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Table of Contents
Acknowledgments
Notes on contributors
Introduction
Part I. Ancient & modern : Chapter 1. Revitalizing Romanticism; or, reflections on the Nietzschean aesthetic and the modern imagination; Chapter 2. A cartography of desires and taboos: the modern primitive and the Antipodes; Chapter 3. Primitive/modern/contemporary; Chapter 4. Did modernism redefine classicism? The ancient modernity of classical Greek Art; Chapter 5. Robert Goldwater and the search for the primitive: the Asmat Project at the Museum of Primitive Art; Chapter 6. Surrealist Ireland: the archaic, the modern and the marvelous
Part II. Displaying the modern: Chapter 7. Picturing the installation shot; Chapter 8. Contemporary displays of modern art; Chapter 9. Camera-eye: photography and modernism; Chapter 10. Photographic installation strategies en-bloc and in-the-round; Chapter 11. Documenta 6: memories of another modernism
Part III. Re-assessments: modernism and globalization: Chapter 12. Bijiasuo and truth: modernism reassessed in an era of globalization; Chapter 13. Extensive modernity: on the refunctioning of artists as producers; Chapter 14. Architecture's modernisms; Chapter 15. The wide margins of the century: rural modernism, pastoral peasants, and economic migrations; Chapter 16. Destabilizing essentialism through localizing modernism;
Part IV. Locating modernism: multiple modernisms and nation building: Chapter 17. The many modernisms of Australian art; Chapter 18. Greek-Cypriot Locality: (re) defining our understanding of European modernity; Chapter 19. A northern avant-garde: spaces and cultural transfer; Chapter 20. Modernisms, genealogy, and utopias in Finland; Chapter 21. The engaged artist: considerations of relevance; Chapter 22. Visualizing figures of Caribbean slavery through modernism
Part V. The modern artist, the modern child, and a modern art education: Chapter 23. A modern art education; Chapter 24. Misrecognition: child's play, modern art, and Vygotskian psychology; Chapter 25. MoMA and the modern child: the critical role of education programming in MoMA's Modernism; Chapter 26. Paul Cézanne's Young girl at the piano - Overture to "Tannhäuser" or "Le Haschisch des femmes".
Notes on contributors
Introduction
Part I. Ancient & modern : Chapter 1. Revitalizing Romanticism; or, reflections on the Nietzschean aesthetic and the modern imagination; Chapter 2. A cartography of desires and taboos: the modern primitive and the Antipodes; Chapter 3. Primitive/modern/contemporary; Chapter 4. Did modernism redefine classicism? The ancient modernity of classical Greek Art; Chapter 5. Robert Goldwater and the search for the primitive: the Asmat Project at the Museum of Primitive Art; Chapter 6. Surrealist Ireland: the archaic, the modern and the marvelous
Part II. Displaying the modern: Chapter 7. Picturing the installation shot; Chapter 8. Contemporary displays of modern art; Chapter 9. Camera-eye: photography and modernism; Chapter 10. Photographic installation strategies en-bloc and in-the-round; Chapter 11. Documenta 6: memories of another modernism
Part III. Re-assessments: modernism and globalization: Chapter 12. Bijiasuo and truth: modernism reassessed in an era of globalization; Chapter 13. Extensive modernity: on the refunctioning of artists as producers; Chapter 14. Architecture's modernisms; Chapter 15. The wide margins of the century: rural modernism, pastoral peasants, and economic migrations; Chapter 16. Destabilizing essentialism through localizing modernism;
Part IV. Locating modernism: multiple modernisms and nation building: Chapter 17. The many modernisms of Australian art; Chapter 18. Greek-Cypriot Locality: (re) defining our understanding of European modernity; Chapter 19. A northern avant-garde: spaces and cultural transfer; Chapter 20. Modernisms, genealogy, and utopias in Finland; Chapter 21. The engaged artist: considerations of relevance; Chapter 22. Visualizing figures of Caribbean slavery through modernism
Part V. The modern artist, the modern child, and a modern art education: Chapter 23. A modern art education; Chapter 24. Misrecognition: child's play, modern art, and Vygotskian psychology; Chapter 25. MoMA and the modern child: the critical role of education programming in MoMA's Modernism; Chapter 26. Paul Cézanne's Young girl at the piano - Overture to "Tannhäuser" or "Le Haschisch des femmes".