Index
abstract expressionism, 17, 18,
59-60, 61, 62-63, 217n. 3;
and primitivism, 192, 196
Acconci, Vito, 25, 138, 155
Adorno, Theodor, 1-2, 5, 24,
56, 60, 73, 82, 134, 169,
206-07, 230-31n. 2; on the
Enlightenment, 160-61,
197; on individualism, 19; on
modernism, 123
African art: as plastic art, 187—
88
Althusser, Louis, 145, 224nn.
12, 16
Anderson, Laurie, 131-32
appropriation, 168-80, 227n.
30
Aragon, Louis, 200
art brut, 49
art for art's sake, 163
art historical references in postmodernist
art, 16—17, 20,
24, 28-30, 40-46, 86, 214n.
13 See also postmodernism,
neoconservative
art institution: critique of by
contemporary artists, 100—
06, 221nn. 4, 6
artist, myths of, 35-37, 135
artist as manipulator of signs,
99-115
Artists Space, New York City,
105
art market, 4, 14-15, 24, 54,
100, 104-06, 122
art schools, 14-15
Asher, Michael, 53, 100-03,
105
Attali, Jacques, 171
avant garde, 23; asstheticist,
163, 164; anarchic, 163-64;
arrière, 16, 23-26; transgressée,
147-52, 225n. 24
Baldessari, John, 100
Barr, Alfred, 188
Barrie, Ray, 8, 9, 156
Barthes, Roland, 6, 20, 26, 51,
76, 94, 99, 141, 145, 166,
207, 218n. 15, 221-22n. 14;
on language, 108, 109, 142;
on myth, 5, 142, 168, 182,
235
201; Mythologies, 5; "Myth
Today," 166
Baselitz, Georg, 44
Basquiat, Jean-Michel, 49, 50
Bataille, Georges, 200, 203,
205
Baudelaire, Charles, 25, 34
Baudrillard, Jean, 51, 79, 203,
217- 18n. 10, 224n. 17, 232n.
54; on signification and the
commodity, 4, 6, 145-46,
159,171, 172-73,175, 224n.
8, 227n. 34
Bauhaus, 129-30, 141
Baumgarten, Lothar, 209
Beckmann, Max, 37
Bell, Daniel, 124, 125
Bender, Gretchen, 73; "The
Pleasure Is Back," 73; 74
Benjamin, Walter, 24, 54, 123,
163, 178; "Author as Producer,"
141, 144; on the
position of art in a produc-tivist
society, 91, 93, 104,
141, 220n. 22; "The Work of
Art in the Age of Mechanical
Reproduction," 159
Beuys, Joseph, 22, 191
Bidlo, Mike, 36, 38
Birnbaum, Dara, 99-100
Bloch, Ernst, 44, 45, 96, 123
Bloom, Harold, 123
Boas, Franz, 201
Bogosian, Eric, "Fun House,"
72
Borofsky, Jonathan, 27
bourgeois; defined by Barthes,
166
bourgeois ideology and the
avant garde, 160-66
Braque, Georges, 61, 122
Brauntuch, Troy, 79
Brecht, Bertolt, 113, 141, 142,
148, 169
Brenkman, John, 226n. 11
bricolage: as a primitive mode,
200-02
Broodthaers, Marcel, 100-03,
102
Bryson, Norman, 114, 221-
22n. 14, 237n. 31
Buchloh, Benjamin, 37, 215n.
8, 216n. 12
Burden, Chris, 25
Buren, Daniel, 53, 100-03,
104-105, 234
Bürgin, Victor, 8, 9; Zoo 78 9,
1
Carra, Carlo, 122
Casebere, James, 69—71, 69,
70, 218nn. 15, 17
Cézanne, Paul, 101, 163, 193;
Mont Ste. Victoire, 164-66
Chagall, Marc, 41
Chia, Sandro, 39-41, 43, 53,
73, 76
Chirico, Giorgio de, 41
Clark, T. J., 147-48, 166
Clastres, Pierre 199
Clemente, Francesco, 23, 39-
41, 42
collector. See art market
color field painting, 16
conceptual art, 14, 37, 44, 45,
100, 103, 106
Courbet, Gustave, 34, 37, 163
Crary, Johnathan, 220n. 20
236
critical art, 5, 31, 53, 158-59.
See also art institutions: critique
of by contemporary
artists
criticism, art: function of, 2-5,
211n. 3; and pluralism, 13-
16, 32; recent interdevelop-ments
with art, 5—8, 212n.
15; tasks for, 32, 179
cubists: and primitivism, 188,
192, 200, 231n. 36. See also
Picasso, and primitivism
dada, 129-30, 147-48, 190
Daumier, Honoré, 37
David, Jacques Louis, 123
Debord, Guy, 79, 81,83,89,91
Debray, Régis, 48
Deleuze, Gilles, 188, 207,
225n. 21; the minor, 176-78
Delphy, Christine, 145
Derrida, Jacques, 20, 53, 201,
203, 206, 207, 230n. 19,
232n. 52
Descombes, Vincent, 232n. 65
D'Harnoncourt, René; "Arts of
the South Seas," 187
Dietrich, Marlene, 113
Dix, Otto, 44
Dubuffet, Jean, 49
Duchamp, Marcel, 26, 61, 101,
159, 221n. 4; readymade,
99,106,163, 164—65; urinal,
17, 124, 163
dystopia, 139
Eagleton, Terry, 212n. 11
East Village, New York City, 35,
36, 52
Eisenman, Peter, 131—32, 133
Eisenstein, Sergei, October,
84, 85
Eliot, T. S., 87, 123
Enlightenment, program of, 3—
4, 131, 160-63; and primitivism,
196-98
ephemeral works, 14, 25-26.
See also conceptual art, site-specific
art
Evans, Walker, 166
expressionism: historical formation
of, 44-48; as language,
7, 59-78; relation to neoex-pressionism,
20, 44^18, 59-
60. See also abstract expressionism;
neoexpressionism
Fanon, Frantz, Black Skin
White Masks, 198
fascism: and contemporary culture,
79-81
fascist art: elements borrowed
by contemporary Italian artists,
41-42
Fassbinder, Rainer, 79, 82,
219n. 13
fauves, 192, 200
feminist art, 6, 100, 103, 106-
07, 111-15; and Lacanian
psychoanalysis, 8-10, 113-
14
fetish, Freudian: defined, 79,
135
formalist goal of art, 158
Foucault, Michel, 71,144, 146,
150, 166, 168, 179, 203, 205,
206, 207, 217n. 9, 225n. 24;
and Lacanian and Freudian
237
theory, 213n. 26
Frankfurt School, 134, 146
Freud, Sigmund, 9, 75, 216n.
10, 218n. 17; on the fetish,
79, 135; on regression, 39,
40
Fried, Michael, 16, 53
Gardner, John, 125
Gauguin, Paul, 192, 196, 197
Géricault, Théodore, 37
German expressionism. See
neoexpressionism
German neoexpressionism. See
neoexpressionism
Gilbert and George, 79
Gilbert-Rolfe, Jeremy, 123
Godard, Jean-Luc, 96, 220n. 24
Goldstein, Jack, 78, 79
Goldwater, Robert, Primitiv-ism
in Modern Art, 192
Gorz, André, 140
graffiti, 7, 33, 35, 48-52
Graham, Dan, 53, 100
Gramsci, Antonio, 54, 141
Graves, Michael, 131-32, 133
Gravity's Rainbow, 89
Greenberg, Clement, 14, 34,
35,53,148; essence of modernism,
130; on kitsch, 162
Greenblat, Rodney Alan, 36
Grosz, George, 44
Guattari, Félix, 226n. 9; the
minor, 176-78, 228n. 45
Haacke, Hans, 100-03, 102,
153, 212n. 13
Habermas, Jürgen, 3-4, 163-
64, 207
happenings, 14
Haring, Keith, 49
Hebdige, Dick, 167
Hegel, Georg Wilhelm Friedrich,
205
Hitchcock, Alfred, Vertigo, 9,
113
Hitler, Adolph, 219n. 2
Holzer, Jenny, 71, 99-100,
107-11; Inflammatory Essays,
109, 116; Living, 66,
109-10, 116; "Sign on a
Truck," 111; Survival, 110-
11; Truisms, 108-09, 116
Horkheimer, Max, 160—61,
197, 206-07
Hunt, Bryan, 40
Huxley, Aldous, 95
Immendorff, Jorg, 41, 44
International Style, 124
Italian art; contemporary, 33,
39-42, 44. See also Chia,
Sandro; Clemente, Francesco
Jameson, Fredric, 90,126,129,
151-52, 223n. 7, 228n. 43,
232n. 55; on cultural revolution,
184—85
Jencks, Charles, 28
Johns, Jasper, 18, 62-63; Target
with Plaster Casts, 62-
63; 64
Johnson, Philip: AT&T Building,
122; Glass House, 123,
222n. 1
Joyce, James, Ulysses, 87
238
Judd, Donald, 21
Kalka, Franz, 86, 177
Kandinsky, Wassily, 60, 61
Kant, Immanuel, 157, 158,
160, 226n. 5
Kelley, Mary, 8, 9; Interim, 9;
Post-Partum Document, 9
Kiefer, Anselm, 41,44,47, 76,
79
kitsch: defined by Clement
Greenberg, 162
Kojève, Alexandre, 205
Kolbowski, Silvia, 8, 176
Kostabi, Mark, 36
Kosuth, Joseph, 100
Kramer, Hilton, 125, 228—29n.
2
Krauss, Rosalind, 16, 203
Krier, Leon, 125, 126, 127
Kruger, Barbara, 99-100, 106—
08, 111-15, 115, 117, 155
Lacan, Jacques, 203, 206; the
Imaginary and the Symbolic,
113-14, 182; on the
unconscious, 62
Lacanian psychoanalysis, 146;
and feminist art, 8-10
Lang, Fritz, 86
Lawler, Louise, 98, 99—100,
103-04, 180, 221n. 8; "Arrangements
of Pictures,"
104; For Presentation and
Display: Ideal Settings, 105
Lawson, Thomas, 52—57; Don't
Hit Her Again, 54-55, 55
Lefebvre, Henri, 145, 166
Levine, Sherrie, 28, 36, 58,
72-73, 99-100, 167, 174
Lévi-Strauss, Claude, 189, 199,
203, 205, 207, 230n. 19,
231n. 44, 232n. 52; on anthropology,
183, 198; on bricolage,
201; Tristes Tropiques,
198, 206
Lichtenstein, Roy, 63, 73
Lomax, Yve, 8
Longo, Robert, 79, 80-96,
219n. 13, 220nn. 22, 24; Corporate
Wars: Walls of Influence,
86-87; Empire ("Empire,"
"Iron Voices," "Sound
Distance of a Good Man,"
"Surrender"), 81-83, 85, 95,
219n. 8; Love Police: Engines
in Us (The Doors), 86-
88; "Marble Fog," 219n. 8;
Noweverybody (for R. W.
Fassbinder), 86-87, 88, 89,
95; Rock for Light, 93, 94;
We Want God, 93, 94, 96
Lukács, Georg, 44-45, 46,
220n. 24
Lüpertz, Markus, 41, 44
Lyotard, Jean-François, 1, 149,
177, 206, 225n. 21
Malevich, Kasimir, 18, 122
Mallarmé, Stéphane, 163
Malraux, André, 185
Man, Paul de, 2, 59, 61
Mandel, Ernst, 151
Manet, Edouard, 9, 37, 123,
159, 163, 193
Marc, Franz, 61, 72
Marcuse, Herbert, 13, 17
Marin, Louis, 60, 61
239
Marx, Karl, 34, 75, 83, 155,
205; A Contribution to the
Critique of Political Economy,
141; on religion, 95;
The Eighteenth Brumaire of
Louis Bonaparte, 161
Marxism, 95, 139-141, 143,
144-45, 157, 181-82, 224n.
9
mass culture: and contemporary
art, 19, 28, 33-57
Mauss, Marcel, 203
McClard, Michael, Circus Pro
Circum, 36
McCollum, Allan, 99-100,
103-04; For Presentation
and Display: Ideal Settings,
105
media art, 35
Merleau-Ponty, Maurice, 205
minimalism, 13,18, 37, 44, 45,
99, 100, 213n. 4
(the) minor, 184-87
modern art museum, 25-26,
183, 191. See also art institution:
critique of by contemporary
artists; art market
modernism: demise of, 24, 28,
31, 33; early, 17-18, 25; late,
14; and postmodernism,
124-26, 128—31; relation to
capital, 147-48
MOMA, see Museum of Modern
Art
Moore, Charles, 122
Moretti, Franco, 158
Morris, Robert, 12, 18, 97
Mullican, Matt, 71, 74
Mulvey, Laura: "Visual Pleasure
and Narrative Cinema,"
113
Musée de l'Homme, 228n. 1
Musée des Colonies: Exposition
coloniale, 200
Musée d'Ethnographie du Tro-cadéro,
181, 192, 228n. 1
Museum of Modem Art, 181,
192, 210; "African Negro Art"
(1935), 187; "Arts of the
South Seas" (1946), 187; "International
Survey of Recent
Painting and Sculpture,"
190; " 'Primitivism' in 20th
Century Art: Affinity of the
Tribal and the Modern,"
182-94,196, 199, 200, 229n.
5, 230n. 29, 233n. 73
myth, 168—180. See also
Barthes, on myth
Nadin, Peter, 71; Living, 66,
109-10
national art movements, contemporary,
30-31
Nazi imagery borrowed by German
neoexpressionists, 41—
42
neoexpressionism, 35, 41-48,
73, 75-77. See also Kiefer,
Anselm; Penck, A. R.
neosurrealists, 35
Neue Sachlichkeit, 44
Nietzsche, Friedrich, 61-62,
179, 205
Noland, Kenneth: Tondo, 186
Nolde, Emil, 61
Oceanic art: as pictorial art,
240
187-88
Oldenburg, Claes, 124
Orwell, George, 95, 139; 1984,
87
Owens, Craig, 35, 114, 214n.
11
PAD/D (Political Art Documentation/
Distribution), 38
painting, contemporary: and
conviction, 52—53
pastiche: defined, 20; use of in
postmodern art, 123, 127-
28, 131
patronage system. See art
market
Penck, A. R„ 44, 47, 53, 73
performance art, 14
Picabia, Francis, 122
Picasso, Pablo, 37, 61,122; Les
Demoiselles d'Avignon, 181—
82, 228n. 1, 231n. 49;
Guitar, 185; Head, 185; and
primitivism, 63, 181—82,
184-85, 186, 192, 193, 197
pluralism in art, 7, 13-32
political art, contemporary, 7—
8, 91, 139-87; presentational,
154-55; resistant,
151-54; transgressive, 150—
54
Polke, Sigmar, 44
postmodern: contrasted with
postmodernist, 214n. 13
postmodern architecture, 28—
30,121-28, 131-32. See also
postmodernism
postmodernism, 6, 7, 121-35;
neoconservative, 7, 121-27,
128-29, 131; poststructural-ist,
7, 121, 128-29, 131
poststructuralism, 6—7, 131,
203, 205
Poussin, Nicolas, 60
primitivism, 150, 196-202; and
bricolage, 200-02; cultural
function of, 198-99; and
modern art, 44, 181-99,
190-94, 237n. 17; and the
other, 202-08, 231n. 49;
philosophical reading of,
196-98. See also Picasso,
and primitivism
Prince, Richard, 66, 68—69, 68
productivist art, 130, 141, 164,
190
productivist concept of art,
141-42
Pynchon, Thomas, Gravity's
Rainbow, 88
Rauschenberg, Robert, 18
Ravel, Maurice, "La valse," 83
readymade, 92, 100. See also
Duchamp, readymade
recuperation, 26, 167-68
representational art; critique
of, 147; and politics, 143-44;
and postmodernism, 128-29
Ricard, Rene, 49
Richter, Gerhard, 44, 63; "Abstract
Paintings," 63, 65
Ricoeur, Paul, 207
Riefenstahl, Leni, 80
Robinson, Walter, 27
Rodchenko, Alexander, 122
Rodin, Auguste, Gates of Hell,
87
241
Rosenberg, Harold, 16; dejavu-nik,
24
Rosier, Martha, 99-100, 118,
153
Rothenberg, Susan, 29
Rouche, Jean; Les Maîtres
Fous, 231n. 49
Rubin, William, 184,185, 186—
87, 188, 192, 196, 230n. 31
Sahlins, Marshall, 199, 224n.
16
Said, Edward, 200
Salle, David, 28, 52-57, 134;
Brother Animal, 134, 135;
Seeing Sight, 56, 57
Samo, see Basquiat, Jean-
Michel
Sartre, Jean-Paul, 206
Saussure, Ferdinand de, 75
Scharf, Kenny, 36
Schiele, Egon: self-portraits re-photographed
by Sherrie
Levine, 36, 72
Schiller, J. C. F. von, 157
Schnabel, Julian, 28, 40, 73,
76, 122, 131-32, 136; The
Exile, 135, 136
Serra, Richard, 212n. 13; Tilted
Arc, 212n. 13
Severini, Gino, 37, 122
Shakespeare, William, 9
Sherman, Cindy, 57, 66-68,
67, 71; "Pink Robe" series,
67-68, 67
Shklovsky, Victor, 41
signification and the bourgeoisie,
181-87
site-nonsite, 204
site-specific art, 14,16, 25-26,
111
Smithson, Robert, 22, 25, 191,
198, 203-04
Smythe, Ned, 26
spectacle, 7, 79-96, 220n. 22
Speer, Albert, 80
Stalin, Joseph, 130
Stella, Frank, 21, 123
Stern, Robert, 28, 122, 125
Straub/Huillet: History Lessons,
88
style, 17-18; and postmodernism,
127
subjectivity and art, 17,18-19,
45-47, 76-77
surrealism, 17, 129-30, 147—
48; and primitivism, 187-
88, 200, 203, 205
Sweeney, James Johnson, 187
Syberberg, Hans Jürgen, 79,
93, 219n. 2, 220n. 24
Tafuri, Manfredo, 125-26, 127,
223n. 7
Tel Quel, 141, 224n. 17
"text" compared to "work," 129
textuality compared to pastiche,
131-32
Third Reich, "Empire of 1000
Years," 80
"tradition of the new," 24
Trilling, Lionel, 13
Twombly, Cy, 49
(the) unconscious: and expressionism,
62
universal culture, 160-61, 204,
207, 226n. 11
242
"utopia," 95-96, 125-26
Ulysses, 87
Varnedoe, Kirk, 184-85, 191-
92, 196, 197
Venturi, Robert, 122, 126, 127,
166; Learning from. Las
Vegas, 120
Von Sternberg, Joseph: Marlene
Dietrich films, 113
Wagner, Richard, 41, 82, 83
Warhol, Andy, 19, 165
Weiner, Lawrence, 100
Weinstock, Jane, 213n. 27
Wodicizko, Krzysztof, 99-100,
cover
woman, image of, 8-10, 66-68,
112-13, 181-82, 213n. 27
Worringer, Wilhelm, 61
Yates, Marie, 8, 137
243
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