Peter R. Kalb is the Cynthia L. and Theodore S. Berenson Professor of Contemporary Art at Brandeis University where he teaches modern and contemporary art history. Before preparing Art Since 1980 he was the revising author of the Fifth Edition of H.H. Arnason History of Modern Art and the author of High Drama: The New York Cityscapes of Georgia O’Keeffe and Margaret Bourke-White. His scholarship addresses issues in twentieth- and twenty-first-century art and criticism and he serves as the Boston-based corresponding editor for Art in America.

"The writing is clear, artists are well chosen, and the chapter organization is logical... The author strikes an admirable balance between a social history of institutions and contexts, and attention to individual aesthetic choices." -Bill Anthes, Pitzer College "A quite complete and detailed survey of contemporary art, that ... goes into substantial detail on a number of world contemporary artists." -Ellen Hoobler, Columbia University "A good overview of late twentieth-century art, organized thematically and built of short discussions of individual artists. The way that the text is primarily organized around short discussions of individual artists or organizations is effective." -Sarah Hollenberg, University of Utah "Excellent research; great insights and surprisingly comprehensive." -Doreen Maloney, University of Kentucky

• In this section: Brief Table of ContentsDetailed Table of ContentsBRIEF TABLE OF CONTENTS IntroductionChapter 1. Discovering the ContemporaryChapter 2. Taking Pictures: Appropriation and Its ConsequencesChapter 3. Back to the Easel: Neo-Expressionism and the Return of PaintingChapter 4. Into the StreetsChapter 5. Commodities and ConsumerismChapter 6. Memory and HistoryChapter 7. Culture, Body, SelfChapter 8. Eastward Expansion: Contemporary Art in Russia and ChinaChapter 9. Engaging the Global PresentChapter 10. New Metaphors and New NarrativesChapter 11. The Art of Contemporary Experience DETAILED TABLE OF CONTENTS Introduction The Beginnings of Contemporaneity and the Object of Its CritiqueClement Greenberg: Objects of ConcernBeginning the ContemporaryExhibitions and the Art MarketNarrative and MethodsChapter 1. Discovering the Contemporary New Movements and the New MetaphorsInstitutional CritiqueAfrican-American CritiquesFeminist StatementsChapter 2. Taking Pictures: Appropriation and Its Consequences Power on DisplayIdentity and the GazeSpaces of ActionChapter 3. Back to the Easel: Neo-Expressionism and the Return of Painting “A New Spirit in Painting”The United StatesItalyGermanyEpilogue, Addenda, ErrataChapter 4. Into the Streets The East Village and the Alternative SceneArt in the CommunityFrom Marked Territory to the Mass MediaChapter 5. Commodities and Consumerism Market ForcesSigns and AbstractionsCommodity and Form in EuropeThe Internationalism of Commodity ArtChapter 6. Memory and History Memorializing WarAfrican-American HistoriesArt Histories and Civil WarsChapter 7. Culture, Body, Self Body as Form and ContentChanging Strategies: Body as Social MediumToo Close: Personal Lives and Artistic PracticesEmbodying AbstractionBeyond the “I”Chapter 8. Eastward Expansion: Contemporary Art in Russia and China RussiaChinaChapter 9. Engaging the Global Present Cuban ExperimentsMapping the Global PresentYouth Culture as a Measure of Global Change?Imaging the Global EconomyNodes on the Global Network: Israel and PalestineChapter 10. New Metaphors and New Narratives Relearning to PaintSpace and SculptureThe Power of FictionNarrativity 2.0Chapter 11. The Art of Contemporary Experience The Experience of ExperienceExperience ObservedMass Media, Personal Experience, and Politics

Peter R. Kalb is the Cynthia L. and Theodore S. Berenson Professor of Contemporary Art at Brandeis University where he teaches modern and contemporary art history. Before preparing Art Since 1980 he was the revising author of the Fifth Edition of H.H. Arnason History of Modern Art and the author of High Drama: The New York Cityscapes of Georgia O’Keeffe and Margaret Bourke-White. His scholarship addresses issues in twentieth- and twenty-first-century art and criticism and he serves as the Boston-based corresponding editor for Art in America.

"The writing is clear, artists are well chosen, and the chapter organization is logical... The author strikes an admirable balance between a social history of institutions and contexts, and attention to individual aesthetic choices." -Bill Anthes, Pitzer College "A quite complete and detailed survey of contemporary art, that ... goes into substantial detail on a number of world contemporary artists." -Ellen Hoobler, Columbia University "A good overview of late twentieth-century art, organized thematically and built of short discussions of individual artists. The way that the text is primarily organized around short discussions of individual artists or organizations is effective." -Sarah Hollenberg, University of Utah "Excellent research; great insights and surprisingly comprehensive." -Doreen Maloney, University of Kentucky

• In this section: Brief Table of ContentsDetailed Table of ContentsBRIEF TABLE OF CONTENTS IntroductionChapter 1. Discovering the ContemporaryChapter 2. Taking Pictures: Appropriation and Its ConsequencesChapter 3. Back to the Easel: Neo-Expressionism and the Return of PaintingChapter 4. Into the StreetsChapter 5. Commodities and ConsumerismChapter 6. Memory and HistoryChapter 7. Culture, Body, SelfChapter 8. Eastward Expansion: Contemporary Art in Russia and ChinaChapter 9. Engaging the Global PresentChapter 10. New Metaphors and New NarrativesChapter 11. The Art of Contemporary Experience DETAILED TABLE OF CONTENTS Introduction The Beginnings of Contemporaneity and the Object of Its CritiqueClement Greenberg: Objects of ConcernBeginning the ContemporaryExhibitions and the Art MarketNarrative and MethodsChapter 1. Discovering the Contemporary New Movements and the New MetaphorsInstitutional CritiqueAfrican-American CritiquesFeminist StatementsChapter 2. Taking Pictures: Appropriation and Its Consequences Power on DisplayIdentity and the GazeSpaces of ActionChapter 3. Back to the Easel: Neo-Expressionism and the Return of Painting “A New Spirit in Painting”The United StatesItalyGermanyEpilogue, Addenda, ErrataChapter 4. Into the Streets The East Village and the Alternative SceneArt in the CommunityFrom Marked Territory to the Mass MediaChapter 5. Commodities and Consumerism Market ForcesSigns and AbstractionsCommodity and Form in EuropeThe Internationalism of Commodity ArtChapter 6. Memory and History Memorializing WarAfrican-American HistoriesArt Histories and Civil WarsChapter 7. Culture, Body, Self Body as Form and ContentChanging Strategies: Body as Social MediumToo Close: Personal Lives and Artistic PracticesEmbodying AbstractionBeyond the “I”Chapter 8. Eastward Expansion: Contemporary Art in Russia and China RussiaChinaChapter 9. Engaging the Global Present Cuban ExperimentsMapping the Global PresentYouth Culture as a Measure of Global Change?Imaging the Global EconomyNodes on the Global Network: Israel and PalestineChapter 10. New Metaphors and New Narratives Relearning to PaintSpace and SculptureThe Power of FictionNarrativity 2.0Chapter 11. The Art of Contemporary Experience The Experience of ExperienceExperience ObservedMass Media, Personal Experience, and Politics

Peter R. Kalb is the Cynthia L. and Theodore S. Berenson Professor of Contemporary Art at Brandeis University where he teaches modern and contemporary art history. Before preparing Art Since 1980 he was the revising author of the Fifth Edition of H.H. Arnason History of Modern Art and the author of High Drama: The New York Cityscapes of Georgia O’Keeffe and Margaret Bourke-White. His scholarship addresses issues in twentieth- and twenty-first-century art and criticism and he serves as the Boston-based corresponding editor for Art in America.

"The writing is clear, artists are well chosen, and the chapter organization is logical... The author strikes an admirable balance between a social history of institutions and contexts, and attention to individual aesthetic choices." -Bill Anthes, Pitzer College "A quite complete and detailed survey of contemporary art, that ... goes into substantial detail on a number of world contemporary artists." -Ellen Hoobler, Columbia University "A good overview of late twentieth-century art, organized thematically and built of short discussions of individual artists. The way that the text is primarily organized around short discussions of individual artists or organizations is effective." -Sarah Hollenberg, University of Utah "Excellent research; great insights and surprisingly comprehensive." -Doreen Maloney, University of Kentucky

• In this section: Brief Table of ContentsDetailed Table of ContentsBRIEF TABLE OF CONTENTS IntroductionChapter 1. Discovering the ContemporaryChapter 2. Taking Pictures: Appropriation and Its ConsequencesChapter 3. Back to the Easel: Neo-Expressionism and the Return of PaintingChapter 4. Into the StreetsChapter 5. Commodities and ConsumerismChapter 6. Memory and HistoryChapter 7. Culture, Body, SelfChapter 8. Eastward Expansion: Contemporary Art in Russia and ChinaChapter 9. Engaging the Global PresentChapter 10. New Metaphors and New NarrativesChapter 11. The Art of Contemporary Experience DETAILED TABLE OF CONTENTS Introduction The Beginnings of Contemporaneity and the Object of Its CritiqueClement Greenberg: Objects of ConcernBeginning the ContemporaryExhibitions and the Art MarketNarrative and MethodsChapter 1. Discovering the Contemporary New Movements and the New MetaphorsInstitutional CritiqueAfrican-American CritiquesFeminist StatementsChapter 2. Taking Pictures: Appropriation and Its Consequences Power on DisplayIdentity and the GazeSpaces of ActionChapter 3. Back to the Easel: Neo-Expressionism and the Return of Painting “A New Spirit in Painting”The United StatesItalyGermanyEpilogue, Addenda, ErrataChapter 4. Into the Streets The East Village and the Alternative SceneArt in the CommunityFrom Marked Territory to the Mass MediaChapter 5. Commodities and Consumerism Market ForcesSigns and AbstractionsCommodity and Form in EuropeThe Internationalism of Commodity ArtChapter 6. Memory and History Memorializing WarAfrican-American HistoriesArt Histories and Civil WarsChapter 7. Culture, Body, Self Body as Form and ContentChanging Strategies: Body as Social MediumToo Close: Personal Lives and Artistic PracticesEmbodying AbstractionBeyond the “I”Chapter 8. Eastward Expansion: Contemporary Art in Russia and China RussiaChinaChapter 9. Engaging the Global Present Cuban ExperimentsMapping the Global PresentYouth Culture as a Measure of Global Change?Imaging the Global EconomyNodes on the Global Network: Israel and PalestineChapter 10. New Metaphors and New Narratives Relearning to PaintSpace and SculptureThe Power of FictionNarrativity 2.0Chapter 11. The Art of Contemporary Experience The Experience of ExperienceExperience ObservedMass Media, Personal Experience, and Politics