Academic Painting Had This These Over Photography Art 305 Quizlet
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All trends get clearer with time. Looking at art even 15 years out, "you tin can see the patterns a little ameliorate," says Melissa Ho, assistant curator at the Hirshhorn Museum. "There are larger, deeper trends that have to practice with how nosotros are living in the world and how nosotros are experiencing it."
So what exactly is modern fine art? The question, she says, is less accountable than endlessly discussable.
Technically, says Ho, modern art is "the cultural expression of the historical moment of modernity." But how to unpack that statement is contested. One style of defining modern fine art, or annihilation actually, is describing what information technology is non. Traditional academic painting and sculpture dominated the 17th, 18th and 19th centuries. "Information technology was about perfect, seamless technique and using that perfect, seamless technique to execute very well-established subject field matter," says Ho. There was a hierarchy of genres, from history paintings to portraiture to still lifes and landscapes, and very strict notions of dazzler. "Office of the triumph of modernism is overturning academic values," she says.
In somewhat of a backlash to traditional academic fine art, modern fine art is well-nigh personal expression. Though it was not always the case historically, explains Ho, "now, it seems almost natural that the manner you think of works of art are as an expression of an individual vision." Modernism spans a huge variety of artists and kinds of fine art. But the values backside the pieces are much the same. "With modern art, in that location is this new accent put on the value of existence original and doing something innovative," says Ho.
Edouard Manet and the Impressionists were considered modern, in part, because they were depicting scenes of modernistic life. The Industrial Revolution brought droves of people to the cities, and new forms of leisure sprung upwardly in urban life. Inside the Hirshhorn's galleries, Ho points out Thomas Hart Benton's People of Chilmark, a painting of a mass of tangled men and women, slightly reminiscent of a classical Michelangelo or Théodore Géricault'due south famous Raft of the Medusa, except that it is a contemporary beach scene, inspired by the Massachusetts town where Benton summered. Ringside Seats, a painting of a boxing match by George Bellows, hangs nearby, as do three paintings by Edward Hopper, one titled Offset Row Orchestra of theatergoers waiting for the curtains to be drawn.
In Renaissance art, a high premium was put on imitating nature. "Then, once that was chipped abroad at, brainchild is allowed to flourish," says Ho. Works like Benton's and Hopper's are a combination of observation and invention. Cubists, in the early on 1900s, started playing with space and shape in a way that warped the traditional pictorial view.
Art historians often use the word "autonomous" to draw modern fine art. "The vernacular would be 'fine art for art's sake,'" explains Ho. "It doesn't have to exist for any kind of utility value other than its own existential reason for being." So, assessing modern art is a different beast. Rather than asking, as one might with a history painting, about narrative—Who is the main grapheme? And what is the action?—assessing a painting, say, by Piet Mondrian, becomes more than about limerick. "It is about the compositional tension," says Ho, "the formal remainder between colour and line and volume on one mitt, but also only the extreme purity of and rigor of it."
According to Ho, some say that modernism reaches its peak with Abstruse Expressionism in America during the Earth War II era. Each artist of the movement tried to limited his individual genius and style, particularly through bear upon. "So you get Jackson Pollock with his dripping and throwing pigment," says Ho. "You get Mark Rothko with his very luminous, thinly painted fields of colour." And, unlike the invisible brushwork in heavily glazed academic paintings, the strokes in paintings by Willem de Kooning are loose and sometimes thick. "You really tin can experience how it was made," says Ho.
Soon subsequently World War II, however, the ideas driving art again began to change. Postmodernism pulls away from the modern focus on originality, and the work is deliberately impersonal. "Yous run into a lot of piece of work that uses mechanical or quasi-mechanical means or deskilled means," says Ho. Andy Warhol, for example, uses silk screen, in essence removing his direct affect, and chooses subjects that play off of the thought of mass production. While modern artists such as Marking Rothko and Barnett Newman made colour choices that were meant to connect with the viewer emotionally, postmodern artists similar Robert Rauschenberg introduce hazard to the process. Rauschenburg, says Ho, was known to buy paint in unmarked cans at the hardware store.
"Postmodernism is associated with the deconstruction of the idea, 'I am the artistic genius, and you need me,' " says Ho. Artists such as Sol LeWitt and Lawrence Weiner, with works in the Hirshhorn, shirk authorship fifty-fifty more. Weiner's piece titled "A Prophylactic BALL THROWN ON THE SEA, True cat. No. 146," for example, is displayed at the museum in large, bluish, sans-serif lettering. But Weiner was open to the seven words being reproduced in any color, size or font. "We could have taken a marker and written it on the wall," says Ho. In other words, Weiner considered his office every bit creative person to be more most conception than production. Likewise, some of LeWitt's drawings from the belatedly 1960s are basically drawings by teaching. He provides instructions simply anyone, in theory, can execute them. "In this mail-war generation, there is this trend, in a fashion, toward democratizing art," says Ho. "Like the Sol LeWitt cartoon, information technology is this opinion that anybody tin make art."
Labels similar "mod" and "postmodern," and trying to pinpoint start and end dates for each period, sometimes irk art historians and curators. "I have heard all kinds of theories," says Ho. "I think the truth is that modernity didn't happen at a particular date. Information technology was this gradual transformation that happened over a couple hundred of years." Of course, the two times that, for practical reasons, dates need to exist fix are when teaching art history courses and organizing museums. In Ho'due south feel, mod art typically starts around the 1860s, while the postmodern period takes root at the finish of the 1950s.
The term "contemporary" is not attached to a historical period, as are modern and postmodern, only instead merely describes art "of our moment." At this point, though, work dating dorsum to about 1970 is often considered contemporary. The inevitable problem with this is that it makes for an ever-expanding trunk of contemporary work for which professors and curators are responsible. "You just have to go on an eye on how these things are going," advises Ho. "I call up they are going to get redefined."
Source: https://www.smithsonianmag.com/arts-culture/ask-an-expert-what-is-the-difference-between-modern-and-postmodern-art-87883230/
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