By David Hopkins
Smooth and modern paintings should be either baffling and lovely; it will possibly even be cutting edge, political, and demanding. This booklet 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 trained through new serious techniques, it concentrates at the dating among American and eu artwork from the top of the second one global battle 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 hobbies 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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Extra info for After Modern Art, 1945-2000 (Oxford History of Art)
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 .
In Britain, the postwar atmosphere of austerity in London, presided over by a new, guardedly optimistic, Labour government, created the conditions for the emergence of an existentially tinged figuration (see the discussion of Bacon in Chapter 3). However, away from the metropolis, a group of its former residents—Ben Nicholson, Barbara Hepworth, and the Russian emigre'Naum Gabo—had weathered the war years in and around St Ives in Cornwall, already a well-established artists' centre. Their geometric abstraction, which had won international recognition in the 19305, had a decisive effect after the war on the painter Peter Lanyon.
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After Modern Art, 1945-2000 (Oxford History of Art) by David Hopkins