{"id":1449,"date":"2022-11-25T00:11:01","date_gmt":"2022-11-24T21:11:01","guid":{"rendered":"http:\/\/spb-contemporary.ru\/?page_id=1449"},"modified":"2022-12-13T03:18:18","modified_gmt":"2022-12-13T00:18:18","slug":"1449-2","status":"publish","type":"page","link":"https:\/\/spb-contemporary.ru\/?page_id=1449","title":{"rendered":"20th-century Art"},"content":{"rendered":"\n

Russian art in the 20th cen. <\/h3>\n\n\n\n
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The Russian experiment in art, 1963-1922<\/td>Camilla Grey<\/td>Thames& Hudson<\/td>2000<\/td>1962<\/td><\/tr>
Faster, higher, stronger, comrades!<\/td>Tim Harte<\/td>The University of Wisconsin press<\/td>2020<\/td><\/td><\/tr>
L’avant-garde russe<\/td>Evgueni Kovtoune<\/td>Parkstone press\/Confidentinal concepts<\/td><\/td><\/td><\/tr>
Soviet salvage: Imperial debris, Revolutionary reuse, and Russian constructivism<\/td>Catherine Walworth<\/td>Pennsylvania University press<\/td>2017<\/td><\/td><\/tr>
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Modern and Contemporary Art. Histories (including new medias)<\/h3>\n\n\n\n
<\/div>\n\n\n\n
Performance art:From Futurism to the Present<\/td>RoseLee Goldberg<\/td>Harry N. Abrams<\/td>1979<\/td><\/td><\/tr>
From technological to virtual art<\/td>Frank Popper<\/td>The MIT press<\/td>2007<\/td><\/td><\/tr>
A history of video art<\/td>Chris Meigh-Andrews<\/td>Bloomsbury<\/td>2006<\/td><\/td><\/tr>
Post-Impressionism to World war two<\/td>ED Debbie Lewer<\/td>Blackwell<\/td>2006<\/td>Blackwell anthologies in art history<\/td><\/tr>
La historia del collage. Del cubismo a la actualidad<\/td>H.Wescher<\/td>Editorial Gustavo Gili<\/td>1976<\/td>in Spanish<\/td><\/tr>
Art to come: Histories of Contemporary art<\/td>Terry Smith<\/td>Duke University press<\/td>2019<\/td><\/td><\/tr>
After Modern art, 1945-2000<\/td>David Hopkins<\/td>Oxfrod University press<\/td>2000<\/td><\/td><\/tr>
The Arts: A History of expression in the 20th century<\/td>ED Ronald Tamplin<\/td>Oxfrod University press<\/td>1991<\/td><\/td><\/tr>
Encyclopedia of postmodernism<\/td>ED Victor E.Taylor, Charles E.Winquist<\/td>Routledge<\/td>2001<\/td><\/td><\/tr>
Postwar Italian art history today: Untying the knot<\/td>Sharon Hecker, Martin R.Sullivan<\/td>Bloomsbury<\/td>2018<\/td><\/td><\/tr>
Dictionnaire amoureux de l’art moderne et contemporain<\/td>Pierre Nahon<\/td>Plon<\/td>2014<\/td><\/td><\/tr>
American art since 1945<\/td>David Joselit<\/td>Thames&Hudson<\/td>2003<\/td>World of Art<\/td><\/tr>
British art since 1900<\/td>Frances Spalding<\/td>Thames& Hudson<\/td>1986<\/td>World of Art<\/td><\/tr>
Art incorporated: The story of contemporary art<\/td>Julian Stallabrass<\/td>Oxfrod University press<\/td>2004<\/td><\/td><\/tr>
Contemporary art: World currents<\/td>Terry Smith<\/td>Prentice Hall<\/td>2011<\/td><\/td><\/tr>
Movements in art since 1945<\/td>Edward Lucie-Smith<\/td>Thames&Hudson<\/td>1984<\/td>World of Art, first 1969<\/td><\/tr>
Lives of the great 20th century artists<\/td>Edward Lucie-Smith<\/td>Rizzoli<\/td>1986<\/td><\/td><\/tr>
Late Modern: The visual arts since 1945<\/td>Edward Lucie-Smith<\/td>Praeger<\/td>1969<\/td><\/td><\/tr>
Art since 1900<\/td>H.Foster. R. Krauss, Y-A. Bois, B.H.D.Buchloh, D.Joselit<\/td>Thames&Hudson<\/td>2016<\/td>World of Art, first 2004<\/td><\/tr>
Contemporary art: 1989 to the present<\/td>Ed Alexander Dumbadze, Suzanne Hudson<\/td>Wiley-Blackwell<\/td>2013<\/td><\/td><\/tr>
History of Modern art<\/td>H.H.Arnason, Elizabeth C.Mansfield<\/td>Pearson education<\/td>2013<\/td>first 2004<\/td><\/tr>
L’arte contemporanea: Da Cezanne alle ultime tendenze<\/td>Renato Barilli<\/td>Feltrinelli<\/td>2005<\/td><\/td><\/tr>
Decouvrir et comprendre l’art contemporain<\/td>Dominique Benard, Anne-Marie Houdeville, Alain Bourdie<\/td>no data<\/td><\/td><\/td><\/tr>
L’arte contemporanea<\/td>Angela Vettese<\/td>Il Mulino<\/td>2012<\/td><\/td><\/tr>
L’Art du XX siecle<\/td>Dorothea Eimert<\/td>Parkstone press\/Confidentinal concepts<\/td><\/td><\/td><\/tr>
L’arte moderna<\/td>GiulioCarlo Argan<\/td>no data<\/td><\/td><\/td><\/tr>
The story of contemporary art<\/td>Tony Godfrey<\/td>Thames&Hudson<\/td>2020<\/td><\/td><\/tr>
What are you looking at?<\/td>Wil Gompertz<\/td>Plume (Penguin books)<\/td>2012<\/td><\/td><\/tr>
Art since 1989<\/td>Kelly Grovier<\/td>Thames&Hudson<\/td>2015<\/td>first 1999<\/td><\/tr>
Comprendre l’art moderne<\/td>Fabrice Midal<\/td>Pocket<\/td>2007<\/td><\/td><\/tr>
A concise history of modern painting <\/td>Herbert Read<\/td>Praeger<\/td>1959<\/td><\/td><\/tr>
Contemporary art: A very short introduction<\/td>Julian Stallabrass<\/td>Oxfrod University press<\/td>2006<\/td>first 2004<\/td><\/tr>
Painting and sculpture in Europe, 1880-1940<\/td>George Heard Hamilton<\/td>Penguin books<\/td>1981<\/td>Pelican history of art, 1967<\/td><\/tr>
The History of impressionism<\/td>John Rewald <\/td>The MOMA<\/td>1961<\/td><\/td><\/tr>
The Oxford companion to twentieth-century art<\/td>Ed Harold Osborne<\/td>Oxfrod University press<\/td>1981<\/td><\/td><\/tr>
L’art contemporain<\/td>Isabelle de Maison Rouge<\/td>Le Cavalier bleu<\/td>2009<\/td><\/td><\/tr>
A dictionary of the avant-gardes<\/td>Richard Kostelanetz<\/td>Routledge<\/td>2019<\/td><\/td><\/tr>
Art in Vienna, 1898-1918: Klimt, Kokoschka, Schile and their contemporaries<\/td>Peter Vergo<\/td>Phaidon<\/td>1975<\/td><\/td><\/tr>
Histories of the immediate present: Inventing architectural modernism<\/td>Anthony Vidler <\/td>the MIT press<\/td>2008<\/td><\/td><\/tr>
Form and space: Sculpture of the 20th century<\/td>Eduard Trier<\/td>Praeger<\/td>1968<\/td>first 1960<\/td><\/tr>
From Van Gogh to Picasso, from Kandinsky to Pollock: Masterpieces of the modern art<\/td>catalogue <\/td>Solomon R. Guggenheim Museum<\/td>1990<\/td><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
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Modern and Contemporary Art. Movements<\/h3>\n\n\n\n
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Art Nouveau: The essential reference<\/td>Carol Belanger Grafton<\/td>Dover publications<\/td>2015<\/td>ornament reference books<\/td><\/tr>
Impressionismo<\/td>Bernard Denvir<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
American impressionism and realism: The painting of modern life, 1985-1915<\/td>H.Barbara Weinberg, Doreen Bolger, David Park Curry<\/td>The MET<\/td>1995<\/td><\/td><\/tr>
Simbolismo <\/td>Maria Teresa Benedetti<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
El Simbolismo<\/td>Nathalia Brodskaia<\/td>Confidential Concepts, USA, Sirrocco, London<\/td><\/td>in Spanish<\/td><\/tr>
Minimal Art<\/td>Daniel Marzona<\/td>Taschen<\/td>2004<\/td><\/td><\/tr>
Digital art<\/td>Christiane Paul<\/td>Thames&Hudson<\/td><\/td>World of Art<\/td><\/tr>
Digital art history vol 1<\/td>ED Anna Bentkowska-Kafel, Trish Cashen, Hazel Gardiner <\/td>Intellect<\/td>2005<\/td><\/td><\/tr>
Expressionism: German painting, 1905-1920<\/td>Paul Vogt<\/td>Harry N. Abrams<\/td>1978<\/td><\/td><\/tr>
German Expressionism: The graphic impulse<\/td>Starr Figura<\/td>MoMA<\/td>2011<\/td>catalogue<\/td><\/tr>
Expressionism: A German intuition, 1905-1920<\/td>catalogue of the exhibition<\/td>Solomon R. Guggenheim Museum<\/td>1980<\/td><\/td><\/tr>
German Expressionism, 1915-1925: The second generation<\/td>ED Stephanie Barron<\/td>LA County Museum of art\/ Prestel<\/td>1988<\/td><\/td><\/tr>
German Expressionist Prints and drawings, in 2 volumes<\/td>Bruce Davis<\/td>LA County Museum of art\/ Preste<\/td>1989<\/td><\/td><\/tr>
Dada<\/td>Marta Ragozzino<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Dada:Art and anti-art<\/td>Hans Richter<\/td>Thames&Hudson<\/td>1985<\/td>World of art, 1964<\/td><\/tr>
Dada and surrealism: A very short introduction<\/td>Dvid Hopkins<\/td>Oxfrod University press<\/td>2004<\/td><\/td><\/tr>
A companion to Dada and surrealism<\/td>ED David Hopkins<\/td>Wiley-Blackwell<\/td><\/td><\/td><\/tr>
Bauhaus Archive, 1919-1933<\/td>Magdalena Droste<\/td>Taschen<\/td>2015<\/td><\/td><\/tr>
Surrealismo<\/td>Guiliano Serafini<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Histoire du surre’alisme<\/td>Maurice Nadeau<\/td>Editions du Seuil<\/td><\/td><\/td><\/tr>
Arte Elettronica<\/td>Silvia Bordini<\/td>Giunti<\/td><\/td><\/td><\/tr>
Astrattismo<\/td>R.Bossaglia, R.Siligato, F.Menna, L.Caramel, M.Vescovo<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Nouva Oggettivita’<\/td>Antonello Negri <\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Cubismo<\/td>Jolanda Nigro Covre<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Cubism<\/td>Guillaume Apollinaire, Dorothea Eimert<\/td>Confidential concepts\/Parkstone press<\/td><\/td><\/td><\/tr>
Cubism<\/td>Linda Bolton<\/td>Peter Bedrick books<\/td>2000<\/td>Art revolutions<\/td><\/tr>
Cubism: A history and an analysis, 1907-1914<\/td>John Golding<\/td>ADAGP, Paris, DACS, London<\/td>1987<\/td><\/td><\/tr>
Cubism <\/td>Nicholas Wadley<\/td>Hamlyn<\/td>1970<\/td><\/td><\/tr>
Cubism and futurism: Spitirual machines and the cinematic effect<\/td>R.Bruce Elder<\/td>Wilfrid Laurier University press<\/td>2017<\/td><\/td><\/tr>
Transavanguardia<\/td>Achille Bonito Oliva<\/td>Giunti<\/td><\/td>Art Dossier<\/td><\/tr>
The Fauves<\/td>Nathalia Brodskaia<\/td>Confidential concepts\/Parkstone press<\/td><\/td><\/td><\/tr>
Conceptual art<\/td>Daniel Marzona<\/td>Taschen<\/td>2005<\/td><\/td><\/tr>
Installation art<\/td>Claire Bishop<\/td>Tate publishers<\/td><\/td><\/td><\/tr>
Art after conceptual art<\/td>ED Alexander Alberro, Sabeth Buchmann<\/td>The MIT press, General Foundation (Vienna)<\/td>2006<\/td><\/td><\/tr>
A companion to Public art<\/td>Ed Cher Krause Knight, Harriet F.Senie<\/td>Wiley-Blackwell<\/td>2016<\/td><\/td><\/tr>
Routledge handbook of graffiti and street art<\/td>ED Jeffrey Ian Ross<\/td>Routledge<\/td>2016<\/td><\/td><\/tr>
Situazionismo<\/td>Ugo Nespolo<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Realismo magico<\/td>Antonello Negri<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Pop Art<\/td>Maurizio Calvesi, Alberto Boatto<\/td>Giunti<\/td><\/td>Art dossier<\/td><\/tr>
Pop Art<\/td>Eric Shanes<\/td>Parkstone press\/Confidentinal concepts<\/td><\/td><\/td><\/tr>
New media: A critical introduction<\/td>Martin Lister, Jon dovey and others<\/td>Routledge<\/td>2009<\/td>first 2003<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Modern and Contemporary Art. Artists<\/h3>\n\n\n\n

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Morandi’s Legacy: Influences on British Art<\/td>Paul Coldwell<\/td>Philip Wilson Publishers<\/td>2006<\/td>exhibition catalogue<\/td><\/tr>
Maurizio Cattelan: Autobiografia non autorizzata<\/td>Francesco Bonami<\/td>Mondadori<\/td>2011<\/td><\/td><\/tr>
Banksy. Urban art in a material world<\/td>Ulrich Blanche’<\/td>Tectum<\/td>2016<\/td><\/td><\/tr>
In Montmarte: Picasso, Matisse and the birth of modernist art<\/td>Sue Roe<\/td>Penguinpress<\/td>2015<\/td><\/td><\/tr>
The private worlds of Marcel Duchamp: Desire, liberation, and the self in modern culture<\/td>Jerrold Seigel<\/td>University of California press<\/td>1997<\/td><\/td><\/tr>
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Modern and Contemporary (Art). Texts, Studies, Theories, etc<\/h3>\n\n\n\n
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The Transformative power of performance<\/td>Erika Fischer-Lichte<\/td>Routledge<\/td>2008<\/td>\u0435\u0441\u0442\u044c \u0440\u0443\u0441\u0441\u043a\u0430\u044f \u0432\u0435\u0440\u0441\u0438\u044f<\/td><\/tr>
Applying performance: Live art, socially engaged theatre and affective practice<\/td>Nicola Shaughnessy<\/td>Palgrave Macmillan<\/td>2012<\/td><\/td><\/tr>
Digital performance: A history of new media in theater, dance, performance art, and installation <\/td>Steve Dixon<\/td>The MIT press<\/td>2007<\/td><\/td><\/tr>
Exploring site-specific art: Issues of space and internationalism<\/td>Judith Rugg<\/td>I.B. Tauris, London<\/td>2010<\/td><\/td><\/tr>
Moving sites: Investigating site-specific dance performance<\/td>Ed Victoria Hunter<\/td>Routledge<\/td>2015<\/td><\/td><\/tr>
Performing site-specific theatre<\/td>ED Anna Birch, Joanne Tompkins<\/td>Palgrave Macmillan<\/td>2012<\/td><\/td><\/tr>
Site-specific art: Performance, place and documentation<\/td>Nick Kaye <\/td>Routledge<\/td>2000<\/td><\/td><\/tr>
The artist’s body<\/td>ED Tracey Warr<\/td>Phaidon<\/td>2000<\/td><\/td><\/tr>
The Life of forms in art: Modernism, organism, vitality<\/td>Brandon Taylor<\/td>Bloomsbury Visual arts<\/td>2020<\/td><\/td><\/tr>
Assemblage theory<\/td>Manuel DeLanda<\/td>Edinburgh university press<\/td>2016<\/td><\/td><\/tr>
The Contingent Object of Contemporary art<\/td>Martha Buskirk<\/td>The MIT press<\/td>2003<\/td><\/td><\/tr>
Art and Technology in the 19th and 20th cen<\/td>Pierre Francastel<\/td>NY, Zone books<\/td>2000<\/td><\/td><\/tr>
Modern art:19th and 20th cen.Selected papers<\/td>Meyer Schapiro<\/td>NY, George Braziller<\/td>1968<\/td><\/td><\/tr>
Impressionism:Reflections and Perceptions<\/td>Meyer Schapiro<\/td>no data<\/td><\/td><\/td><\/tr>
Style <\/td>Meyer Schapiro<\/td>article <\/td>1953<\/td><\/td><\/tr>
Style, artiste and societe’<\/td>Meyer Schapiro<\/td>Gallimard<\/td>1982<\/td>in French <\/td><\/tr>
On Freud’s Forgetting of «Signorelli»<\/td>Meyer Schapiro<\/td>article <\/td>2019<\/td><\/td><\/tr>
The Still-life as a personal object — a note on Heidegger and Van Gogh <\/td>Mayer Shapiro<\/td>article <\/td><\/td><\/td><\/tr>
Farewell to an idea: Episodes from a history of modernism<\/td>T.J.Clark<\/td>no data<\/td>1999<\/td><\/td><\/tr>
Art in progress: A Philosophical response to the end of the Avant-Garde<\/td>Maarten Doorman<\/td>Amsterdam University press<\/td>2003<\/td><\/td><\/tr>
Contemporary art and memory: Images of recollection and remembrance<\/td>Joan Gibbons<\/td>I.B. Tauris, London<\/td>2007<\/td><\/td><\/tr>
Installation and a moving image <\/td>Catherine Elwes<\/td>Wallflower press, London<\/td>2015<\/td><\/td><\/tr>
A’ l’avant-garde! : Art et Politique dans les anne’es 1960 et 1970<\/td>Malika Combes, Igor Contreras Zubillaga and others<\/td>P.I.E.Peter Lang<\/td>2013<\/td><\/td><\/tr>
Aesthetic Rivalries: Word and Image in France, 1880-1926<\/td>Linda Goddard<\/td>Peter Lang<\/td>2012<\/td><\/td><\/tr>
Estetica dell’arte contemporanea <\/td>Ed Giovanni Ferrario <\/td>Meltemi <\/td>2019<\/td><\/td><\/tr>
Abstract video: The moving image in contemporary art<\/td>ED Gabrielle Jennings<\/td>University of California press<\/td>2015<\/td><\/td><\/tr>
«Degenerate art»: The fate of the avant-garde in Nazi Germany<\/td>Stephanie Barron and others<\/td>Harry N. Abrams<\/td>1991<\/td>LA County Museum of Art<\/td><\/tr>
Art in the Third Reich<\/td>Berthold Hinz<\/td>Pantheon books<\/td>1979<\/td>first 1974<\/td><\/tr>
Art in the Third Reich<\/td>D.Midow<\/td>no data<\/td><\/td><\/td><\/tr>
Art of suppression: Confronting Nazi past in histories of visual and performing arts<\/td>Pamela M. Potter<\/td>University of California press<\/td>2016<\/td><\/td><\/tr>
The arts in Nazi Germany: Continuity, conformity, change<\/td>Ed Jonathan Huener, Francis R. Nicosia<\/td>Berghahn books<\/td>2009<\/td>2007<\/td><\/tr>
Berlin Electropolis: Shock, nerves and German modernity<\/td>Andreas Killen<\/td>University of California press<\/td>2006<\/td><\/td><\/tr>
La Nature de l’art abstrait<\/td>Meyer Schapiro<\/td>Editions Allia<\/td>2013<\/td><\/td><\/tr>
Realism in the age of impressionism: Painting and the Politics of time<\/td>Marnin Young<\/td>Yale University press<\/td>2015<\/td><\/td><\/tr>
Re-visioning arts and cultural policy:Current impasses and future directions<\/td>Jennifer Craik<\/td>The Australian National University<\/td>2007<\/td><\/td><\/tr>
Art and social change: Contemporary art in Asia and the Pacific<\/td>ED Caroline Turner<\/td>Pandanus books<\/td><\/td><\/td><\/tr>
Artificial hells: Participatory art and the politics of spectatorship<\/td>Claire Bishop<\/td>Verso<\/td>2012<\/td><\/td><\/tr>
Arthur Danto: Philosopher of Pop<\/td>Tiziana Andina<\/td>Cambridge Scholars publishing<\/td>2011<\/td><\/td><\/tr>
Incursioni: Arte contemporanea e tradizione<\/td>Salvatore Settis<\/td>Feltrinelli<\/td>2020<\/td><\/td><\/tr>
Rosalind Krauss and American philosophical art criticism<\/td>David Carrier<\/td>Praeger<\/td>2002<\/td><\/td><\/tr>
The radical use of chance in 20th century art<\/td>Denis Lejeune<\/td>Rodopi<\/td>2012<\/td><\/td><\/tr>
Le paradigme de l’art contemporain<\/td>Nathalie Heinich<\/td>Gallimard<\/td>2014<\/td><\/td><\/tr>
The anti-aesthetic: Essays on postmodern culture<\/td>ED Hal Foster<\/td>Bay press<\/td>1983<\/td><\/td><\/tr>
The painting of modern life: Paris in the art of Manet and his followers<\/td>T.J.Clark<\/td>Thames&Hudson<\/td>1984<\/td><\/td><\/tr>
Aesthetic revolutions and the 20th-cen avant-garde movements<\/td>ED Ales’ Erjavec<\/td>Duke University press<\/td>2015<\/td><\/td><\/tr>
Painting outside the lines: Patterns of creativity in modern art<\/td>David W.Galenson<\/td>Harvard University press<\/td>2001<\/td><\/td><\/tr>
Art contemporain: Manipulation and ge’opolitique<\/td>Aude de Kerros<\/td>Editions Eyrollers<\/td>2020<\/td><\/td><\/tr>
Globalizing contemporary art<\/td>Lotte Philipsen<\/td>Aarhus University press<\/td>2010<\/td><\/td><\/tr>
My love affair with modern art<\/td>Katharine Kuh<\/td>Arcade publishing<\/td>2012<\/td><\/td><\/tr>
Anywhere or not at all: Philosophy of contemporary art<\/td>Peter Osborne <\/td>Verso<\/td>2013<\/td><\/td><\/tr>
Conceptual revolutions in 20th-cen art<\/td>David W.Galenson<\/td>Cambridge University press<\/td>2009<\/td><\/td><\/tr>
Art and Form: From roger Fry to global modernism<\/td>Sam Rose<\/td>The Pennsylvania State University<\/td>2019<\/td><\/td><\/tr>
After art<\/td>David Joselit<\/td>Princeton University press<\/td>2013<\/td><\/td><\/tr>
Alle origini dell’opera d’arte contemporanea<\/td>ED G.Di Giacomo, C. Zambianchi<\/td>Editori Laterza<\/td>2008<\/td><\/td><\/tr>
An anthropology of contemporary art: Practices, markets and collectors<\/td>Ed Thomas Fillitz, Paul van der Grijp<\/td>Bloomsbury<\/td>2018<\/td><\/td><\/tr>
Ars attack: Il bluff del contemporaneo<\/td>Angelo Crespi <\/td>Johan&Levi editori<\/td>2013<\/td><\/td><\/tr>
L’arte nel cesso: Da Duchamp a Cattelan, ascesa e declino dell’arte contemporanea<\/td>Francesco Bonami<\/td>Mondadori<\/td>2017<\/td><\/td><\/tr>
POST.L’opera d’arte all’epoca della sua reproducibilita’ sociale <\/td>Francesco Bonami<\/td>Feltrinelli<\/td><\/td><\/td><\/tr>
Si crede Picasso <\/td>Francesco Bonami<\/td>Mondadori<\/td>2010<\/td><\/td><\/tr>
Metonymy in contemporary art: A new paradigm<\/td>Denise Green<\/td>University of Minnesota press<\/td>2005<\/td><\/td><\/tr>
Shadows of reality: The fourth dimension in relativity, cubism, and modern thought<\/td>Tony Robbin <\/td>Yale University press<\/td>2006<\/td><\/td><\/tr>
Shadows, spectres, shards: Making history in avant-garde film<\/td>Jeffrey Scoller<\/td>The University of Minnesota press <\/td>2005<\/td><\/td><\/tr>
The psycology of contemporary art<\/td>Gregory Minissale<\/td>Cambridge University press<\/td>2013<\/td><\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

Russian art in the 20th cen. The Russian experiment in art, 1963-1922 Camilla Grey Thames& Hudson 2000 1962 Faster, higher, stronger, comrades! Tim Harte…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1517,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1449","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/pages\/1449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1449"}],"version-history":[{"count":92,"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/pages\/1449\/revisions"}],"predecessor-version":[{"id":1864,"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/pages\/1449\/revisions\/1864"}],"up":[{"embeddable":true,"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=\/wp\/v2\/pages\/1517"}],"wp:attachment":[{"href":"https:\/\/spb-contemporary.ru\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}