Download e-book for kindle: After Modern Art, 1945-2000 (Oxford History of Art) by David Hopkins

By David Hopkins

ISBN-10: 0191518042

ISBN-13: 9780191518041

Glossy and modern paintings should be either baffling and gorgeous; it may well even be cutting edge, political, and stressful. This booklet units out to supply the 1st concise interpretation of the interval as a complete, clarifying the artists and their works alongside the best way. heavily knowledgeable by way of new serious ways, it concentrates at the courting among American and eu paintings from the top of the second one international conflict to the eve of the recent millennium.

Jackson Pollock, Jasper Johns, Yves Klein, Andy Warhol, Louise Bourgeois, Cindy Sherman, and Damien Hirst are between many artists mentioned, with cautious realization being given to the political and cultural worlds they inhabited. relocating alongside a transparent timeline, the writer highlights key events akin to summary Expressionism, Pop paintings, Minimalism, Conceptualism, Postmodernism, and function paintings to give an explanation for the theoretical and issue-based debates that experience supplied the engine for the paintings of this era.

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Additional info for After Modern Art, 1945-2000 (Oxford History of Art)

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One involved continuing in a Modernist vein. The other offered a radical option to artists; 'to give up the making of paintings entirely—I mean the single flat rectangle or oval as we know it ... '36 It remains to be seen which direction prevailed. 34 THE POLITICS OF MODERNISM This page intentionally left blank Duchamp's Legacy: The RauschenbergJohns Axis 23 details of 17 The shift in art-world domination from Paris to New York in the postwar period is summed up by Marcel Duchamp's Boite-en-Valise [17].

Rothko's transcendentalism clearly diverges from the concerns of Fautrier or Dubuffet. The Bataillean tenor of their informel aesthetic can further be contrasted with the mainstream Breton-derived Surrealist position which broadly informed Abstract Expressionism. In the case of an artist such as the Armenian-born Arshile Gorky, whom Breton particularly praised, this bred a highly aestheticized iconography of sexuality. Constructed from interactions between elegant skating lines and languorous smudges of colour, Gorky's semiabstractions seemed to evoke sultry or neurotic reveries centring on the body.

For the other painters, the Tate Gallery's 'Modern Art in the United States' exhibition of 1956 was something of a revelation, while the 'New American Painting', backed, as noted earlier, by the International Program of MOMA, consolidated America's Modernist supremacy in 1959. Lanyon, who had already forged a style of his own, was to gain some degree of commercial success in America in the late 19503 and to develop personal links with Rothko in particular. His colleagues, however, were generally deemed derivative by the American critical establishment and further British responses to Post-Painterly Abstraction by painters such as Robyn Denny and Richard Smith, which culminated in two highly original environmentally conceived THE FALLOUT FROM MODERNISM T,I exhibitions of 1959 and 1960 ('Place' at the ICA and 'Situation' at the RBA Gallery in London), seem hardly to have registered with Greenberg and Fried.

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After Modern Art, 1945-2000 (Oxford History of Art) by David Hopkins

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