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

By David Hopkins

ISBN-10: 0191518042

ISBN-13: 9780191518041

Sleek and modern paintings will be either baffling and gorgeous; it could actually even be leading edge, political, and annoying. This ebook units out to supply the 1st concise interpretation of the interval as an entire, clarifying the artists and their works alongside the best way. heavily trained through new serious techniques, it concentrates at the courting among American and ecu artwork from the tip of the second one international 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 recognition being given to the political and cultural worlds they inhabited. relocating alongside a transparent timeline, the writer highlights key activities resembling 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 artwork of this era.

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Extra resources for After Modern Art, 1945-2000 (Oxford History of Art)

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25 In the same review Greenberg made his own aesthetic interests clear. He advocated a 'bland, balanced, Apollonian art ... ' This classical formulation clearly foreshadows his later espousal of Post-Painterly Abstraction [13] but it represents the very antithesis of Pollock—the Pollock who once famously talked of being 'in' his paintings. Significantly, though, this impersonal formalism went hand in hand with changes in Greenberg's politics at the end of the 19405. 26 With an almost Utopian belief that capitalism could extend America's newly created 'middle-brow' culture to the masses, Greenberg gradually modified his earlier sense of the avant-garde's oppositional stance in relation to bourgeois culture.

These pictures, usually consisting of several modular whitepainted panels abutted together, reflected a pronounced discomfort with Abstract Expressionist bombast; they were passive receptors, awaiting events rather than prescribing sensations. As markers of an artistic tabula rasa they were not completely unprecedented. The Russian artist Malevich had produced his White on White paintings in 1918 as an outcome of different metaphysical preoccupations. However, Rauschenberg's pictures broke decisively with Modernist assumptions of aesthetic self-containment.

Duchamp's use of oblique bodily metaphor and authorial indeterminacy again provided a model here. But it was to be Jasper Johns who followed it most closely. Metaphors of sexual identity: Jasper Johns Johns's earliest works, which are veritable icons of postwar art, appeared sui generis, the artist having destroyed much of his preceding output. He acquired critical success when the art dealer Leo Castelli, invited by Rauschenberg to their shared studio, bought up his entire production, exhibiting it, before Rauschenberg's, in early 1958.

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