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INTRODUCTION
1961
ONWARDS

Artists in these times have to face the weight and extension of art historical knowledge. To some this knowledge can be like the albatross was to the Ancient Mariner, while to others it is a stimulation and a challenge.

There was a period centered around 1970 when artists, feeling overwhelmed by in-formation and images about earlier art, chose to reduce the amount, physical quality and content of their output. This phase has now been replaced by a kind of horror vacui: large canvases and complex painted sculptures appear- the canvases are filled to the point of saturation by pigment and heavyweight ideas, and the sculpture seems almost Baroque or Rococo in its largesse and decorative power. Today, mythological subject matter abounds -it is related to ancient mythology because both emerge from a concern with the basic human issues of love, death, power and sexuality -but it is too early to recognize the dominant themes; they remain too autobiographical and too expressive of the artists' particular stances.

We have experienced a full circle of develop-ment from 1950 to the present day. The Second World War was not a period conducive for work. Artists emerged from that time in a tor-pid state, their horizons diminished and their isolation increased. It was necessary to take stock - this resulted in an examination of art produced prior to the outbreak of war - and decisions had to be taken as to whether to con-tinue as before or to start afresh.

The early 1950s found artists working in the Abstract Expressionist style; at the same time a new aesthetic was emerging, which played down personal expression and in its place proposed a dialog with the techniques and materials of mass media. Pop Art, as this new style became known, was clearly recognizable and capable of speedy assimilation. A total rejection of anything expressionistic was the extreme of this evolution, and the concept of minimal art was explored. Eventually the pendulum has swung right back towards a new expressionism, with a re-examination and assessment of the art of the past. Artists now feel able to plunder the art of the past and take what they personally feel was successful.

 

Pop Art

This movement developed simultaneously in England and America. Each country produced its own style, but to a great extent themes and materials were shared. The themes were those referring to mass or popular culture, hence the name of the movement. The name Pop Art was coined by the English critic Lawrence Alloway who identified the movement as originating among his friends: a group of artists, architects and designers who began to meet regularly for discussions at the Institute of Contemporary Arts (ICA), London, in the early 1950s. The group included Richard Hamilton (b 1922) and Eduardo Paolozzi (b 1924) and concentrated its attention upon commercial culture, finding in it a breadth and inventiveness which was in opposition to the elitist stance of the art world, which was pro-moting abstract, non-referential art.

Likewise in America, Pop Art arose partly as a reaction against the hermetic imagery and impassioned brushwork of Abstract Expres-sionism. Artists wanted to reintroduce figural imagery and to experiment with the new technical processes offered by commercial and industrial quarters.

A new alternative to oil paint began to be marketed in the 1950s. Originally developed for the household paint market, synthetically made acrylic paint emerged as a most useful medium for artists, just at the moment when they were looking for a way to produce color-ful, hard-edged, somewhat impersonal works. Acrylic is soluble in water or a special thinner, and thus provides a great variety in the thick-ness of pigment available, as well as a finish which disguises the activity of the brush. It is quick drying and allows an artist to finish a work in a shorter time, since it is no longer necessary to wait while oil paint slowly dries.

As early as 1953, Morris Louis (1912-1962), a young painter from Baltimore, had begun using acrylics to explore a technique de-veloped by Helen Frankenthaler (b 1928) of soaking washes of diluted paint into the can-vas. Louis's first mature works consist of lim-pid color washes whose iridescence recalls not only Rothko but also the late Waterlilies of Monet. Where Louis differs from his prede-cessors is in the exceptionally transparent effects that his new materials made possible. His next series was the so-called Unfurleds (1961) where diagonal rivulets of intensely saturated color frame a central expanse of im-maculate canvas which, by comparison, appears to radiate a pure white glow.

The hard-edged style which Louis pioneered in acrylics had a 'cool' rigor about it: the new synthetic pigment could be treated in a less sensual way than oil. There was a move towards objectivity and the more formal aspects of painting. The loose, painterly, often ugly brushwork of the Abstract Expression-ists, with its concomitant ideas about truth and sincerity of personal feelings immediately and powerfully expressed (not always com-prehended), gave way to a more impersonal approach to the handling of paint and a more anonymous subject matter.

 

This extremely complex composition, Calcium Light Night is the result of a series of screenprints. Eduardo Paolozzi (b 1924) began with a matt black printing, over which he laid a translucent white, giving shape to the main abstract forms in a resulting grey. Slowly, detail and definition were added with subsequent layers of white, red, blue and white again, so building up a three-dimensional impression of organized unreality. The final opaque cream printing provided a vibrancy, while a varnish completed the picture.

Whaam! (1963) by Roy Lichtenstein began as an idea for two separate paintings - one witli a fighter plane attacking, and the other with a fighter plane being shot down. Then Lichtenstein decided that they would make more impact if he combined them. Thus tlie work is made up of two canvases identical in size, with the composition continuous across both. Liclitenstein began to use comic strip imagery in 1960, and the subject of Whaam! probably comes from a magazine lie often used as source material - 'Armed Forces at War'. The strong, controversial subject-matter is in stark contrast to the dispassionate tecliniques used, yet both are derived from advertising and comic strips. Indeed the central divide between the two canvases can be read as a kind of echo of the divisions between pages. When the "fate Gallery acquired this work in 1966, the idea of paintings with bubbles full of words and large painted words of exclamation was still quite new.

Roy Lichtenstein (b 1923) and Andy Warhol (b 1930) were two of the artists who began to change the look of American painting by choosing a range of imagery from the most obvious visual aspects of American popular culture; imagery which did not belong to their private world but was already created by somebody else, for the public domain Lichtenstein purloined the work of major European artists, such as Monet, Picasso and Mondrian, and parodied their styles as though attempting to make their work as easily avail-able as a bill-board advertisement. Lichten-stein and Warhol introduced an anti-Expressionist regime, subordinating the handling of paint.

Pop Art drew upon certain Dada precepts, and much that had been introduced by Marcel Duchamp. Distinctions between good and bad taste were avoided, and much that was tawdry, trivial or over-familiar in the late 1950s was converted into the material of art. Because art and life drew so close, objects from daily life found their way into art, either presented emblematically or standing as themselves (an appropriated piece of the real world).

Multimedia spectaculars began to enter the art world; artists themselves began to adopt a theatrical frame of reference, and perform their works as well as paint them. As Lawrence Alloway noted: 'The city with its in-habitants was not only the subject of much of this art, it was also literally, the substance, pro-viding the texture and bulk of the material itself.' Thus objects from the real world, the debris and throw-away commonplaces of everyday life were used as artistic materials.

This is a link back to Dada, Cubism and Duchamp: Dada because the artists of that movement used provocative behavior as their mode of artistic creation; and Cubism and Duchamp because the Cubists introduced collage, and Duchamp was the inventor of the 'ready-mades' (objects selected at random from the oblivion of their existence in the everyday world, and accorded a new auton-omy as artistic objects, yet which at the same time challenged the rules of art and proposed an anti-art value). Cubism, with its investiga-tion of the use of papier colic and collage as artistic procedures, was an important ances-tor. Papier colle and collage drew attention to the scraps of the real world which had been chosen to stand as artistic materials and were thus to be given a new scrutiny in terms of their technical properties.

Lichtenstein and Warhol produced works which lay an aggressive stress upon the pic-ture surface, although neither chose to make much use of collage. One of Frank Stella's first works was a small collage entitled The First Post-Cubist Collage (1959). The arrogant title of this little work, which implied that there had been a fallow period in the use of collage since about 1914, shows that Stella was thinking deeply about the problems of space, flatness, color and texture.

Stella turned towards autonomous abstract art, a path critics of Cubism had always thought the movement would lead. He was working in America at the same time as Warhol, Lichtenstein, Jasper Johns (b 1930) and Robert Rauschenberg (b 1925), and contributed to the movement of anti-Expressionism, but he concentrated more on the interplay of geometry, structure and color to the exclusion of subject matter. He used commercial household paint to accent-uate the flatness and surface tension of his canvases.

Thus Stella's aims were close to those of Warhol. But for Warhol subject matter was a better vehicle and he made much use of photographic images; by the early 1960s the camera and all its procedures emerged as a powerful artistic tool. Photographs have been used by artists as source material ever since photography was-invented in the 1830s, but at first a photograph was used as a sketch, a way of noting reality and a jog for the memory. In the 1960s photographs began to be used as the basis of the image on the canvas: Warhol's
Marilyn Diptych (1962) is made up from 50 silk-screened images printed from a publicity photograph, and Lichtenstein has recounted how he begins many paintings by projecting an image on to the canvas.

The British artists Richard Hamilton and David Hockney (b 1937) have enjoyed a fruit-ful involvement with photography. Hamilton plays upon the manipulative procedures in-volved in mass communication and advertising, and exaggerates many photographic tech-niques. His series uses the i same image which becomes modified with each new attempt, in much the same way that the images of Marilyn Monroe are in Warhol's Marilyn Diptych. Hamilton's small collage -Just What Is It That Makes Today's Homes So Different, So Appealing? (1956) - is a collection of images cut out from advertisements in magazines. In its subject matter and anti-traditional mat-erials, it stands as a beacon to the British Pop Art movement.

Hamilton's move towards Pop Art actually predates anything produced across the Atlan-! tic, but it was to America, and particularly ! American consumer goods and magazines, that British artists turned for their source material. Hockney turned to America for its glamorous subject matter, especially the hedonistic life of California, and then selected and painted things which interested him, just as Blake did. The paintings of Patrick Caul-field (b 1936), another British artist to whom the term Pop has been applied, shares more of the cool, impersonal American outlook. For a while like Hockney, Caulfield preferred to work in acrylic or commercial household paint. His work also has affinities with Lich-tenstein, for Caulfield experiments with con-trasting styles and methods of representation, and shows an interest in formalizing his com-position into flat colors bounded by strong lines. He works from his own drawings done from real life and from photographs.


Conceptual Art
This blanket title has been used to cover art produced from the late 1960s until the late 1970s, which challenged the orthodoxy of the traditional media of painting and sculpture.
Conceptual Art is not a totally satisfactory term, since it has to contain much that is conradictory, but its usefulness lies in the stress it places upon the conceptual rather than the practical, craftsmanship aspects of art practice.

In its breadth and voracity, the term has embraced other approaches such Swinging London as idea art, process art, performance art, earth art, minimal art and Arte Povera. Conceptual Art has been seen as taking a reductive path: 'The world is full of objects, more or less interest-ing. I do not wish to add any more,' com-mented Conceptualist Douglas Huebler (b 1924) in 1968. Huebler's attitude, and the re-mark of Ad Reinhardt (b 1913) - 'sculpture is j something you fall over when you step back to look at a painting' - contribute to the idea that art had reached a kind of impasse, because if the production of art objects were to continue unabated as it had done for previous centur-ies, the world would become clogged up with these precious commodities. Since Cubism and Dada, increasing importance has been attached to the choice of materials which are non-precious and ephemeral. Now the art object was thought of as dispensable too.

Returning to the ideas proposed by Marcel Duchamp as early as about 1913 , Conceptual artists devoted their energies to creating an art of the mind. Art which could be conceived I and appreciated in the mind did not neces-sarily need to be executed. But if it were to be executed then the materials used were to be commonplace and dispensable. Sometimes the work could only be satisfactorily compre-hended in the mind, because the scale of the work prevented the viewer from ever ex-periencing it whole, at first hand.

Many works consisted of holes dug in the ground and then filled in again: Claes Olden- ' burg (b 1929), the American sculptor, had grave-diggers dig a hole and then fill it in again in Central Park, New York, as his con-tribution to a 1967 exhibition Sculpture in En-vironment. In 1969 Jachareff Christo (b 1935), the Bulgarian-born sculptor, wrapped part of the coastline near Sydney, Australia, with about 300,000 sq meters (1,000,000 sq ft) of industrial fabric and 500 km (36 miles) of rope; the previous year he had caused the Kunsthalle at Berne in Switzerland to be similarly packaged.

Minimal Art is one of the subdivisions of Conceptual Art. As the name implies. Minimalism means making do with less rather than more, usually in terms of the artist's interven-tion. The Americans Dan Flavin (b 1933), Don Judd (b 1928) and Carl Andre (b 1935) usually chose their material from industry-for exam-ple, Judd has used rolled steel. Flavin neon tubes, and Andre firebricks - and presented these materials organized into logical and systemized units. The materials are presented absolutely as themselves, leaving no room for misrepresentation, and no impression of any feeling or emotion of the artist. The subject matter of these Minimal works lies in aware-ness of the material. The essential properties of the chosen materials are permitted to speak more strongly in an art context than in their original, or unchosen, state. Also, the strength of the Minimal work often lies in its use of repetition of identical units.

One of the principles of Minimal Art was that the work need not be made by the artist:
Don Judd's steel boxes were manufactured by others, and Sol LeWitt's serial wall drawings, which he initiated by producing one himself on the wall of the Paula Cooper Gallery, New
York, in October 1968, are more usually drawn by draftsmen who work from a set of instruc-tions provided by the artist.

In 1971, LeWitt provided 35 sentences on Conceptual Art as his contribution to the magazine Flash Art. Sentence eight reads:
'When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.' These limitations were evidently overthrown in the late 1960s.

The main result was the physical disin-tegration of the art object. Often this involved inflicting violence upon the art object. Either deliberately mean materials were used - felt, twigs, mud - implying that the materials mat-tered less than the ideas (this manifestation was called Arte Povera), or else artists dis-charged their feelings by rupturing the stan-dard processes. This could be done formally, I for example Francis Bacon's distortions of subject matter, or materially. Lucio Fontana (1899-1968) slashed cuts into his canvases with a razor as early as 1957, in order to introduce a new concept of space: Gustav Metzger (b 1926) chose acid instead of paint, and nylon instead of canvas, so that when he created a painting by applying the acid to the nylon support, the acid caused the nylon to rot away, thus initiat-ing the destruction of the piece.

Reduction, or destruction, of techniques and materials led to an enlargement of the role of the artist and his or her creative motivations and actions. Artists began nakedly to propose themselves, especially their bodies, as material for artistic manipulation. This earned the term Performance Art. Artists such as Dennis Oppenheim (b 1938) and Vito Acconci (b 1940) subjected themselves to feats of endurance, strength, boredom and fear. Art and the life of the artist thus became indistinguishable.

Helen Frankentlialer (b 1928) is a member of the generation wlio followed after the pioneer work of the Abstract Expressionists, and thus a change of direction can be clearly seen. Tliere is a calm and lyrical quality about Mountains and Sea (1952) also reflected in its title; works of tins nature by Frankentlialer and her colleagues have been dubbed 'lyrical abstractions'. This is a large early canvas I wliich sl-iows tlie new ! techniques pioneered by ; her and. taken up by \ other American artists i in the 50s and 60s. Slie painted on raw unsized canvas, with the canvas laid on the floor rather than on an easel or wall. Since the canvas is ' unsized, the colors sink into and blend with the support.


Morris Louis was enabled to make such bold, color stained canvases - as here in
Golden Age (1959) -by the dual influence of
Frankenthaler's way of working and his own adoption of acrylic paint. Frankenthaler did not overlay her paints since oils would have caused opacity, but the water-soluble acrylic used by Louis allows veils of color to mingle within the fabric of the canvas, umile still retaining their identities and witliout becoming muddied.

Self-portrait with Badges (1961) by Peter Blake has attracted tlie cpitliet 'pop' because it contains popular imagery, shown in the veritable pletliora of metal badges. It is a strongly uiitobiograplucal work wliicli provides much material about tlic artist in terms of emblems and symbols, and in tflis it recalls early Englisli portraiture. Blakes likes to work lus paintings up to a higli state of finisli, but not all areas need to be at the same stage at tlie same time. Tlie meticulous painting of tlic badges contrasts u'itli tlie sketcliy treatment of his left foot.

Since many of the performance pieces were done privately, or involved an activity spread over a certain determined period - for exam-ple, Acconi's Following Piece which involved following people chosen at random on the New York streets for a one-month span - some kind of record or documentation was deemed necessary in order to prove the existence of the piece. Documentation was also necessary for Earth Art works. In 1970 Robert Smithson (1938-1973) designed a Spiral Jetty for Great Salt Lake, Utah, which was made out of earth by a construction team, and measured 450 meters (1,500 ft) long and 4.5 meters (15 ft) wide. The work would have remained quite private if Smithson had not exhibited his working drawings for it, and made a film revealing the context of the Jetty. Richard Long (b 1945) re-cords his walks over unpopulated ground by providing the viewer with annotated maps, photographs and, more recently, a conjunction of place names and poetic incidents.

Joseph Beuys (b 1921) is an artist who be-lieves in the value of teaching as an artistic commodity. Partly because of memories of ex-periences of the Russian front during the Second World War, he creates works which use animals; his performance work How to Explain Pictures of a Dead Hare (1965) consisted of Beuys cradling a dead hare in his arms, with his face covered by a layer of grease and gold-leaf. He wants such works to express meta-physical and social matters.

 

New Expressionism

During the mid-1970s it became apparent that there was a movement, or change of direction in art, which existed contemporaneously with Conceptual Art. This new approach con-trasted strikingly with the methods, practices and techniques of the Conceptualists, because it represented a return to the traditional values of painting. Lucian Freud, who had been using oils exclusively for some time, was applying the paint with unconcealed brush-strokes, to sculptural effect. Several artists who had never subscribed to art as concept and who had continued to execute orthodox paint-ings, turned from using acrylic to oil paint, feeling that oils, with their classical central position in the history of painting, provided the painter with inbuilt, expressive, and even emotional qualities. If oils had served Rembrandt, Titian and van Gogh, then their value could only be enhanced by a conscious acknowledgement of this allegiance. Malcolm Morley (b 1931), a painter who had produced super-realist works from the mid-1960s, was one who changed from using acrylic paint with its precise, cool finish, to oils. One of the first canvases he painted using oil was Piccadilly Circus (1973), in which there is an obvious reference back to the work of the Abstract Expressionists: their loose, almost improvisatory painting style implied freedom of expression and, equally, placed great store upon the quali-ty and quantity of the material used. Paint was applied thickly, quickly, with great texture and flourish. Often the subject was obscured or dominated by the pigment.

Nowadays, the younger artists of the 1980s take up much that was proposed by the Ab-stract Expressionists, but also look further back - to the German Expressionists, to van Gogh, Chaim Soutine (1893-1943) and even to the later style of de Chirico. Ernst Kirchner, co-founder of the German Expressionist Die Briicke group, wrote in 1906: 'We claim as our own everyone who reproduced directly and without falsification whatever it is that drives

Mountain Indian (1982) by Rainer Petting is a large composition made up from two separately stretched pieces of canvas. Fetting chose to go to Berlin to pursue an artistic education, and in doing so lie followed tlie path taken by the Dresden painters of Die Brucke, who moved to Berlin in 1911 in search of new creative experiences.
The modern city, with its bars, shared flats, nightlife and aura of violence is usually the chosen subject matter, but in Mountain Indian a naked figure Fetting himself? - stands before lowering neo-romantic landscape. The overt subjective, emotional, autobiographical content of this painting, and indeed all of his work, looks back to thi same choices made by the Die Brucke artists.
They, and Fetting, record their activities ir canvases witli a range of color harmonies which is often lurid.
The black, purple, green and yellow of Mountain Indian are just the choices that an artist like Kirchner would have made. Fetting has rejected both oil and acrylic paint as his medium, I and works with powde paint - dry pigment whiclr lias to be mixed with a binder; traditionally this has been water, but a plastic medium is also possible. The rich purple and blue harmonies are reminiscent of those chosen by Symbolist painters, the young Picasso of the blue period included, and Fetting prefers works which are rich in psychological content. His paintings are not laboriously planned, but executed in a deft, hedonistic manner.

The title gives a clue to the form and content of Entanglement Series: Perpetual Flux (1981-1982) by Peter Phillips. He began making painted reliefs in 1963 and the entanglement can refer to the interpenetration of the three-dimensional elements which ride in front of a canvas-covered, painted backboard. The motifs are equally commixed: a fan, part of what looks like a cocktail dress, and the front lialf of subtly colored skis all take their palce. Phillips' mature style is one that revels in trompe 1'oeil effects, and the mixing of 2-D and 3-D elements in this piece puzzle and delight.

him to create.' The paintings of Karel Appel (b 1921), Asger Jorn (1914-1973), and the mem-bers of their Cobra group who worked to-wards the same aim from 1948 to 1951, also displayed spontaneity and emotion; they offered a more lyrical, witty kind of Express-ionism which ran counter to the strength, vio-lence and scale of the work of the American Abstract Expressionists.
Today, the international band of painters working in the New Expressionist idiom -they came from Germany, Italy, Britain and America - prefer the wild, violent approach. Canvases are large and their emotional con-tent is high. Rainer Fetting (b 1949), for inst-

ance, has reworked the traditional theme of the crucifixion of Christ, and the choice of such subject matter is related to the sado-masochistic streak in his imagery. Identifica-tion with the suffering body is intensified by the way the paint is applied to the canvas and the image: maximum expressive means is wedded to maximum expressive content. Paintings can be triggered by an incident ex-perienced or an image which fascinates; they express the claustrophobia and heady excite-ment of life in large cities, but they also give the idea of painter as observer, as anthropo-logist studying the wayward, sometimes in-coherent activities of humans.

The subject of a dancer or dancers has long held a fascination for Alien Jones, as lias the idea of a hermaphrodite image. In Spanish Dancer (1982) three figures are visible - two men. one in a dark grey and one in a red suit, and a dancer in a long blue dress. But the title of the piece is in the singular, implying that all the figures are fused into one. Following on from his early shaped canvases, and sections of relief in his panel paintings, Jones started to make free-standing painted sculpture in 1969. Then, as now, th strong, hard-edge of th, contour of tlie plywood contrasts with the loose, expressionistic brushwork painted upon it.

 

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