Get After Modern Art, 1945-2000 (Oxford History of Art) PDF

By David Hopkins

ISBN-10: 0191518042

ISBN-13: 9780191518041

Sleek and modern artwork could be either baffling and gorgeous; it might even be cutting edge, political, and nerve-racking. This e-book 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 via new serious methods, it concentrates at the courting among American and ecu paintings from the top of the second one global 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 cognizance being given to the political and cultural worlds they inhabited. relocating alongside a transparent timeline, the writer highlights key pursuits resembling summary Expressionism, Pop paintings, Minimalism, Conceptualism, Postmodernism, and function artwork 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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Extra info for After Modern Art, 1945-2000 (Oxford History of Art)

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1948 Cornell's boxes of the 1940s and 1950s consisted of achingly melancholy juxtapositions of incongruously scaled objects implyingtemporal and spatial poetic leaps. A Victorian child's soap bubble set would be placed againsta lunar map or a portrait of a Medici princess pasted in the interior of a would-be slot machine. emerge until later. 12 But if such work embraced provisonal structures and hybrid juxtapositions, it was hardly openly nihilistic, as was often the case with Dada. Consequently the term 'assemblage' quickly came to replace it.

These must surely have affected Rauschenberg's contemporaneous red paintings, to say nothing of Bed. Burri's achievements have tended to drop out of MCCARTHYISM AND MASCULINITY 49 23 Willemde Kooning Woman and Bicycle, 1952-3 The repeated mouth motif is interesting here. In 1950 de Kooning had produced a study of a woman incorporating a fragment of a photograph of a mouth from a Camel cigarette advertisement. Popular culture thus had its part to play in establishing this key theme. Mouths, frequently baring theirteeth, became recurring motifs.

In important texts such as Avant Garde and Kitsch' and 'Towards a New Laocoon',22 Greenberg asserted that the current position of avant-garde art should be understood in the light of its historical relations to capitalism. He argued that, after 1848, the increasing alienation of artists from their own class (the bourgeoisie with its debased cultural values) led to a paradoxical situation in which, unable to communicate with their audience, avant-gardists took it upon themselves to maintain an ongoing self-critical purification of art's means, while ambivalently retaining economic links to the ruling class.

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


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