While the current day and age marked by a booming globalization is ceaselessly calling for an expansion of the field of vision where the prefixes “post” and “trans” have pride of place, the moment has come for the art historian to size up the past century. If it is time to take stock, what could be more tangible than to start with the huge art production of a single country, in this instance, France? By delivering a very dense overview, Philippe Dagen revisits French art under the sign of dou..
What is to be done with contemporary artists, as they are known, when time has passed? Do we talk in...
L’Art contemporain et la Côte d’Azur: this title might be somewhat perplexing, were it not embellish...
Roland Recht’s inaugural lesson, in fifty dense and elegant pages, punctuated by enlightening quotat...
While the current day and age marked by a booming globalization is ceaselessly calling for an expans...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The current publishing scene is simultaneously offering French readers a series of works with dispar...
In 1989, Magiciens de la terre was introduced as the “first truly international exhibition, bringing...
In France, since the nineteen sixties, the number of sites devoted to the creation, exhibition or ma...
If the Archives de la critique d’art are a trove of valuable resources, they also encompass and unde...
“Eastern Europe doesn’t exist any longer” : the opening statement of the curators’ text for the exhi...
The history of the avant-garde, or “experimental”, cinema is not well-known in France. So there is g...
The Exposition des Primitifs frangais opened in the Pavilion de Marsan at the Louvre in 1904, with ...
It was not until 1977, when the Musée National d’Art Moderne moved to the Centre Pompidou, and 1978,...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
What is to be done with contemporary artists, as they are known, when time has passed? Do we talk in...
L’Art contemporain et la Côte d’Azur: this title might be somewhat perplexing, were it not embellish...
Roland Recht’s inaugural lesson, in fifty dense and elegant pages, punctuated by enlightening quotat...
While the current day and age marked by a booming globalization is ceaselessly calling for an expans...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The current publishing scene is simultaneously offering French readers a series of works with dispar...
In 1989, Magiciens de la terre was introduced as the “first truly international exhibition, bringing...
In France, since the nineteen sixties, the number of sites devoted to the creation, exhibition or ma...
If the Archives de la critique d’art are a trove of valuable resources, they also encompass and unde...
“Eastern Europe doesn’t exist any longer” : the opening statement of the curators’ text for the exhi...
The history of the avant-garde, or “experimental”, cinema is not well-known in France. So there is g...
The Exposition des Primitifs frangais opened in the Pavilion de Marsan at the Louvre in 1904, with ...
It was not until 1977, when the Musée National d’Art Moderne moved to the Centre Pompidou, and 1978,...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
What is to be done with contemporary artists, as they are known, when time has passed? Do we talk in...
L’Art contemporain et la Côte d’Azur: this title might be somewhat perplexing, were it not embellish...
Roland Recht’s inaugural lesson, in fifty dense and elegant pages, punctuated by enlightening quotat...