After Wwii the Center of the International Art World Shifted to This City

Movements in Twentieth-Century Art Afterward World War Two

Abstract Expressionism

(Action Painting and Colour Field Painting)

Name: Term used as early as 1920s to depict Kandinsky's abstract paintings. Author Robert Coates first uses the term for contemporary paintings in the March 30, 1946 issue of the New Yorker. Supportive critic Harold Rosenberg used the term "Activity Painting," while some other critic, Clement Greenberg, preferred "American-style Painting." Still, "Abstract Expressionism" was the term used most frequently in the U.South.

Who: Jackson Pollock, Marker Rothko, Willem de Kooning, Lee Krasner, Adolph Gottlieb, Arshile Gorky, Robert Motherwell, Franz Kline, Barnett Newman, and Clyfford Still.

When: Mid-1940s through 1950s.

Where: United States (New York City).

What: Consciously American style of art that influenced similar European movements, such as Tachisme. Abstruse Expressionism can be broken into 2 big subdivisions: Action Painting, which came first, and Color Field Painting. Action Paintings by and large have a more fierce, frenzied advent, while Color Field Paintings have a calmer, almost spiritual quality.

Subject Affair: Abstract, with an emphasis on the artist expressing everything from personal feelings to universal, spiritual concerns. With the Activity Painters, the concrete act of painting becomes, to a certain extent, the subject matter.

Style: Non actually a coherent style then much as an attitude against traditional styles (Realism), techniques, and "finished" works. The painters do share in common their reliance on psychic self-expression. Generally, "Activeness Painters" employed dripping, splatter, pouring, or other aggressive techniques in an effort to be spontaneous and instinctive, while "Color Field Painters" preferred a saturated approach to paint awarding. Large canvases were commonly used.

Janson Example: POLLOCK, Autumn Rhythm: Number 30, 1950, 1950 (Activeness Painting) and ROTHKO, White and Greens in Bluish, 1957 (Color Field Painting).

Kissick Example: POLLOCK, Number 1, 1950 (Lavender Mist), 1950 (Action Painting) and ROTHKO, Untitled, 1960 (Color Field Painting).

Influenced by: Van Gogh, Cubism (shallow space), Kandinsky, Dada, Surrealism (Miró and Automatism), European artists fleeing Hitler-dominated Europe, and Native American sand painting.

Volition influence: Tachisme, Art Brut, COBRA, Difficult-Edge Painting, and Neo-Expressionism.

Op Art

Name: Curt for "Optical Art." Other names: Retinal Fine art, and Perceptual Abstraction. Term coined past sculptor George Rickey in 1964 during a conversation with two curators at the Museum of Mod Art in New York, where the defining Op show, "The Responsive Eye," was shown in 1965.

Who: Josef Albers, Richard Anuszkiewicz, Bridget Riley, Lawrence Poons, and Victor Vasarely.

When: Mid-1950s to early on 1970s.

Where: Europe and the U.s.a..

What: Art devoted primarily to optical illusions. Op paintings frequently give the illusion of motion (vibration, pulsation) and/or depth.

Field of study Matter: Not-representational.

Fashion: Rigid geometric precision; repetitive lines and shapes that may announced three dimensional; no visible brushstrokes; often vivid colors.

Janson Example: ANUSZKIEWICZ, Entrance to Green, 1970.

Influenced by: Bauhaus color theory; Mondrian; hard-edge abstraction (Ellsworth Kelly, Frank Stella); and perceptual psychology.

Pop Fine art

Name: Short for "Pop Art." Term commencement appeared in the commodity "The Arts and the Mass Media," by the British critic Lawrence Alloway, which was published in the Feb. 1958 issue of Architectural Pattern. Pop is more associated with the early 1960s, when Time, Life and Newsweek all ran comprehend stories on it.

Who: Richard Hamilton, Roy Lichtenstein, Andy Warhhol, Tom Wesselmann, James Rosenquist, Ed Ruscha, Wayne Thiebaud, Mel Ramos, Claes Oldenburg, Robert Indiana, Robert Arneson, Jim Dine, and David Hockney.

When: Belatedly 1950s through 1960s.

Where: Began in Uk then speedily spread to the Usa. Movement is virtually associated with American artists.

What: Movement was both a reaction against Abstract Expressionism, which was seen equally too elitist and not-objective, also as a celebration of postwar consumer culture. Pop is playful and ironic, not spiritual or psychological

Subject Thing: Popular culture: mass media, advertisements, comic strips, billboards, packaging, idiot box and movie personalities, commonplace objects, etc.

Style: Similar to the styles of mass media production: bright, lurid color that is sometimes off annals; sometimes the pocket-sized Benday dots seen in newspaper print is copied; bold lines and shapes; immediately recognizable objects and people. Although Popular artists rejected Abstract Expressionism, their work is, nonetheless, stylistically flat.

Janson Case: LICHTENSTEIN, Drowning Girl, 1963.

Kissick Example: LICHTENSTEIN, Masterpiece, 1962.

Influenced by: Marcel Duchamp, Dada, Jasper Johns, and Robert Rauschenberg.

Will influence: Post-modernist tendency toward appropriation.

Minimalism

Proper name: Term emerged from the writings of the critic Barbara Rose, who wrote an article entitled "ABC Fine art." Although that name did not catch on, her reference to art reduced to the "minimum" before long transformed into the mutual term "Minimalism" by the late 1960s.

Who: Donald Judd, Ronald Bladen, Dan Flavin, Sol Lewitt, Robert Morris, Richard Serra, Tony Smith, and Frank Stella.

When: 1960s to mid-1970s.

Where: Mostly the Us.

What: Painting and sculpture reduced to essentials. An fine art that is neither expressive nor illusionistic. First fine art motility of international significance pioneered exclusively by American-built-in artists. More than frequently associated with sculpture rather than painting. Sculptures oftentimes referred to every bit "Principal Structures" after an influential show at New York's Jewish Museum in 1966.

Subject Matter: Representational imagery is eliminated; not-objective fine art; identical and interchangeable units.

Mode: Geometric abstraction; filigree designs; absence of a personalized "artist's touch."

Janson and Kissick Example: JUDD, Untitled, 1989.

Influenced past: Constructivism; post-war piece of work of Barnett Newman, Advertizing Reinhardt and David Smith; and International Way compages.

Will influence: Earth art, Post-Minimalism, and post-modernism.

Conceptual Art

Name: Term "Conceptual art" came into wide use later the commodity "Paragraphs on Conceptual Fine art" by the Minimalist artist Sol Lewitt appeared in the summer 1967 issue of Artforum. "Idea art" is a synonym for Conceptual fine art.

Who: Joseph Kosuth, John Baldessari, Mel Bochner, John Cage, Hans Haacke, and Dennis Oppenheim.

When: Mid-1960s through 1970s.

Where: International.

What: In Conceptual art the thought, rather than the object, is most important. Conceptual artists were reacting against the commercialized art world of the 1960s, the formalism of post-state of war art (specially the impersonality of Minimalism), besides as the limitations of traditional art. What the viewer usually saw in the gallery was but the document (drawing, photograph, written proposals, charts, maps, video, and even language itself.) of the creative person's thinking process. Sometimes, not even a document was produced. The concept was the "material." Conceptualism was sometimes used as an all- encompassing term to draw other not-traditional art movements besides, such as Performance art and World art.

Subject Matter: Because the art is conceptual, the subjects were extremely varied and esoteric.

Way: No unmarried style and, oftentimes, no fine art object with which to attach a style.

Janson and Kissick Case: KOSUTH, One and Three Chairs, 1965.

Influenced by: Dada, Duchamp's ready-mades, Jasper Johns' work, Earth art, and Minimalism.

Will influence: Functioning art.

Operation Art

Name: Name refers to a wide range of activities that are ordinarily presented before a live audience and therefore constitute a "operation" by the artist/artists.

Who: Joseph Beuys, Allan Kaprow, Vito Acconci, Laurie Anderson, Chris Brunt, Karen Finley, Gilbert and George, Tim Miller, and Carolee Schneemann.

When: Late 1960s to the present.

Where: International.

What: Functioning fine art can encompass such activities as music, dance, poetry, theater, and video. The term can too exist practical to earlier "performance" activities such equally Happenings, Body Art, Actions, etc., all of which involve some degree of performance. The motion came about in the 1960s from a desire by artists to communicate more than straight with their audiences than conventional painting or sculpture allowed. To a sure extent, the artists were reacting against the thrift of Minimalism. Parody is oft an element of Operation art.

Discipline Thing: Extremely varied, though at a base level, the artist's body is e'er used in some way.

Style: Also extremely varied; the mode constitutes diverse actions performed by the artist.

Janson and Kissick Example: BEUYS, Coyote (I Like America and America Likes Me), 1974.

Influenced by: Dada, Jackson Pollock's painting for a moving picture camera in 1950, Yves Klein'southward "actions," Conceptual fine art, Happenings, and Body Fine art

Photorealism

Proper name: Louis Meisel, a New York art dealer, is usually credited every bit originating the term "Photo-Realism." The style has also been referred to as Precipitous-Focus Realism, Hyper-Realism, and Super-Realism.

Who: Don Eddy, Richard Estes, Audrey Flack, Chuck Shut, and Janet Fish.

When: Mid-1960s to mid-1970s.

Where: Primarily the United States.

What: A blazon of realist painting in which creative person usually copies a photograph. Photorealists commonly painted from slides projected onto a sail. Sculptors at this fourth dimension who worked in a very realistic manner are referred to equally Superrealists. They include such artists as John de Andrea and Duane Hanson, whose figures are made from human casts and, in the example of Hanson, include real clothes and other props.

Subject Matter: The photograph itself, every bit opposed to nature, is the subject matter. Normal, everyday, banal subjects are mutual.

Style: Everything is in sharp focus; sometimes there is a flattening of the space, every bit is common with photographs. Photorealists are more concerned with the mode a camera distorts a scene, likewise as the way a photo tin bring certain elements into sharp focus.

Janson Example: ESTES, Nutrient Shop, 1967.

Influenced by: Pop Fine art.

Will influence: Post-modernism.

Earth Art

Name: In 1969, Cornell University staged the "Earth Fine art" exhibition, which included artists who in some way manipulate the earth as part of their work. Likewise known as Environmental Art, Digging, and Country Art.

Who: Robert Smithson, Christo (Christo Javacheff), Alice Aycock, Michael Heizer, Nancy Holt, Walter de Maria, Robert Morris, and Dennis Oppenheim.

When: Mid-1960s through 1970s.

Where: Mostly northern Europe and the U.Southward.

What: Earth artists rejected the commercialization of art and supported the growing ecological movement of the 1960s. Many of these artists approached the earth and its resources with a spiritual attitude. Instead of using the land as just a site for art, proponents of Globe art molded the state itself into a work of art. Earth artists were not part of an organized movement; their goals and methods were wide-ranging. Photographic documentation is oftentimes part of the world creative person's process, since many of the works are designed to last only a short fourth dimension. Some of the projects are never realized due to their calibration or toll, and therefore exist only on paper.

Subject Matter: Anything to do with the earth and the life information technology supports.

Style: Usually geometric or biomorphic shapes composed of natural materials within a natural setting.

Janson Case: SMITHSON, Screw Jetty, 1970.

Influenced by: Minimalist sculpture, architecture, Conceptual Fine art, and prehistoric builders (Stonehenge).

Neo-Expressionism

Name: First apply of term is unknown, just it was widely used by 1982 to describe new German and Italian art.

Who: Francesco Clemente, Sandro Chia, Anselm Kiefer, Georg Baselitz, A. R. Penck, Jörg Immendorff, Susan Rothenberg, Kay Walkingstick, Eric Fischl, Jean-Michel Basquiat, Robert Longo, Robert Morris, David Salle, and Julian Schnabel.

When: Tardily 1970s to mid-1980s.

Where: International.

What: Neo-Expressionism includes a very wide range of artists with dissimilar concerns. The loosely defined movement was a reaction confronting Conceptual fine art, rigidly abstract art, and the lack of imagery from either natural or fine art historical sources.

Discipline Thing: Although the subject area matter is very various, the human figure, and recognizable objects, brand a "come back" with the Neo-Expressionists. Works are sometimes allegorical and symbolic.

Way: Based on recognizable people and objects, still these are filtered through the artists' personal, expressionistic vocabulary. Paint is oftentimes handled in a rough, gestural manner. Many of the paintings are done on a large calibration.

Janson Example: ROTHENBERG, Mondrian, 1983-1984.

Kissick Example: CHIA, Rabbit for Dinner, 1981.

Influenced past: Art historical sources, figurative painting, German language Expressionism, Mail service-Impressionism, Surrealism, Abstract Expressionism, Pop Art, and contemporary events.

Volition influence: Post-modernism.

Post-Modernism

Name: Term probably start appeared in print in Daniel Bell's End of Sociology in 1960. In the early 1960s, the term was used mainly by literary critics. In the early 1970s, the term was applied to architecture. By the late 1970s, fine art critics were using the term regularly. Like the term "Post-Impressionism," "post-modernism" refers not to a single, specific mode, simply to a period; the catamenia afterwards "modernism."

Who: Michael Graves, James Stirling, Nam June Paik, Ann Hamilton, Mark Tansey, Barbara Kruger, and Cindy Sherman.

When: 1970s to today.

Where: International.

What: Postal service-modernism in art and compages tin refer to both a rejection of "modernism," besides as art that came "afterward modernism." Several cultural factors accept influenced this corresponding fine art shift from modernism to post-modernism. Perhaps the biggest factor is the appearance of the technological age. Just as modern civilisation was influenced by the industrial age, so post-modernism has had to deal with the electronic historic period. Equally a result of this electronic, or information, age, traditional geographic boundaries accept been destroyed. Images of artworks are instantly accessible to an international audience. In the art globe, artists and architects embrace a rich variety of images and sources while rejecting the pure, make clean elements that represented the "stop" of modern fine art: minimalism.

Subject Matter: Whereas modernists promoted brainchild, post-modern painters advocated a return to traditional discipline affair such every bit landscape and history painting. Some post-modernists turn down the modernistic notion that each art movement be completely original; this rejection takes the form of borrowing (appropriation) from art or architectural history, or other sources, and combining previous images and styles in new juxtapositions. Oftentimes, postal service-mod discipline matter in the visual arts is issue-oriented and activist. Toward this end, and because post-modernism has its roots in literature, visual artists often incorporate text into their work.

Fashion: Extremely varied and eclectic in both fine art and architecture, although post-modern visual artists employ identifiable, representational images.

Janson Example: KRUGER, You Are a Captive Audition, 1983.

Kissick Instance: KRUGER, Untitled ("We Won't Play Nature to Your Culture"), 1984.

Influenced by: Dada, Surrealism, Popular Fine art, Conceptual Art, and Neo-Expressionism.

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Source: https://www2.palomar.edu/users/mhudelson/StudyGuides/20thCentLate_WA.html

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