How to look at art in the 20th century. Contemporary art.
Hazan| N° d'inventaire | 22357 |
| Format | 13.5 x 20 |
| Détails | 336 p., paperback. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782754110068 |
The second volume in the collection devoted to 20th-century art, this guide focuses on the artistic approaches of the second half of the century. Contemporary art is explored along a historical and conceptual axis: decade after decade, trends are analyzed, movements, aesthetics, and techniques are described. Artistic centers are then examined, from a geographical perspective but also in a broader sense (art market, fairs, museums, internet). For more than sixty artists, each career path is presented with a detailed biographical note and one or more reproductions of works. Two indexes complete the collection. From the 1950s, artistic experimentation shifted significantly to the United States, with abstract expressionism (De Kooning), action painting (Pollock), and color-field painting (Rothko). The 1960s confirmed the American continent as a crucible of creation and the center of a flourishing art market. The era was one of protest, both political and artistic: pop art flourished, while conceptual art, kinetic art, happenings, and land art were born, all attempts by artists to free themselves from the limits set to their field of expression. The neo-Dadaists Rauschenberg, Johns, and Dine were met in Europe with new realism (Klein), the improbable machines of Tinguely, and Christo's packaging. Hyperrealism was at the heart of the 1970s. Body art, actionism, and video (Beuys, Gilbert & George, Paik) marked a retreat from painting, which came back in force in the 1980s by Europeans: Schnabel, Baselitz, Kruger, Muñoz, and Lavier, artists who were witnesses to their time, evoking, for example, the AIDS pandemic. The century closes on a final decade, where Western artists reconnect with cultures less alienated by the art market and where photography regains a prominent place in creation (Cindy Sherman, Nan Goldin, Jeff Wall). Throughout this half-century, the profusion of expressions, their sometimes violent or radical nature, reflect a world in full mutation.
The second volume in the collection devoted to 20th-century art, this guide focuses on the artistic approaches of the second half of the century. Contemporary art is explored along a historical and conceptual axis: decade after decade, trends are analyzed, movements, aesthetics, and techniques are described. Artistic centers are then examined, from a geographical perspective but also in a broader sense (art market, fairs, museums, internet). For more than sixty artists, each career path is presented with a detailed biographical note and one or more reproductions of works. Two indexes complete the collection. From the 1950s, artistic experimentation shifted significantly to the United States, with abstract expressionism (De Kooning), action painting (Pollock), and color-field painting (Rothko). The 1960s confirmed the American continent as a crucible of creation and the center of a flourishing art market. The era was one of protest, both political and artistic: pop art flourished, while conceptual art, kinetic art, happenings, and land art were born, all attempts by artists to free themselves from the limits set to their field of expression. The neo-Dadaists Rauschenberg, Johns, and Dine were met in Europe with new realism (Klein), the improbable machines of Tinguely, and Christo's packaging. Hyperrealism was at the heart of the 1970s. Body art, actionism, and video (Beuys, Gilbert & George, Paik) marked a retreat from painting, which came back in force in the 1980s by Europeans: Schnabel, Baselitz, Kruger, Muñoz, and Lavier, artists who were witnesses to their time, evoking, for example, the AIDS pandemic. The century closes on a final decade, where Western artists reconnect with cultures less alienated by the art market and where photography regains a prominent place in creation (Cindy Sherman, Nan Goldin, Jeff Wall). Throughout this half-century, the profusion of expressions, their sometimes violent or radical nature, reflect a world in full mutation.