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

By David Hopkins

ISBN-10: 0191518042

ISBN-13: 9780191518041

Smooth and modern paintings might be either baffling and gorgeous; it might even be leading edge, political, and demanding. This ebook 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 expert by means of new severe ways, it concentrates at the courting among American and ecu paintings from the top of the second one global warfare 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 routine similar to summary Expressionism, Pop paintings, Minimalism, Conceptualism, Postmodernism, and function artwork 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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Extra info for After Modern Art, 1945-2000 (Oxford History of Art)

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This critical turnabout obviously paralleled the ways in which Abstract Expressionism was manoeuvred to fit the class interests underpinning America's Cold War ideology. Yet what is particularly telling here is the way that, by the time of his seminal essay on 'Modernist Painting' of 1961, 28 THE POLITICS OF MODERNISM Greenberg had seen fit to drop his earlier reliance on the idea of an artistic 'avant-garde' in favour of a key monolithic concept of 'Modernism'. Greenberg's conception of 'Modernism' as synonymous with formal completion or inviolability (which could be seen as keyed to America's postwar imagining of its world position) was to fuel a mutually self-aggrandizing tradition of painting and art criticism in the 19505 and 19603.

Although briefly married at the start of the 19505, Rauschenberg had come to recognize that his sexual orientation was bisexual. The social climate was hardly conducive to this. McCarthyism explicitly correlated homosexuality with Communism to the extent that, during 52 DUCHAMP s LEGACY: THE RAUSCHENBERG-JOHNS AXIS Women and the male art world: Lee Krasner The mascuEne exclusivity of Abstract Expressionism is made especially clear when considering the effects it had on female artists attempting to work within it.

The Cubists had pioneered the use of collage fragments within pictorial constructs earlier in the century, and the Dadaist Kurt Schwitters had taken the non-hierarchical implications of this further by incorporating rubbish into his Merz assemblages in the 19205 and 305. Partly in the spirit of Schwitters, Rauschenberg incorporated newspapers into the bases for his work. In 1952 he produced Asheville Citizen, a two-part painting in which a whole sheet of newspaper, lightly brushed with brown-black paint evoking scatological associations, was very much the picture's 'subject'.

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


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