Art Since 1900: Modernism, Antimodernism, Postmodernism

This history, coming soon to a college survey class near you, is like the period of art it covers: as often obscure and frustrating as it is dazzling and insightful. The authors, four prominent art history professors, offer a work that is beyond reproach with regard to thoroughness and accuracy but, despite the rich pageant of ideas on parade, they rarely illuminate their subject with even the faintest spark of excitement. Art is presented as a series of problems (the problem of figuration, the problem of post-colonialism, the problem of history), as if the ideas behind art were interchangeable with art itself. Painter Paul Gauguin, for example, is dissected solely in terms of his ill-conceived notions of the primitive purity of non-Western cultures, which is a bit like judging a fine meal only by its cholesterol content. The book's rigorously academic prose often sounds like a debate the reader has happened into the middle of: e.g., ""Any attempt to transform autonomy into a transhistorical, if not ontological precondition of aesthetic experience, however, is profoundly problematic."" Despite these defects, the volume manages to be fast moving thanks to its snappy format-107 short chapters, each broken up by subheadings, illustrations and sidebars-and it cannot fail to impress through the sheer vigor and profusion of the ideas on display, from Cubism to Chris Burden. Indeed, the book is a kind of intellectual tilt-a-whirl, with no comforting H.W. Janson-style master narrative at its center. The authors leave their own authority in deconstructed shards in the first paragraph of the introduction, which invites readers to arrange the book's ""puzzle pieces"" according to individual need. It may be a lively ride to those already familiar with its terms, but to the uninitiated, this book will likely remain a series of broken conversations.