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Free Shipping in the US on over 5 million books in stock. Consider changing the search query. List is empty. Account Log in Registration. Fiction Books. Non-Fiction Books. Children's Books. Rare Books. The Shock of the New by Robert Hughes. In Stock. An illustrated year history of modern art, from cubism to pop and avant-guard. Like New Very Good Good. Qty: Add to cart. Add to The Shock of the New: Art and the Century of Change. This legendary book has been universally hailed as the best, the most readable and the most provocative account of modern art ever written. Through each of the thematic chapters Hughes keeps his story grounded in the history of the 20th century, demonstrating how modernism sought to describe the experience of that era and showing how for many key art movements this was a task of vital importance. The way in which Hughes brings that vitality and immediacy back through the well-chosen example and well-turned phrase is the heart of this book's success. Our excellent value books literally don't cost the earth. Free delivery in the US Read more here. Every used book bought is one saved from landfill. Robert Hughes - was an Australian-born art critic, writer, and producer of television documentaries. Additional information Sku GOR Author Robert Hughes. Condition Used - The Shock of the New: Art and the Century of Change New. Binding type Paperback. Year published Number of pages ISBN 10 ISBN 13 Cover note Book picture is for illustrative purposes only, actual binding, cover or edition may vary. Note The book has been read, but looks new. The book cover has no visible wear, and the dust jacket is included if applicable. No missing or damaged pages, no tears, possible very minimal creasing, no underlining or highlighting of text, and no writing in the margins. - The Shock of the New Art and the Century of Change by Robert Hughes

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Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. The Shock of the New by Robert Hughes. A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-garde. More than color photos. Get A Copy. Paperbackpages. More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Shock of the Newplease sign up. How good is it. Will it make me feel like I am inside of a wonderful story full of people and animals just like the Silmarillion? See all 3 questions about The Shock of the New…. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of The Shock of the New. Oct 04, Paul The Shock of the New: Art and the Century of Change rated it it was amazing Shelves: you-call-that-art. Again today I was lost in admiration of this history-with-attitude of 20th century art. View all 10 comments. May 11, Roy Lotz rated it it was amazing Shelves: artsy-fartsy. My favorite story about modern art comes from my friend. I walked in one room and I saw this thing on the wall, and it looked really weird. So I bent down and started to look at it. There was this other visitor, who started looking at it too. Then all of the sudden the wall opened and a man walked out. Me and the other visitor looked at each other and laughed. It was a doorknob. I love this sto My favorite story about modern art comes from my friend. I love this story because it neatly encapsulates how so many of us feel in museums dedicated to modern art. There we are, surrounded by objects and images that are alternately baffling, confusing, random, bizarre, boring, interesting, ugly, beautiful, or any combination of the above. Some people get angry and mourn the death of art; some write art criticism, much of it equally incomprehensible; some people genuinely love it; the rich pull out their pocketbooks and The Shock of the New: Art and the Century of Change tax deductible investments; and many of us just shrug our shoulders. For my whole life I was decidedly in the latter camp. But because I wanted to better appreciate the Reina Sofia here in Madrid, I decided that I needed to learn more about visual art in the twentieth century. This documentary—and I only watched the documentary, though I plan to buy the book—proved to be the solution to my ignorance. The Shock of the New is an eight-part documentary series written and presented by Robert Hughes. Hughes takes us through art nouveau, art deco, cubism, primitivism, futurism, Dadaism, constructivism, fauvism, utopianism, surrealism, abstract expressionism, pop art, The Shock of the New: Art and the Century of Change art, and much more. Hughes emphasizes over and over again how the hopes of modern artists to change the world have proven empty, and ends the program by proclaiming the death of the avant-garde. For Hughes, art and he means highbrow visual art has completely failed in its attempt to become socially significant in the modern age. This point is most poignantly made in his episode on modern architecture. An entire school of architectures arose in the twentieth century with dreams of becoming social engineers. They designed housing complexes that were meant to change the way people live their lives; the inhabitants were no more than small, interchangeable pieces of the architect's grand vision. Many governments put these ideas into practice in the hopes of curing poverty. The result was places like Pruitt-Igoe, the famous housing project of St. The project won awards when it was first contructed; but in a short time the place was famous for the high levels of poverty and crime not to mention the racial segregation suffered by their inhabitants. Finally, it got so bad that the buildings were destroyed. This is what you get when perfectly decent, intelligent, and talented men start thinking in terms of space rather than place, and about single rather than multiple meanings. You get miles of jerrybuilt Platonic nowhere infested with Volkswagens. Hughes makes a similar point about government architecture. State building design has taken on similar forms in fascist, communist, and capitalist countries. Indeed, when you see the actual buildings side by side, there is no denying this. It is the architecture of power, pure and simple. Walking through the city center, you feel The Shock of the New: Art and the Century of Change by the square forms and the monumental concrete spaces. It all seems like it was designed for a creature bigger and tougher than a human. At any rate, it is certainly not the architecture of democracy; it is the architecture of bureaucracy: As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power. Thus we see the utopian dreams of elite architects create misery in the lives of the poor; and all state ideologies are reduced to expressions of brute power. Meanwhile, we see the progress of visual art, from a religion of the future, to an act of protest, to a commodity to be bought and sold by rich investors and institutions. With the decline of traditional religion, many artists thought that they could fill the gap left in society. They would create the values and the society of the future. The group that most perfectly embodies this hope were the futurists, who thought that machines would transform society for the better. After that, artists were not as optimistic, but there still existed the idea of an avant-garde who could see more clearly, feel more keenly, think more honestly, who could act as the conscience of society. But even that idea fizzled, and it died when art became a commodity. How can art make a countercultural statement when any image can be turned into an advertisement? Finally, art degenerated into gestures about art. Hang a cardboard box on a wall in a museum. The art is not the box itself but the gesture of the box, and the gesture asks questions about the limits and the nature of art. After attempting to supply values, then to ask fundamental questions about values, the avant-garde ends by asking questions about its own value. But Hughes ends on a positive note, and I think The Shock of the New: Art and the Century of Change is entirely justified. By any standard, there have been a huge number of brilliant artists in the last century. Besides, there is always a kind of historical myopia that goes on when you try to judge recent history. There has been a lot of bad art created in every century, and the twentieth was no exception; we just see it more clearly. View all 7 comments. Apr 14, Trevor rated it it was amazing Shelves: art. The modern has been so dominated by machines and the question of how machines relate to humans is an open question that continues to haunt our nightmares. The Matrix movies are a particularly interesting example of this. But the history of this nightmare is much older than that and is not restricted to drama or even artistic representation. Our relationships with machines today is perhaps too difficult for us too fully understand. And machines are no longer the lumbering and crashing things that gave strict pulse rhythmic or metronomic structure to our working lives in factories. No, today the difference between human and machine is becoming harder to recognise, harder to understand, harder to remove ourselves from. In this work, as in Ways of Seeingwe are told that cheap mechanical reproduction of works of art — such as that which is made available by the camera, the printing press, the television image, the computer screen — all devalue art, all are like zombies on the true work of art. They devalue art not merely for the obvious reason that art today comes to us, rather than requiring us to go on pilgrimages The Shock of the New: Art and the Century of Change co-locate our bodies with the very corporality of the artwork, but rather that the sheer abundance of the images available to us, the multiplicity of the reproductions everywhere around us, turns these images into virtual viruses. Is it possible to imagine a single person today in the developed world who has never seen the Mona Lisa?