A Companion to Modern Art presents a series of original essays by international and interdisciplinary authors who offer a comprehensive overview of the origins and evolution of artistic works, movements, approaches, influences, and legacies of Modern Art.
* Presents a contemporary debate and dialogue rather than a seamless consensus on Modern Art
* Aims for reader accessibility by highlighting a plurality of approaches and voices in the field
* Presents Modern Art's foundational philosophic ideas and practices, as well as the complexities of key artists such as Cezanne and Picasso, and those who straddled the modern and contemporary
* Looks at the historical reception of Modern Art, in addition to the latest insights of art historians, curators, and critics to artists, educators, and more
Notes on Contributors
Nicholas Addison is course leader in the Teaching and Learning Exchange, University of the Arts, London (UAL). He has published extensively on art education, particularly in relation to critical studies within secondary education. His research and other publications examine the interface between art practices and theories of subjectivity and meaning making. He is concerned to map the possibilities of art practice as a mode of research within education drawing on activity theory and critical pedagogy to understand how cultural activities can inform and transform everyday practices. He is leading a research project examining residual, dominant, and emergent pedagogies at UAL.
Laura Back is currently Design Integrity Officer at Australian Parliament House, Canberra, and is co-author of Moments in Time: Dioramas at the Australian War Memorial (2008). She was formerly Curator of Sculpture at the Australian War Memorial, and Curator of Australian International Decorative Arts and Design at the Queen Victoria Museum and Art Gallery, Launceston, Tasmania.
Fionna Barber is Reader in Art History in the Manchester School of Art. Her publications include Art in Ireland since 1910 (Reaktion 2013) and she is the editor with Heidi Hanson and Sara Dybris McQuaid of the forthcoming collection Ireland and the North to be published by Peter Lang in 2017. She is currently working on a study of women artists' responses to revolution and reconstruction in early twentieth-century Ireland.
Greta Berman is the Professor of Art History at the Juilliard School. Her doctoral dissertation (PhD, Columbia University 1975) was on WPA murals in New York City. She has curated numerous shows, including one on Realism during Abstract Expressionism (Rutgers Zimmerli Art Museum 1982) with Jeffrey Wechsler. The catalogue for the show, Realism and Realities: The Other Side of American Painting, 1940-1960, was published in 1982 by Rutgers University Press. Her current work focuses primarily on art/music connections and synesthesia.
Judith Brocklehurst is an artist, writer, and researcher based in London. She studied sculpture in Dresden, from 1993-1995. Her practice based PhD, was completed in 2017 at the UCL Institute of Education, London: it investigated historical urban space through social media photography.
Whitney Davis is George C. and Helen N. Pardee Professor of History and Theory of Ancient and Modern Art at the University of California at Berkeley. He is the author of seven books and over one hundred articles on prehistoric, ancient, and modern arts. His book, A General Theory of Visual Culture (Princeton University Press, 2011), received the monograph prize of the American Society for Aesthetics.
Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory, University of Edinburgh. Her books include ECONOMY: Art, Production and the Subject in the 21st Century (co-edited with Kirsten Lloyd 2015), Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (2013), Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (edited with Lara Perry 2013) and, in her native Greek, Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (2013).
Anna Green has spent her working life teaching in museums and universities: from Dulwich Picture Gallery to Norwich Castle Museum; from the Open University to Norwich University of the Arts, and the University of East Anglia. Her particular areas of academic interest begin with nineteenth-century French painting and Childhood Studies, but also include: Museum Education; the "Norwich School"; and seventeenth-century Dutch still life. Key publications include: French Paintings of Childhood and Adolescence, 1848-1886 (Ashgate, 2007); and "The Norwich School of Artists," and "Still Life," in A Vision of England (Norfolk Museums & Archaeology Service, 2013).
Jonathan Harris is Professor in Global Art and Design Studies and Head of Birmingham School of Art, Birmingham City University. Harris is author and editor of twenty books, including The New Art History: A Critical Introduction (Routledge 2001), Writing Back to Modern Art: After Greenberg, Fried and Clark (Routledge 2005), Globalization and Contemporary Art (Wiley-Blackwell 2011) and The Utopian Globalists: Artists of Worldwide Revolution, 1919-2009 (Wiley-Blackwell 2013). Harris has taught or lectured at many universities worldwide, including UCLA, Northwestern, Harvard, Edinburgh, London, Copenhagen, Aarhus, Barcelona, Warburg Institute Hamburg, St Petersburg Architects' House, Tsinghua, Zhejiang, Hong Kong City, Western Australia and Sydney.
Wiebke Leister is a German artist and writer based in London. She is course leader for MA Photography at London College of Communication, co-organizer of the Photography and the Contemporary Imaginary Research Hub and core member of the Photography and the Archive Research Centre at University of the Arts, London. Her research investigates conditions of photographic Non-Likeness, in particular presentations of expressive signs of the face in relation to its facial canvas.
Andrew McNamara is an art historian and Professor of Visual Arts at Queensland University of Technology, Brisbane. His publications include: Sweat - The Subtropical Imaginary (2011); An Apprehensive Aesthetic (2009); Modern Times: The Untold Story of Modernism in Australia, with Ann Stephen and Philip Goad (2008). He is a Fellow of the Australian Academy of the Humanities.
Pam Meecham is a Professor of Museum and Studies at UCL Institute of Education, University College London. She has lectured worldwide on a range of museum and art history related subjects and published widely on visual culture, art history, and museum and gallery education.
Annika Öhrner, Associate Professor at Södertörn University, Stockholm, defended her dissertation Barbro Östlihn and New York, Art's Space and Possibilities, at Uppsala University in 2010. Her research interests and publications include topics on early twentieth-century avant-garde formations and art from the 1960s to the present. Öhrner has curated several exhibitions including retrospectives of Meret Oppenheim (2004) and Siri Derkert (2011) at Stockholm's Moderna Museet and initiated international research networks and symposia, such as The European Artistic Avant-garde c. 1910-1930: Formations, Networks and Trans-national Strategies (2013) and Art in Transfer and Curatorial Practices and Transnational strategies in the Era of Pop (2014).
Nicos Philippou is author of Coffee House Embellishments and co-editor of Re-envisioning Cyprus and Photography and Cyprus: Time, Place, Identity. His writings on photography and vernacular culture have been published in journals, art magazines, and collected volumes. As a photographer he has participated in several exhibitions in Cyprus and abroad. He is currently lecturing at the Communications Department of the University of Nicosia and writing his PhD thesis: Photography, Ideology and the Construction of Cypriotness.
Briley Rasmussen is Assistant Professor and Director of Museum Studies at the University of Florida. Her research explores the history of education practices in art museums, centering on the intersections of art history, museum history, museum education and artistic practice. Recently, she has been examining the educational mission and programs of the Museum of Modern Art from 1929-1969, looking at the ways in which these programs were integral to how the museum was presenting and defining modern art in this period.
Claire Robins is a Reader in Art and Education at UCL Institute of Education, University College London, where she leads the MA Art and Design in Education and supervises PhD students. Her research interests span contemporary art, curatorial practices, gallery/museum education, and art education. She has written widely across the intersection of these fields of study. Her book, Curious Lessons in the Museum: The Pedagogic Potential of Artists' Interventions, was published by Ashgate in 2013. She is currently researching the ways in which key twentieth-century exhibitions influenced developments in art education.
Julie Sheldon is Professor of Art History at Liverpool John Moores University, where she is also Dean of the Graduate School. Her books include: Modern Art: A Critical Introduction (2nd edition, 2004) and Making American Art (2008) (both co-authored with Pam Meecham); Art in a City Revisited (co-edited with Bryan Biggs); The Letters of Elizabeth Rigby, Lady Eastlake (2009); Art for the Nation: The Eastlakes in the Victorian Art World (2011) (with Susanna Avery-Quash); and The Della Robbia Pottery: From Renaissance to Regent Street (2015).
Rosemary Shirley is a Senior Lecturer in Art History and Curating at Manchester School of Art, Manchester Metropolitan University. She is author of the book Rural Modernity, Everyday Life and Visual Culture (Ashgate 2015) and she has contributed chapters to the edited collections: Affective Landscapes in...