Four key historians present a comprehensive history of art from the past century, documenting through 100 essays presented in a year-by- year format key events that contributed to the changing of artistic traditions and the invention of new practices and forms, in a volume complemented by more than 6

Examines the state of contemporary architecture worldwide and the ways in which it is caught between the art of display and the accommodation of use. This volume explores the problems and possibilities of contemporary architecture in the light of the history of its modern reception and philosophical issues about the 'meaning' of architecture.

From the late 1950s to the late 1960s, the word Pop summed up everything in music, art, film, photography and architectural design that flowed from the seductive appeal of mass culture. Unlike books which present Pop art in isolation, this is a comprehensive survey of Pop in all of its forms across America, Britain and Europe.

Surrealism has long been seen as a movement of love and liberation. In this study, Hal Foster reads from its other, darker side - as an art given over to the uncanny, to the compulsion to repeat and the drive toward death.

In these diatribes on the marketing of culture and the branding of identity, Hal Foster explores the history of a design led culture and in an attempt to illuminate the conditions for critical culture in the present asks if the new political economy of design is a cultural crime.

Dan Flavin (1933-1996) established himself as one of the most innovative and significant artists of the minimalist movement. This book includes essays that respond to the exhibition Dan Flavin: A Retrospective and to the renewed interest in Flavin's work and its place in 20th-century art.

After the dominant models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, in this text Hal Foster argues that we are now witness to a return to the real - to art and theory that seek to be grounded in bodies and sites, identities and communities.

How to imagine not only a new art or architecture but a new self or subject equal to them? The author explores this question through the works and writings of such key modernists as Gauguin and Picasso, F T Marinetti and Wyndham Lewis. He argues that two forms came to dominate modernist art above all others: the primitive and the machine.