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

By David Hopkins

Glossy and modern paintings will be either baffling and lovely; it will possibly even be cutting edge, political, and nerve-racking. This publication units out to supply the 1st concise interpretation of the interval as a complete, clarifying the artists and their works alongside the way in which. heavily expert by way of new severe ways, it concentrates at the dating among American and eu paintings from the top of the second one global conflict to the eve of the hot millennium.

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

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Like the Frankfurt-School Marxist Theodor Adorno, Greenberg felt that art's autonomy had to be preserved against the incursions of mass culture, as a kind of mute repudiation of capitalism's values. At the same time, he argued that each art had to avoid confusion with its fellow arts—a situation which could only lead to the weakening of the criteria for self-definition (and critical evaluation) within the various art forms. Academic painting of the nineteenth century had, for instance, been too reliant on 'literary' effects; the arts should now follow the example of music's essential abstractness.

Here the full repertoire of Duchamp's 'readymades' (which, as well as unitary objects, had included poetic or unexpected combinations of objects as in the 'assisted readymade', Bicycle Wheel, of 1913), were brought into a realignment with fine art practices in constructions fusing everyday objects, painting, and sculpture. In the case of one of these 'Combines', the notorious Bed of 1955 [19], the move from a horizontal to vertical orientation in the object's upright placement sets up an anthropomorphic counterpoint to Pollock's floor-based 'action paintings'.

Popular culture thus had its part to play in establishing this key theme. Mouths, frequently baring theirteeth, became recurring motifs. It has been suggested that he may partly have inherited such imagery from Francis Bacon. ) Reciprocally, in the 1960s Bacon painted figures with bicycles. general accounts of postwar art but he was clearly influential internationally. He had several exhibitions in New York in 1953—5 and was accorded a role in Seitz's 1961 assemblage exhibition. Rauschenberg's travelling companion Twombly also took elements from informel art, this time Dubuffet's graffiti vocabulary.

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