Glaves-Smith John - A dictionary of modern and contemporary art

A Dictionary of Modern and Contemporary Art

SEE WEB LINKS

Many entries in this dictionary have recommended web links. When you see the above symbol at the end of an entry go to the dictionarys web page at http://www.oup.com/uk/reference/resources/
modernandcontemporaryart, click on Web links in the Resources section and locate the entry in the alphabetical list, then click straight through to the relevant websites. Additional web links are available in an appendix.

Ian Chilvers is a freelance writer and editor. He is author of The Oxford Dictionary of Art and Artists and co-editor of The Concise Oxford Companion to Classical Literature. His books have been translated into eight languages.

John Glaves-Smith has 25 years experience as a lecturer in the history and theory of modern art at Staffordshire University and Rochdale College of Art. He has contributed to Art Monthly, Art Quarterly, and Artscribe. In 1992 he organized the acclaimed exhibition Reverie, Myth, Sensuality: Sculpture in Britain 18801910, which was shown in Stoke-on-Trent and Bradford.

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*forthcoming

SECOND EDITION

IAN CHILVERS AND
JOHN GLAVES-SMITH

Great Clarendon Street, Oxford OX 2 6 DP

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Oxford University Press 1998, 1999, 2009

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First published as A Dictionary of Twentieth-Century Art 1998 First issued as an Oxford University Press paperback 1999 Second edition published as A Dictionary of Modern and Contemporary Art 2009

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Typeset by SPI Publisher Services, Pondicherry, India
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ISBN 9780199239658 (hbk.)

9780199239665 (pbk.)

1 3 5 7 9 10 8 6 4 2

A Dictionary of 20th-Century Art by Ian Chilvers appeared in 1998 and was widely welcomed for its breadth of coverage and accessible style. Ten years on, however, the world of art has changedand so the book must change if it is to continue to be useful. It is with this in mind that I set out to make a full-scale revision and updating of the original text, still with the intention of covering artistic practice since about 1900. The result is, in total, about a fifth longer than the original, although the quantity of new and substantially revised material is considerably larger, amounting to about a third of the book. Obviously there are artists present who could not have been included in the first edition because their work or reputations were not then of sufficient substance. However, I have also sought to change the overall balance of the book towards developments still likely to be in the living memory of readers and, further, to reflect a more international viewpoint, appropriate to an age of easier travel and the internet. To achieve this it has been necessary to abridge or cut altogether certain entries in the first edition, but I have tried, as far as possible, to ensure that these fall where material is less likely to be of interest to a reader today or on entries which deal with matters covered elsewhere in the book.