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

By David Hopkins

Glossy and modern paintings should be either baffling and gorgeous; it will possibly even be cutting edge, political, and traumatic. 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 way in which. heavily educated through new severe methods, it concentrates at the courting among American and eu artwork from the tip of the second one international warfare 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 realization 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 paintings to provide an explanation for the theoretical and issue-based debates that experience supplied the engine for the artwork of this era.

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Meanwhile Duchamp himself had begun planning a new project. ')—a title deriving from a cryptic note for the Large Glass—was begun in secret around 1946 and not revealed publicly until 1969, months after his death. Its full effects were thus programmatically postponed as if Duchamp, who was obsessed with chess, calculated his game with posterity in advance. Etant Donnes is permanently installed in the Philadelphia Museum of Art. As such it is one of the first examples of the 'installation' genre which would flourish later.

Ai explained by Greenberg in his key 'Modernist Ba|nt|ng'pssayi5fi^6if the essence ofModernfem lies... * The warning against the *Bttbv^r|iotf ofthe discipline Is incfcipell to rule out socially generated antiartirt^ulsfes,;sue| || |)adaaad much of Surreafism,from theModefnist master-plan; Greenberf was »o|

24 What is particularly striking here is the way in which Greenberg's reading of Pollock edits out his Jungianism and the drama of Veiling' discussed earlier. 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.

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