Why Did New York Became Center of Art After Ww2

Movements in Twentieth-Century Fine art After World War II

Abstruse Expressionism

(Action Painting and Color Field Painting)

Name: Term used as early every bit 1920s to describe Kandinsky's abstract paintings. Writer Robert Coates start uses the term for contemporary paintings in the March 30, 1946 issue of the New Yorker. Supportive critic Harold Rosenberg used the term "Action Painting," while another critic, Cloudless Greenberg, preferred "American-fashion Painting." Still, "Abstract Expressionism" was the term used most frequently in the U.S.

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

When: Mid-1940s through 1950s.

Where: United States (New York Metropolis).

What: Consciously American manner of fine art that influenced similar European movements, such as Tachisme. Abstruse Expressionism tin can be broken into two large subdivisions: Activity Painting, which came first, and Color Field Painting. Action Paintings generally take a more vehement, frenzied appearance, while Color Field Paintings have a calmer, almost spiritual quality.

Subject Matter: Abstract, with an accent on the artist expressing everything from personal feelings to universal, spiritual concerns. With the Activity Painters, the physical human activity of painting becomes, to a certain extent, the subject matter.

Style: Not really a coherent style so much every bit an attitude confronting traditional styles (Realism), techniques, and "finished" works. The painters do share in common their reliance on psychic self-expression. Generally, "Action Painters" employed dripping, splatter, pouring, or other aggressive techniques in an try to be spontaneous and instinctive, while "Color Field Painters" preferred a saturated approach to paint awarding. Big canvases were normally used.

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

Kissick Case: POLLOCK, Number one, 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.

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

Op Art

Proper noun: Brusk for "Optical Art." Other names: Retinal Art, and Perceptual Abstraction. Term coined by sculptor George Rickey in 1964 during a chat with two curators at the Museum of Modernistic Art in New York, where the defining Op bear witness, "The Responsive Eye," was shown in 1965.

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

When: Mid-1950s to early 1970s.

Where: Europe and the United states.

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

Subject Affair: Non-representational.

Manner: Rigid geometric precision; repetitive lines and shapes that may appear 3 dimensional; no visible brushstrokes; often vivid colors.

Janson Instance: ANUSZKIEWICZ, Archway to Green, 1970.

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

Pop Art

Proper noun: Short for "Popular Fine art." Term showtime appeared in the commodity "The Arts and the Mass Media," past the British critic Lawrence Alloway, which was published in the February. 1958 event of Architectural Design. Pop is more associated with the early 1960s, when Time, Life and Newsweek all ran cover stories on information technology.

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: Late 1950s through 1960s.

Where: Began in United kingdom of great britain and northern ireland then chop-chop spread to the Us. Motion is most associated with American artists.

What: Motility was both a reaction against Abstruse Expressionism, which was seen as too elitist and non-objective, as well as a celebration of postwar consumer culture. Pop is playful and ironic, not spiritual or psychological

Subject area Matter: Pop civilization: mass media, advertisements, comic strips, billboards, packaging, goggle box and movie personalities, commonplace objects, etc.

Mode: Similar to the styles of mass media product: bright, lurid color that is sometimes off register; sometimes the pocket-size Benday dots seen in newspaper print is copied; bold lines and shapes; immediately recognizable objects and people. Although Pop artists rejected Abstruse Expressionism, their work is, nonetheless, stylistically flat.

Janson Instance: LICHTENSTEIN, Drowning Girl, 1963.

Kissick Instance: LICHTENSTEIN, Masterpiece, 1962.

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

Volition influence: Post-modernist trend toward appropriation.

Minimalism

Name: Term emerged from the writings of the critic Barbara Rose, who wrote an article entitled "ABC Art." Although that name did not grab on, her reference to art reduced to the "minimum" soon transformed into the common term "Minimalism" past 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: More often than not the United States.

What: Painting and sculpture reduced to essentials. An art that is neither expressive nor illusionistic. First fine art motility of international significance pioneered exclusively by American-born artists. More frequently associated with sculpture rather than painting. Sculptures often referred to as "Chief Structures" afterwards an influential evidence at New York's Jewish Museum in 1966.

Subject Matter: Representational imagery is eliminated; non-objective art; identical and interchangeable units.

Style: Geometric abstraction; grid designs; absence of a personalized "creative person's touch."

Janson and Kissick Instance: JUDD, Untitled, 1989.

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

Volition influence: Earth art, Mail-Minimalism, and post-modernism.

Conceptual Fine art

Name: Term "Conceptual art" came into wide apply subsequently the article "Paragraphs on Conceptual Art" by the Minimalist creative person Sol Lewitt appeared in the summertime 1967 issue of Artforum. "Idea fine art" is a synonym for Conceptual fine art.

Who: Joseph Kosuth, John Baldessari, Mel Bochner, John Muzzle, 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 postal service-war art (especially the impersonality of Minimalism), as well as the limitations of traditional art. What the viewer usually saw in the gallery was merely the document (drawing, photo, written proposals, charts, maps, video, and even language itself.) of the artist'southward thinking process. Sometimes, not even a document was produced. The concept was the "cloth." Conceptualism was sometimes used equally an all- encompassing term to describe other not-traditional art movements also, such as Performance art and World art.

Field of study Affair: Because the art is conceptual, the subjects were extremely varied and esoteric.

Style: No single mode and, oftentimes, no art object with which to attach a style.

Janson and Kissick Case: KOSUTH, 1 and Three Chairs, 1965.

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

Will influence: Performance fine art.

Operation Fine art

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

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

When: Late 1960s to the present.

Where: International.

What: Performance art tin embrace such activities every bit music, dance, poetry, theater, and video. The term can also exist practical to earlier "performance" activities such as Happenings, Body Art, Actions, etc., all of which involve some caste of performance. The movement came about in the 1960s from a want by artists to communicate more directly with their audiences than conventional painting or sculpture allowed. To a certain extent, the artists were reacting against the austerity of Minimalism. Parody is frequently an chemical element of Performance fine art.

Subject area Affair: Extremely varied, though at a base level, the artist's body is always used in some way.

Manner: As well extremely varied; the style constitutes various actions performed past the artist.

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

Influenced past: Dada, Jackson Pollock's painting for a movie camera in 1950, Yves Klein's "actions," Conceptual art, Happenings, and Torso Art

Photorealism

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

Who: Don Boil, Richard Estes, Audrey Flack, Chuck Close, and Janet Fish.

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

Where: Primarily the United States.

What: A type of realist painting in which creative person usually copies a photograph. Photorealists normally painted from slides projected onto a canvass. Sculptors at this time who worked in a very realistic manner are referred to every bit Superrealists. They include such artists as John de Andrea and Duane Hanson, whose figures are made from man casts and, in the example of Hanson, include existent clothes and other props.

Bailiwick Matter: The photograph itself, as opposed to nature, is the subject field matter. Normal, everyday, bland subjects are common.

Style: Everything is in sharp focus; sometimes at that place is a flattening of the space, as is common with photographs. Photorealists are more than concerned with the way a photographic camera distorts a scene, likewise every bit the way a photograph can bring certain elements into abrupt focus.

Janson Example: ESTES, Food Shop, 1967.

Influenced by: Pop Art.

Will influence: Mail-modernism.

Earth Fine art

Name: In 1969, Cornell University staged the "Earth Art" exhibition, which included artists who in some way manipulate the globe as part of their work. Too known equally Environmental Art, Earthworks, 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: By and large northern Europe and the U.S.

What: Earth artists rejected the commercialization of art and supported the growing ecological move of the 1960s. Many of these artists approached the earth and its resources with a spiritual mental attitude. Instead of using the land every bit merely a site for art, proponents of Earth fine art molded the land itself into a work of art. Earth artists were non part of an organized movement; their goals and methods were broad-ranging. Photographic documentation is often part of the earth artist's process, since many of the works are designed to last only a short time. Some of the projects are never realized due to their scale or cost, and therefore be but on paper.

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

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

Janson Example: SMITHSON, Spiral Jetty, 1970.

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

Neo-Expressionism

Proper noun: First use of term is unknown, only it was widely used by 1982 to describe new High 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: Belatedly 1970s to mid-1980s.

Where: International.

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

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

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

Janson Example: ROTHENBERG, Mondrian, 1983-1984.

Kissick Example: CHIA, Rabbit for Dinner, 1981.

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

Will influence: Post-modernism.

Post-Modernism

Proper noun: Term probably beginning 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 on 1970s, the term was applied to architecture. Past the late 1970s, fine art critics were using the term regularly. Like the term "Post-Impressionism," "mail-modernism" refers not to a unmarried, specific fashion, but to a menses; the flow after "modernism."

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

When: 1970s to today.

Where: International.

What: Mail-modernism in fine art and architecture tin refer to both a rejection of "modernism," every bit well as fine art that came "after modernism." Several cultural factors take influenced this respective art shift from modernism to post-modernism. Perhaps the biggest cistron is the appearance of the technological historic period. Merely every bit modern civilisation was influenced by the industrial age, so post-modernism has had to deal with the electronic historic period. As a issue of this electronic, or data, historic period, traditional geographic boundaries have been destroyed. Images of artworks are instantly accessible to an international audition. In the art world, artists and architects embrace a rich variety of images and sources while rejecting the pure, clean elements that represented the "cease" of modernistic art: minimalism.

Field of study Matter: Whereas modernists promoted brainchild, post-modern painters advocated a render to traditional subject affair such equally landscape and history painting. Some post-modernists reject the modern notion that each fine art motility be completely original; this rejection takes the course of borrowing (appropriation) from fine art or architectural history, or other sources, and combining previous images and styles in new juxtapositions. Often, post-mod subject matter in the visual arts is issue-oriented and activist. Toward this end, and considering mail-modernism has its roots in literature, visual artists often incorporate text into their work.

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

Janson Example: KRUGER, Yous Are a Captive Audience, 1983.

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

Influenced by: Dada, Surrealism, Pop 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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