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Post-minimalist
Postminimalism is an art term coined (as post-minimalism) by Robert Pincus-Witten in 1971Chilvers, Ian and Glaves-Smith, John, ''A Dictionary of Modern and Contemporary Art'', second edition (Oxford and New York: Oxford University Press, 2009), p. 569. . and used in various artistic fields for work which is influenced by, or attempts to develop and go beyond, the aesthetic of minimalism. The expression is used specifically in relation to music and the visual arts, but can refer to any field using minimalism as a critical reference point. In music, "postminimalism" refers to music following minimal music. Visual art In visual art, postminimalist art uses minimalism either as an aesthetic or conceptual reference point. Postminimalism is more an artistic tendency than a particular movement. Postminimalist artworks are usually everyday objects, use simple materials, and sometimes take on a "pure", formalist aesthetic. However, since postminimalism includes such a diverse and dispar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Pincus-Witten
Robert Pincus-Witten (April 5, 1935 – January 28, 2018) was an American art critic, curator and art historian. Biography Born in New York City, Pincus-Witten earned his undergraduate degree at The Cooper Union, in New York City in 1956. He wrote his master's degree (1962) and Ph.D. (1968) both at the University of Chicago. His dissertation, on Joséphin Péladan and the Salon de la Rose + Croix was written under Joshua Taylor and John Rewald. Pincus-Witten joined the City University of New York in 1964. In 1970 he was promoted to professor at CUNY. Pincus-Witten retired from CUNY in 1990. In 1966 he began writing criticism for Artforum magazine as its senior editor. He became associate editor of Artforum in 1976. An initial book on minimalism and the era following it was issued in 1977. His collected art criticism was published as Eye to Eye: Twenty Years of Art Criticism, in 1984. His treatise on post-modern art, Postminimalism into Maximalism: American Art 1966-1986, appeare ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dynamics (music)
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conceptual Art
Conceptual art, also referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic, technical, and material concerns. Some works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print: Tony Godfrey, author of ''Conceptual Art (Art & Ideas)'' (1998), asserts that conceptual art questions the nature of art, a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, ''Art after Philosophy'' (1969). The notion that art should examine its own nature was already a potent aspect of the influential art critic Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fluxus
Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins; conceptual art, first developed by Henry Flynt, an artist contentiously associated with Fluxus; and video art, first pioneered by Nam June Paik and Wolf Vostell. Dutch gallerist and art critic describes Fluxus as "the most radical and experimental art movement of the sixties".. 1979. ''Fluxus, the Most Radical and Experimental Art Movement of the Sixties'' Amsterdam: Editions Galerie A. They produced performance "events", which included enactments of scores, "Neo-Dada" noise music, and time-based works, as well as concrete poetry, visual art, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New York School (art)
The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle. People Frank O'Hara was at the center of the group before his death in 1966. Because of his numerous friendships and his post as a curator at the Museum of Modern Art, he provided connections between the poets and painters such as Jane Freilicher, Fairfield Porter, and Larry Rivers (who was O'Hara's lover). There were many joint works and collaborations, particularly between poets such as O'Hara, Kenneth Koch, John Ashbery, and James Schuyler: Rivers inspired a play by Koch, Koch and Ashbery together wrote the poem "A Postcard to Popeye", Ashbery and Schuyler wr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neo-expressionism
Neo-expressionism is a style of late modernist or early- postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called ''Transavantgarde'', ''Junge Wilde'' or ''Neue Wilden'' ('The new wild ones'; 'New Fauves' would better meet the meaning of the term). It is characterized by intense subjectivity and rough handling of materials. Neo-expressionism developed as a reaction against conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way, often using vivid colors. It was overtly inspired by German Expressionist painters, such as Emil Nolde, Max Beckmann, George Grosz, Ernst Ludwig Kirchner, James Ensor and Edvard Munch. It is also related to American Lyrical Abstraction painting of the 1960s and 1970s, The Hairy Who movement in Chicago, the Bay Area Figurative School of the 1950s and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
