Modernism After Postmodernism

Preliminary Bibliography

• André Breton, Surrealism and Painting [1965], trans. Simon

Watson Taylor, New York: Harper & Row, 1972.
• André Breton, Manifestoes of Surrealism, trans. Richard Seaver
and Helen R. Lane, Ann Arbor: University of Michigan Press, 1972.
• Bill Brown, ‘Thing Theory,’ Critical Inquiry, vol. 28, no. 1, Autumn
2001, 1-22.
• T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet
and His Followers, Princeton, New Jersey: Princeton University
Press, 1984.
• T.J. Clark, Farewell to an Idea: Episodes from a History of
Modernism, New Haven and London: Yale University Press, 1999.
• Gilles Deleuze, Francis Bacon: The Logic of Sensation [1981],
trans. Daniel W. Smith, London: Continuum, 2010.
• Steve Edwards and Paul Wood (eds.), Art of the Avant-Gardes,
New Haven and London/Milton Keynes: Yale University Press and
Open University, 2004.
• Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D.
Buchloh and David Joselit, Art Since 1900: Modernism,
Antimodernism, Postmodernism [2004], London: Thames &
Hudson, 2016.
• Michel Foucault, This is Not a Pipe [1973], trans and ed. James
Harkness, Berkeley, Los Angeles, London: University of California
Press, 1983.
• Jason Gaiger (ed.), Frameworks for Modern Art, New Haven and
London/Milton Keynes: Yale University Press and Open University,
2003.
• Christopher Green, Art in France, 1900-1940, New Haven and
London: Yale University Press, 2000.
• Clement Greenberg, ‘Modernist Painting’ [1960], The Collected
Essays and Criticism, vol. IV, Chicago and London: The University
of Chicago Press, 1993, 85-93.
• Rosalind E. Krauss, The Originality of the Avant-Garde and Other
Modernist Myths, Cambridge, Mass. and London: MIT, 1985.
• Rosalind E. Krauss, The Optical Unconscious, Cambridge, Mass.
and London: MIT, 1993.
• MacGregor, John. The Discovery of the Art of the Insane,
Princeton, New Jersey: Princeton University Press, 1989.
• Steven Henry Madoff (ed.), Pop Art: A Critical History, Berkeley,
Los Angeles, London: University of California Press, 1997.
• New York: Museum of Modern Art. ‘Primitivism’ in 20th Century
Art: Affinity of the Tribal and the Modern, 2 vols., 1984.
• Fred Orton and Griselda Pollock, Avant-Gardes and Partisans
Reviewed, Manchester and New York: Manchester University
Press, 1996.
• Craig Owens, ‘The Allegorical Impulse: Toward a Theory of
Postmodernism’ [1980], Brian Wallis (ed.), Art After Modernism:
Rethinking Representation [1984], New York: The New Museum of
Contemporary Art, 1999, 203-35.
• Gavin Parkinson, The Duchamp Book, London: Tate Publishing
2008.
• Gavin Parkinson, Enchanted Ground: André Breton, Modernism
and the Surrealist Appraisal of Fin-de-Siècle Painting, London:
Bloomsbury, 2018.
• Leo Steinberg, ‘Other Criteria’ [1968, 1972], Other Criteria:
Confrontations with Twentieth-Century Art, London, Oxford, New
York: Oxford University Press, 1972, 55-91.
• Paul Wood (ed.), Varieties of Modernism, New Haven and
London/Milton Keynes: Yale University Press and Open University,
2004.

Catherine Howe, Gavin Parkinson

15 May 2018