Art since 1900: Modernism, Antimodernism, Postmodernism
Art Bulletin, The, June, 2006 by Nancy J. Troy, Geoffrey Batchen, Amelia Jones, Pamela M. Lee, Romy Golan, Robert Storr, Jodi Hauptman, Dario Gamboni
Some measure of this shift is detected in the sections structuring the year-to-year entries comprising the bulk of the volume: the four methodological synopses introducing the text ("Psychoanalysis," "The Social History of Art: Models and Concepts," "Formalism and Structuralism," and "Poststructuralism and Deconstruction") and the two round-table discussions that bisect and conclude it ("Art at Mid-century," "The Predicament of Contemporary Art").
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This inventive format does not so much atomize the history of twentieth-century art as a rote chronicle of events, dutifully recited, as it underscores a web of narrative and conceptual tendencies mapped across diverse historic and transnational phenomena. One of those narratives--perhaps the narrative--details the emergence of the avant-garde, its provisional eclipse pre-1945, and the debates over its postwar and current iteration as the neo-avant-garde. (As Buchloh puts it in the conclusion, "What place does neo-avant-garde practice have in the present compared to the one it held in 1968?" [p. 673]). For readers of October, well versed in the adventures of the Spectacle theorized by Guy Debord in 1967, it's no surprise that 1968 occupies a vaunted historical position. For the student approaching this material for the first time, however, a description of the era proves instructive. The first lines of Rosalind Krauss's discussion of poststructuralism are charged with the sense of revolutionary potentiality characterizing that moment. "Throughout the sixties," she writes, "youthful ideals measured against official cynicism created a collision course that climaxed in the uprisings of 1968, when, in reaction to the Vietnam War, student movements throughout the world--in Berkeley, Berlin, Milan, Paris, Tokyo--erupted into action." Immediately following, she cites a student leaflet circulating in Paris in May 1968: "We refuse to become teachers serving a mechanism of social selection in an educational system operating at the expense of working-class children, to become sociologists drumming up slogans for governmental election campaigns ..." (p. 40). Krauss's inclusion of this statement dramatizes the necessary connection between pedagogy and revolutionary politics in the 1960s for a presumably undergraduate audience, for whom the history of civil rights, student activism, and the antiwar movements has largely been reduced to toothless nostalgia by the popular media if it hasn't been demonized by neoconservatives as an idiosyncratic social diversion. Perhaps more than any other, Krauss is the art historian most strongly identified with bringing poststructuralist methods to the study of art, and her historicist positioning of the ethos of the soixante-huitard with poststructuralism, deconstruction, and the like serves to underscore their anti-institutional dimensions.