As interest in contemporary art has mushroomed since 1945, the publishing industry has been quick to accommodate this market. What follows is by no means exhaustive. New books regularly appear, adding to what is already a plenteous selection on many topics. This bibliography provides a guide to useful sources on general and specific subjects.
Most books listed here are in English, as befits an English-language dictionary. Yet, even if the dictionary were in Hungarian or Chinese, for example, the bibliography would no doubt slant toward English-language sources. As is the case in so many realms of life in today’s internationalized world, English has become the lingua franca of art. Even books from major publishers outside the English-speaking countries tend to cater to English-speaking audiences with translations or dual-language formats, if not stand-alone English titles.
Preference in these pages has been given to the most recent publications, which generally reflect the latest scholarship, but older titles of uncommon pertinence also appear. Some remain the only significant sources on given topics, while others stand the test of time with insights and observations that may be missing from the work of later writers. A mix of general and more specialized works within many topics provides useful approaches for neophytes as well as experts.
Among general sources, Jonathan Fineberg’s Strategies of Being: Art since 1940, 3rd ed. (New York: Prentice Hall, 2010), often assigned as a classroom text, offers a broad overview. David Hopkins’s After Modern Art: 1945–2000 (Oxford: Oxford University Press, 2000) provides excellent analysis, although it does not cover 21st-century developments. Michael Archer’s Art since 1960, 3rd ed. (London: Thames & Hudson, 2014) and Peter Kalb’s Art since 1980: Charting the Contemporary (New York: Pearson, 2013) also count among particularly useful works. Contemporary Art: 1989 to the Present (Hoboken, N.J.: Wiley-Blackwell, 2013) by Alexander Dumbadze and Suzanne Hudson and Themes of Contemporary Art: Visual Art after 1980, 3rd ed. (Oxford: Oxford University Press, 2012) by Jean Robertson and Craig McDaniel cover the most recent years within the purview of this dictionary. Andrew Causey’s Sculpture since 1945 (Oxford: Oxford University Press, 1998) focuses on the medium that arguably dominated advanced art during the late 20th century.
As might be expected, the extent of literature devoted to regions varies substantially, depending on their histories and traditions. For Africa, Asia, and Latin America, a good starting point is Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms (Hoboken, N.J.: Wiley-Blackwell, 2012), edited by Elaine O’Brien and others. Sidney Littlefield Kasfir’s Contemporary African Art (London: Thames & Hudson, 2000) offers an overview of late 20th-century work from that continent. For Asia and Latin America, authors have generally concentrated on single countries, but Contemporary Art in Asia: A Critical Reader (Cambridge, Mass.: MIT Press, 2011), edited by Melissa Chiu and Benjamin Genocchio, gathers 23 essays by leading experts to explore the nature of that region’s contemporary art. For Latin America, Contingent Beauty: Contemporary Art from Latin America (Houston: Museum of Fine Arts, 2016), edited by Mari Carmen Ramírez Inverted Utopias: Avant-Garde Art in Latin America (New Haven, Conn.: Yale University Press, 2004), edited by Mari Carmen Ramírez and Héctor Olea, offer broad coverage. Recent interest in the Middle East has resulted in publication of several useful surveys. Saeb Eigner’s generously illustrated Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, 3rd ed. (London: Merrell, 2015) offers a panoramic view.
The literature on the contemporary art of Continental Europe has focused mainly on individual countries, but a few studies examine limited groupings. These include Contemporary Art in Germany, Austria, and Switzerland (London: Black Dog Publishing, 2016) by Phoebe Adler and Leanne Hayman; Nordic Contemporary: Art from Denmark, Finland, Iceland, Norway, and Sweden (London: Thames & Hudson, 2015), edited by Hossein Amirsadeghi; and Contemporary Art in Eastern Europe (London: Black Dog Publishing, 2010), edited by Nicolaos Kotsopoulos. Art of Two Germanys: Cold War Cultures (New York: Abrams, 2009), edited by Stephanie Barron and Sabine Eckmann, and Martin Engler’s Made in Germany: Young Contemporary Art from Germany (Berlin: Hatje Cantz, 2007) offer starting points for that country. Catherine Millet’s Contemporary Art in France (Paris: Flammarion, 2006) similarly introduces French art.
Despite extensive coverage of contemporary art in the United Kingdom, no single volume attempts to summarize the postwar period, although Richard Cork’s Face to Face: Interviews with Artists (London: Tate, 2015) brings to life a number of the most prominent British artists of the era. Useful books on more specialized topics include David Mellor’s The Sixties Art Scene in London (London: Phaidon, 1993); A Quiet Revolution: British Sculpture since 1965 (New York: Liveright, 1987), edited by Terry A. Neff; and British Art in the Cultural Field, 1939–1969 (Hoboken, N.J.: Wiley-Blackwell, 2012), edited by Lisa Tickner and David Peters Corbett.
As is the case with the United Kingdom, no book dedicated exclusively to art of the United States adequately recapitulates its history since 1945. For an overview of the entire century’s art, see Twentieth-Century American Art (Oxford: Oxford University Press, 2002) by Erika Doss. More specialized starting points include Diana Crane’s The Transformation of the Avant-Garde: The New York Art World, 1940–1985 (Chicago: University of Chicago Press, 1987); Pacific Standard Time: Los Angeles Art, 1945–1980 (Los Angeles: Getty Research Institute, 2011), edited by Rebecca Peabody and Andrew Perchuk; Art in America, 1945–1970 (New York: Library of America, 2014), edited by Jed Perl; and Calvin Tomkins’s essay collection, Post to Neo: The Art World of the 80s (New York: Penguin, 1989). David Reid’s The Brazen Age: New York City and the American Empire; Politics, Art, and Bohemia (New York: Pantheon, 2016) provides a bracing contextual analysis of 1940s art. Oh, Canada: Contemporary Art from North North America (Cambridge, Mass.: MIT Press, 2012), edited by Denise Markonish, provides a broad introduction to recent work from that country.
For theory, criticism, and artists’ writings, the magisterial volume edited by Charles Harrison and Paul Woods Art in Theory, 1900–1990 (Cambridge, Mass.: Blackwell, 1992) remains indispensable. A broad international selection of artists offer analyses of their roles within contemporary art world structures in Institutional Critique: An Anthology of Artists’ Writings (Cambridge, Mass.: MIT Press, 2011), edited by Alexander Alberro and Blake Stimson.
In the contemporary period, the infrastructure that supports, advances, or sometimes inhibits the production and appreciation of art has drawn considerable attention. Not surprisingly, the outsized role of the market has drawn particular interest, as evidenced by such books as Don Thompson’s The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art (New York: St. Martin’s Griffin, 2010) and Noah Horowitz’s Art of the Deal: Contemporary Art in a Global Financial Market (Princeton, N.J.: Princeton University Press, 2014). Accounts of the mechanisms that bring contemporary art before the public may be found in Bruce Altschuler’s Biennials and Beyond: Exhibitions That Made Art History, 1962–2002 (London: Phaidon, 2013); Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art (Hoboken, N.J.: Wiley-Blackwell, 2016), edited by Anthony Gardner and Charles Green; and Rebecca DeRoo’s The Museum Establishment and Contemporary Art: The Politics of Artistic Display in France after 1968 (Cambridge: Cambridge University Press, 2014).
Among reference books, Robert Atkins’s Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present, 2nd ed. (New York: Abbeville, 1997) offers a handy guide to those unfamiliar with terminology associated with contemporary art.
Sources for individual dictionary entries direct readers to the most useful books on specific artists or topics. In relatively few cases, no publication is listed because nothing substantive is available; in these instances, the reader should refer back to more general sources. Often cross-references within the entry or in See also notes will suggest appropriate contexts.
Online resources have in the last decade or so become more or less indispensable to the study of contemporary art. Nearly all major museums—and some smaller ones—now maintain excellent websites that provide illustrations of items in their collections, as well as information about the artists. Important sources for readers of this book include, among many others, the following:
Metropolitan Museum of Art, New York (www.metmuseum.org)
Museum of Modern Art, New York (www.moma.org)
Solomon R. Guggenheim Museum, New York (www.guggenheim.org)
Whitney Museum of American Art, New York (www.whitney.org)
National Gallery of Art, Washington, D.C. (www.nga.gov)
Smithsonian American Art Museum, Washington, D.C. (www.americanart.si.edu)
Phillips Collection, Washington, D.C. (www.phillipscollection.org)
San Francisco Museum of Modern Art (www.sfmoma.org)
Museum of Contemporary Art, Los Angeles (www.moca.org)
Art Institute of Chicago (www.artic.edu)
Walker Art Gallery, Minneapolis (www.walkerart.org)
Tate Modern, London (www.tate.org.uk)
Saatchi Gallery, London (www.saatchigallery.com)
Musée National d’Art Moderne, Centre Pompidou, Paris (www.centre-pompidou.fr)
Museum Ludwig, Cologne (www.museum-ludwig.de)
Offering a more general approach, www.artcyclopedia.com provides access to museum holdings worldwide, along with image archives, online reference works, and other sources. The site lists artists by name and gives pointers to images of their works in public collections. It is also possible to browse by style, nationality, subject, or other criteria.
Most artists working today maintain their own websites, which can be accessed through any search engine. In addition, artists’ estates, specialized museums, and galleries often maintain excellent individual websites for artists they represent.
Among online publications, two notable sites provide fine coverage:
The generously illustrated artcritical (www.artcritical.com), an “online magazine of art and ideas,” gives broad coverage of recent exhibitions, books, art fairs, and other events.
Devoted primarily to the arts, Brooklyn Rail (www.brooklynrail.org), also a print publication, offers good exhibition reviews, often devoted to under-appreciated artists.
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———. Singapore Eye: Contemporary Singapore Art. Milan and New York: Skira, 2015.
———. Thailand Eye: Contemporary Thailand Art. Milan and New York: Skira, 2016.
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———. Everything Seemed Possible: Art in the 1970s. New Haven, Conn.: Yale University Press, 2002.
———. Face to Face: Interviews with Artists. London: Tate, 2015.
———. New Spirit, New Sculpture, New Money: Art in the 1980s. New Haven, Conn.: Yale University Press, 2002.
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Adam, Georgina. Big Bucks: The Explosion of the Art Market in the 21st Century. London: Lund, Humphries, 2014.
Allen, Gwen. Artists’ Magazines: An Alternative Space for Art. Cambridge, Mass.: MIT Press, 2011.
Altschuler, Bruce. Biennials and Beyond: Exhibitions That Made Art History, 1962–2002. London: Phaidon, 2013.
Degen, Natasha, ed. The Market. Cambridge, Mass.: MIT Press, 2013.
DeRoo, Rebecca. The Museum Establishment and Contemporary Art: The Politics of Artistic Display in France after 1968. Cambridge and New York: Cambridge University Press, 2014.
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Gardner, Anthony, and Charles Green. Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art. Hoboken, N.J.: Wiley-Blackwell, 2016.
Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton, N.J.: Princeton University Press, 2014.
O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Expanded ed. Berkeley: University of California Press, 2000.
Robson, A. Deirdre. Prestige, Profit and Pleasure: The Market for Modern Art in New York in the 1940s and 1950s. New York: Garland, 1995.
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Sinclair, Andrew. Arts and Cultures: The History of the 50 Years of the Arts Council of Great Britain. London: Sinclair-Stevenson, 1995.
Thompson, Don. The $12 Million Dollar Stuffed Shark: The Curious Economics of Contemporary Art. New York: St. Martin’s Griffin, 2010.
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