social Medium</li> <li>Too Close: Personal Lives and Artistic Practices</li> <li>Embodying Abstraction</li> <li>Beyond the “I”</li> </ul> <h3>Chapter 8. Eastward Expansion: Contemporary Art in Russia and China</h3> <ul> <li>Russia</li> <li>China</li> </ul> <h3>Chapter 9. Engaging the Global Present</h3> <ul> <li>Cuban Experiments</li> <li>Mapping the Global Present</li> <li>Youth Culture as a Measure of Global Change?</li> <li>Imaging the Global Economy</li> <li>Nodes on the Global Network: Israel and Palestine</li> </ul> <h3>Chapter 10. New Metaphors and New Narratives</h3> <ul> <li>Relearning to Paint</li> <li>Space and Sculpture</li> <li>The Power of Fiction</li> <li>Narrativity 2.0</li> </ul> <h3>Chapter 11. The Art of Contemporary Experience</h3> <ul> <li>The Experience of Experience</li> <li>Experience Observed</li> <li>Mass Media, Personal Experience, and Politics</li> </ul> <p></p>