| Introduction |
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9 | (22) |
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I "We Slip Away From Ourselves": The Discovery And Internalization Of The Earth's Age (Eighteenth To Twentieth Centuries) |
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31 | (78) |
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34 | (15) |
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49 | (30) |
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Three Artists: Giorgio de Chirico, Max Ernst, Robert Smithson |
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79 | (30) |
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II Reconstituting The Antiquity Of Humankind And Of Art |
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109 | (56) |
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109 | (8) |
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The Indistinction between Man and Nature |
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117 | (17) |
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From the Ground to the Walls of Caves: First Fissures, First Modern Appropriations of Prehistoric Art |
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134 | (14) |
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Fleshing Out Fossils, Objects, and Images |
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148 | (17) |
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III The Artificiality Of Prehistory: A Disjunctive Genealogy Of Art |
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165 | (76) |
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165 | (12) |
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Why Did Modernity Identify with Prehistory? |
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177 | (36) |
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Joan Mho and Jean Dubuffet |
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213 | (28) |
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IV The Paradox Of The Neolithic: Rupture And Permanence, Order And Disorder |
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241 | (32) |
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The Political Uses of the Neolithic: Revolution and Rootedness (England, ca. 1930; Denmark, ca. 1960) |
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243 | (17) |
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The Neolithic of Disorder: Pablo Picasso and Robert Morris |
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260 | (13) |
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V Prehistory In The Atomic Age |
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273 | (52) |
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273 | (36) |
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Caves of the Atomic Age (1949--1959): Fontana, Kiesler, Pinot Gallizio |
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309 | (16) |
| Conclusion: Terra Incognita |
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325 | (12) |
| Acknowledgments |
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337 | (2) |
| Notes |
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339 | (54) |
| Bibliography |
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393 | (36) |
| Index |
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429 | |
