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

By David Hopkins

Glossy and modern artwork should be either baffling and gorgeous; it may even be cutting edge, political, and tense. This e-book 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 proficient by means of new severe 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 hot 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 reminiscent of 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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Additional resources for After Modern Art, 1945-2000 (Oxford History of Art)

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Most of the droplets of love gasoline fall sadly short of their target in an area designated as that of the 'Shots'. This short description evokes something of the Glass's bleak hilarity as a satire on sexual relations, but from it the significance of Wayward Landscape can be appreciated; it is one of the Bachelors'/Duchamp's 'shots'. As a comment on male expressive/sexual urgency the gesture ironizes the new vogue for painterly bravado in American art linked to assertively 'male' artists such as Pollock, shortly to embark on his 'drip' paintings.

However, a figure such as the painter/poet Henri Michaux [15] can hardly be thought answerable to Modernist criteria, although his works have superficial visual links with Pollock's. Its formal rigours aside, Greenbergian Modernism was primarily urban in tenor, an art of large metropolitan cultures. '30 In these terms, British abstractionsts such as Lanyon, working from landscape motifs in a tradition rooted in the eighteenth century, would have seemed anachronistic. ) Despite the fact that he had a strong stylistic influence on both Lanyon and Diebenkorn, and himself produced a sequence of paintings derived from landscape at the end of the 19505, it was the Dutch-born Willem de Kooning, rather than Pollock, who produced the most distinctively urban-rooted Abstract Expressionist canvases.

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'. The consequences of this were far-reaching. As the critic Leo Steinberg later wrote in his important essay 'Other Criteria', Rauschenberg appeared to be implying that 'any flat documentary surface that tabulates information is a relevant analogue of his picture plane', with the implication that his work 'stood for the mind itself...

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