Artquake : the most disruptive works in modern art /: the most disruptive works in modern art. (2021)

• Record Type: Book
• Further Information: Note: Susie Hodge.
• Authors: Hodge, Susie, 1960-; Susie Hodge
• Contents: CHAPTER 1: AFTER THE FIN-DE-SIÈCLE ; ; Gustave Courbet, The Bathers, 1853; Édouard Manet, Olympia, 1863; Auguste Rodin, The Kiss, 1882; Vincent van Gogh, The Starry Night, 1889; James Ensor, Skeletons Fighting over a Pickled Herring, 1891; Edvard Munch, The Scream, 1893; Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897; Gustav Klimt, Nuda Veritas (Naked Truth), 1898; Picasso, Les Demoiselles d’Avignon, 1907; CHAPTER 2: THE HORRORS OF WAR ; ; Egon Schiele, Seated Male Nude (Self-Portrait), 1910; Wassily Kandinsky, Composition V, 1911; Umberto Boccioni, Unique Forms of Continuity in Space, 1913; Kazimir Malevich, Black Square, 1915; Marcel Duchamp, Fountain, 1917; Hannah Höch, Cut with a Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919; Piet Mondrian, Composition with Large Red Plane, Yellow, Black, Grey and Blue, 1921; Otto Dix, Skat Players (Card-Playing War Cripples), 1920; Georgia O'Keeffe, Black Iris, 1926; CHAPTER 3: CONFLICT AND DEGENERACY ; ; Max Ernst, Two Children are Threatened by a Nightingale, 1924; Salvador Dalí, The Persistence of Memory, 1924; Hans Bellmer, The Doll, 1936; Frida Kahlo, The Broken Column, 1944; Jean Dubuffet, Dhôtel, Nuance d'Abricot, 1947; Jackson Pollock, Number One, (1950) Lavender Mist, 1950; Robert Rauschenberg, Erased de Kooning Drawing, 195?; Yves Klein, Anthropometry Performance, 1960; Piero Manzoni, Artist’s Shit, 1961; CHAPTER 4: COMMERCIALISM AND PROTEST ; ; Andy Warhol, Brillo Boxes, 1964; Lucio Fontana, Concetto Spaziale, 1962; Carl Andre, Equivalent VIII, 1966; Yayoi Kusama, Anatomic Explosion on Wall Street, 1968; Vito Acconci, Trademarks, 1970; Marina Abramovic, Rhythm O, 1974; Judy Chicago, The Dinner Party, 1974–79; Jean-Michel Basquiat, Arroz con Pollo, 1981; Nan Goldin, Nan One Month After Being Battered, 1984; Andres Serrano, Immersion, Piss Christ, 1987; Barbara Kruger, Untitled (Your Body is a Battleground), 1989; Guerrilla Girls, Do Women Have to Be Naked to Get into the Met Museum?, 1989; CHAPTER 5: BEYOND THE FRAME ; ; Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991; Mona Hatoum, Light Sentence, 1992; Jenny Saville, Propped, 1992; Rachel Whiteread, House, 1993; Renee Cox, Yo Mama’s Last Supper, 1996; Maurizio Cattelan, The Pope Struck, 1999; Louise Bourgeois, Cell XXVI, 2003; Tania Bruguera, Whisper #5, 2008; Anish Kapoor, A Very Fine Mess, 2009; Kara Walker, A Subtlety, 2014; Banksy, Love is in the Bin, 2018;
• Publisher Details: London : Frances Lincoln Limited Publishers
• Publication Date: 2021
• Extent: 1 online resource, illustrations
• Subjects: 709.03; Art, Modern -- History and criticism
• Languages: English
• ISBNs: 9780711254770
• Related ISBNs: 9780711254763
• Notes: Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.