Unit 6 Time Line

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Chapter 31

MODERNISM AND POSTMODERNISM IN EUROPE AND AMERICA, 1945 TO 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Compare gestural abstraction and chromatic abstraction in American art.

Describe the reaction represented by Post-Painterly Abstraction.

Explain how Pop Art was a response the idea of abstract art.

Analyze the marriage of social concerns and certain forms or forces in modern art.

Explain the differences between modernist architecture (including the International School) and postmodern architecture.

Demonstrate why some critics explain Conceptual Art as an attack on the economics of art.

Discuss the significance of Performance Art in the evolution of 20th-century art.

Describe the role of “new media” in the evolution of modern art.

List the main features of modern sculpture.

Figure 31.1

31.1 Charles Moore, Piazza d’Italia (looking northeast), New Orleans, 1976–1980.

Figure 31.1b

31.1b Postmodernist architects frequently incorporate references to historical styles in their designs. In addition to motifs based on Roman buildings, Moore included modern versions of medieval flying buttresses.

Figure 31.1c

31.1c Many of Moore’s historical motifs are rendered in high-tech materials unavailable to earlier architects—for example, stainless-steel columns and capitals and neon lighting for multicolored nighttime illumination.

Figure 31.2

31.2 Alberto Giacometti, Man Pointing No. 5, 1947. Bronze, 5' 10" high. Des Moines Art Center, Des Moines (Nathan Emory Coffin Collection).

Figure 31.3

31.3 Francis Bacon, Painting, 1946. Oil and pastel on linen, 6' 5 7/8"  4' 4". Museum of Modern Art, New York.

Figure 31.3A

31.3A Francis Bacon, Figure with Meat, 1954. Oil on canvas, 4' 3 1/8"  4'. Art Institute of Chicago, Chicago (Harriott A. Fox Fund).

Figure 31.4

31.4 Jean Dubuffet, Vie Inquiète (Uneasy Life), 1953. Oil on canvas, 4' 3"  6' 4". Tate Modern, London (gift of the artist, 1966).

Figure 31.4A

31.4A Gerhard Richter, Townscape Paris, 1968. Oil on canvas, 6' 6 5/8"  6' 6 5/8". Froehlich Collection, Stuttgart.

Figure 31.5

31.5 Arshile Gorky, Garden in Sochi, ca. 1943. Oil on canvas, 2' 7"  3' 3". Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).

Figure 31.6

31.6 Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7' 3"  9' 10". National Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund).

Figure 31.7

31.7 Hans Namuth, Jackson Pollock painting in his studio in Springs, Long Island, New York, 1950. Gelatin silver print, 8"  10". Center for Creative Photography, University of Arizona, Tucson.

Figure 31.7A

31.7A Lee Krasner, The Seasons, 1957. Oil on canvas, 7' 8 3/4"  16' 11 3/4". Whitney Museum of American Art, New York (purchase, with funds from Frances and Sydney Lewis [by exchange], the Mrs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee).

Figure 31.8

31.8 Willem de Kooning, Woman I, 1950–1952. Oil on canvas, 6' 3 7/8"  4' 10". Museum of Modern Art, New York.

Figure 31.9

31.9 Joan Mitchell, Untitled, ca. 1955. Oil on canvas, 1' 5"  1' 4". Butler Institute of American Art, Youngstown (gift of Marilynn Meeker, 1986).

Figure 31.9A

31.9A Franz Kline, Mahoning, 1956. Oil and paper collage on canvas, 6' 8"  8' 4". Whitney Museum of American Art, New York.

Figure 31.9B

31.9B Robert Motherwell, Elegy to the Spanish Republic, No. 34, 1953–1954. Oil on canvas, 6' 8"  8' 4". Albright-Knox Art Gallery, Buffalo (gift of Seymour H. Knox Jr., 1957).

Figure 31.10

31.10 Barnett Newman, Vir Heroicus Sublimis (Sublime Heroic Man), 1950–1951. Oil on canvas, 7' 11 3/8"  17' 9 1/4". Museum of Modern Art, New York (gift of Mr. and Mrs. Ben Heller).

Figure 31.11

31.11 Mark Rothko, No. 10, 1950. Oil on canvas, 7' 6 3/8"  4' 9 1/8". Museum of Modern Art, New York (gift of Philip Johnson).

Figure 31.12

31.12 Ellsworth Kelly, Red Blue Green, 1963. Oil on canvas, 6' 11 5/8"  11' 3 7/8". Museum of Contemporary Art San Diego (gift of Dr. and Mrs. Jack M. Farris) ©Ellsworth Kelly Foundation.

Figure 31.13

31.13 Frank Stella, Mas o Menos (More or Less), 1964. Metallic powder in acrylic emulsion on canvas, 9' 10"  13' 8 1/2". Musée national d’art moderne, Centre Georges Pompidou, Paris (purchase 1983 with participation of Scaler Foundation).

Figure 31.14

31.14 Helen Frankenthaler, The Bay, 1963. Acrylic on canvas, 6' 8 7/8"  6' 9 7/8". Detroit Institute of Arts, Detroit.

Figure 31.15

31.15 Morris Louis, Saraband, 1959. Acrylic resin on canvas, 8' 5 1/8"  12' 5". Solomon R. Guggenheim Museum, New York.

Figure 31.16

31.16 Bridget Riley, Fission, 1962. Tempera on composition board, 2' 11"  2' 10". Museum of Modern Art, New York (gift of Philip Johnson).

Figure 31.17

31.17 David Smith, Cubi XII, 1963. Stainless steel, 9' 1 5/8" high. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (gift of the Joseph H. Hirshhorn Foundation, 1972). © Estate of David Smith/Licensed by VAGA, New York, NY.

Figure 31.18

31.18 Tony Smith, Die, 1962. Steel, 6'  6'  6'. Museum of Modern Art, New York (gift of Jane Smith in honor of Agnes Gund).

Figure 31.19

31.19 Donald Judd, Untitled, 1969. Brass and colored fluorescent Plexiglas on steel brackets, 10 units 6 1/8"  2'  2' 3" each, with 6" intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (gift of Joseph H. Hirshhorn, 1972). © Donald Judd Estate/Licensed by VAGA, New York, NY.

Figure 31.19A

31.19A Eva Hesse, Hang-Up, 1965–1966. Acrylic on cloth over wood and steel, 6'  7'  6' 6". Art Institute of Chicago, Chicago (gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange).

Figure 31.20

31.20 Louise Nevelson, Sky Cathedral, 1958. Wood painted black, 8' 6 1/2"  11' 1 1/2"  1' 8". Albright-Knox Art Gallery, Buffalo.

Figure 31.21

31.21 Louise Bourgeois, Cumul I, 1969. Marble, 1' 10 3/8"  4' 2"  4'. Musée national d’art moderne, Centre Georges Pompidou, Paris. © Louise Bourgeois/ Licensed by VAGA, New York, NY.

Figure 31.22

31.22 Isamu Noguchi, Shodo Shima Stone Study, 1978. Granite, 5' 6"  5' 9". Walker Art Center, Minneapolis (gift of the artist, 1978).

Figure 31.23

31.23 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage, 10 1/4"  9 3/4". Kunsthalle Tübingen, Tübingen.

Figure 31.24

31.24 Jasper Johns, Three Flags, 1958. Encaustic on canvas, 2' 6 7/8"  3' 9 1/2". Whitney Museum of American Art, New York. © Jasper Johns/Licensed by VAGA, New York, NY.

Figure 31.25

31.25 Robert Rauschenberg, Canyon, 1959. Oil, pencil, paper, fabric, metal, cardboard box, printed paper, printed reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow, 6' 9 3/4"  5' 10"  2'. Sonnabend Collection, New York. © Robert Rauschenberg/Licensed by VAGA, New York, NY.

Figure 31.26

31.26 Roy Lichtenstein, Hopeless, 1963. Oil and synthetic polymer paint on canvas, 3' 8"  3' 8". Kunstmuseum Basel, Basel. © Estate of Roy Lichtenstein.

Figure 31.27

31.27 Andy Warhol, Green Coca-Cola Bottles, 1962. Oil on canvas, 6' 10 1/2"  4' 9". Whitney Museum of American Art, New York.

Figure 31.27A

31.27A Andy Warhol, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on canvas, each panel 6' 8"  4' 9". Tate Modern, London.

Figure 31.27B

31.27B George Segal, The Gas Station, 1963. Plaster figures, Coca-Cola machine, bottles, crates, rubber tires, oil cans, and electric clock, 8' 6"  24'  4'. National Gallery of Canada, Ottawa.

Figure 31.28

31.28 James Rosenquist, F-111, 1965. Oil on canvas and aluminum, detail of the entire 10'  86' exhibit. Museum of Modern Art, New York (gift, by exchange, of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest). © 2011 James Rosenquist/ Licensed by VAGA, New York, NY.

Figure 31.29

31.29 Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks, 1969; reworked, 1974. Painted steel, aluminum, and fiberglass, 21' high. Morse College, Yale University, New Haven (gift of Colossal Keepsake Corporation).

Figure 31.29A

31.29A Niki de Saint-Phalle, Black Venus, 1965–1967. Painted polyester, 9' 2" high. Whitney Museum of American Art, New York (gift of the Howard and Jean Lipman Foundation).

Figure 31.30

31.30 Audrey Flack, Marilyn, 1977. Oil over acrylic on canvas, 8'  8'. University of Arizona Museum, Tucson (museum purchase with funds provided by the Edward J. Gallagher Jr. Memorial Fund).

Figure 31.31

31.31 Chuck Close, Big Self-Portrait, 1967–1968. Acrylic on canvas, 8' 11"  6' 11". Walker Art Center, Minneapolis (Art Center Acquisition Fund, 1969).

Figure 31.32

31.32 Lucian Freud, Naked Portrait, 1972–1973. Oil on canvas 2'  2'. Tate Modern, London.

Figure 31.33

31.33 Duane Hanson, Supermarket Shopper, 1970. Polyester resin and fiberglass polychromed in oil, with clothing, steel cart, and groceries, life-size. Nachfolgeinstitut, Neue Galerie, Sammlung Ludwig, Aachen. © Estate of Duane Hanson/ Licensed by VAGA, New York, NY.

Figure 31.34

31.34 Robert Frank, Trolley, New Orleans, 1955. Gelatin silver print, 9"  1' 1 3/8". Museum of Fine Arts, Houston (Target Collection of American Photography).

Figure 31.35

31.35 Minor White, Moencopi Strata, Capitol Reef, Utah, 1962. Gelatin silver print, 1' 1/8"  9 1/4". Museum of Modern Art, New York. © The Minor White Archive, Princeton University.

Figure 31.36

31.36 Judy Chicago, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, each side 48' long. The Brooklyn Museum, Brooklyn.

Figure 31.37

31.37 Miriam Schapiro, Anatomy of a Kimono (detail of 2 panels of a 10-panel composition), 1976. Fabric and acrylic on canvas, entire work 6' 8"  52' 2 1/2". Collection of Bruno Bischofberger, Zurich.

Figure 31.38

31.38 Cindy Sherman, Untitled Film Still #35, 1979. Gelatin silverprint, 10"  8". Private collection.

Figure 31.38A

31.38A Hannah Wilke, S.O.S.—Starification Object Series, 1974–1982. Ten black-and-white photographs and 16 chewing gum sculptures mounted on ragboard, 3' 5"  4' 10" framed. © Marsie, Emanuelle, Damon, and Andrew Scharlatt/Licensed by VAGA, New York, NY. Courtesy Ronald Feldman Fine Arts, New York.

Figure 31.39

31.39 Ana Mendieta, Flowers on Body, 1973. Color photograph of earth/body work with flowers, executed at El Yagul, Mexico. Courtesy of the Estate of Ana Mendieta and Galerie Lelong, New York.

Figure 31.40

31.40 Magdalena Abakanowicz, 80 Backs, 1976–1980. Burlap and resin, each 2' 3" high. Museum of Modern Art, Dallas.

Figure 31.41

31.41 Frank Lloyd Wright, Solomon R. Guggenheim Museum (looking southeast), New York, 1943–1959.

Figure 31.42

31.42 Le Corbusier, exterior of Notre Dame du Haut (looking northwest), Ronchamp, France, 1950–1955.

Figure 31.43

31.43 Le Corbusier, interior of Notre Dame du Haut (looking southwest), Ronchamp, France, 1950–1955.

Figure 31.43A

31.43A Pier Luigi Nervi, Palazzetto dello Sport (looking north), Rome, Italy, 1958–1959.

Figure 31.44

31.44 Eero Saarinen, Terminal 5 (JetBlue Airways terminal, formerly the Trans World Airlines terminal), John F. Kennedy International Airport, New York, 1956–1962. Top: exterior looking southeast; bottom: interior.

Figure 31.45

31.45 Jørn Utzon, Sydney Opera House (looking southeast), Sydney, Australia, 1959–1972.

Figure 31.46

31.46 Ludwig Mies van der Rohe and Philip Johnson, Seagram Building (looking northeast), New York, 1956–1958.

Figure 31.47

31.47 Skidmore, Owings & Merrill, Willis Tower (formerly Sears Tower; looking east), Chicago, 1974.

Figure 31.48

31.48 Robert Venturi, Vanna Venturi House, Chestnut Hill, Pennsylvania, 1962.

Figure 31.49

31.49 Philip Johnson and John Burgee (with Simmons Architects), Sony Building (formerly AT&T Building; looking northeast), New York, 1978–1984.

Figure 31.50

31.50 Michael Graves, Portland Building (looking northeast), Portland, 1980.

Figure 31.51

31.51 Richard Rogers and Renzo Piano, Centre Georges Pompidou (the “Beaubourg,” looking northeast), Paris, France, 1977.

Figure 31.52

31.52 Robert Smithson, Spiral Jetty (looking northeast), Great Salt Lake, Utah, 1970. © Estate of Robert Smithson/Licensed by VAGA, New York, NY.

Figure 31.52A

31.52A Joseph Beuys, How to Explain Pictures to a Dead Hare (performance at Schmela Gallery, Düsseldorf), 1965.

Figure 31.53

31.53 Carolee Schneemann, Meat Joy (performance at Judson Church, New York City), 1964.

Figure 31.54

31.54 Jean Tinguely, Homage to New York, 1960, just prior to its self-destruction in the garden of the Museum of Modern Art, New York.

Figure 31.55

31.55 Joseph Kosuth, One and Three Chairs, 1965. Wood folding chair, photographic copy of a chair, and photographic enlargement of a dictionary definition of “chair”; chair 2' 8 3/8"  1' 2 7/8"  1' 8 7/8"; photo panel 3'  2' 1/8"; text panel 2'  2' 1/8". Museum of Modern Art, New York (Larry Aldrich Foundation Fund).

Figure 31.56

31.56 Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths, 1967. Neon with glass tubing suspension frame, 4' 11" high. Private collection.

Figure 31.56A

31.56A Bruce Nauman, Self-Portrait as a Fountain, 1966–1967. Color photograph, 1' 7 3/4"  1' 11 3/4". Whitney Museum of American Art, New York.

Figure 31.57

31.57 Nam June Paik, video still from Global Groove, 1973. 3/4" color videotape, sound, 30 minutes. Collection of the artist.

Figure 31.57A

31.57A David Em, Nora, 1979. Computer-generated color photograph, 1' 5"  1' 11". Private collection.

Discussion Questions

Do you agree with the formalism argument that “abstract art like every other cultural phenomenon reflects the social and other circumstances of the age in which its creators live”?

How does Environmental Art both continue and break from the legacy of landscape painting?

Why do you think Modernist art and architecture alienated the public? Do you agree that postmodern art and architecture are more in tune to the public’s interests?

Thinking about artwork from this chapter, in what ways did new technology change our perception of what art is?

Unit 6 Time Line

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