depiction and painting

HISTORY

Chapter

Title

Description

Main Reference

11

 

Modernism and Abstraction

Review of the extent of Modernism, and proposed abbreviation (1912-1950). Revision of concept of abstraction in depiction. Traced from the Orphists to Art Informel and Abstract Expressionism, to three-dimensional works, design and sampled materials by the middle of the century.

(15 pages – 5931 words)

 

Kupka, Delaunay, Kandinsky, Klee, Mondrian, Malevich, Masson, Pollock, Masson, Tobey, Wols, Soulages, Kline, Constructivism, The Bauhaus, collage and Duchamp.

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12

 

Modernism

1912-1950

‘Simultaneous and Successive Depiction’

 

Revision of competing styles to abstraction. Re-defines Cubism, as pre-Modernism, rejects label of ‘Synthetic Cubism’ for ‘Overstyle’, and redefines rival trend as ‘Rerealism’ (ignores Surrealism). Traces relation to abstraction, to the impasse of biomorphic abstraction, and to ‘Rerealism’s dependence upon three-dimensional geometry.

(13 pages – 4761 words)

 

Picasso, Braque, Malevich, Futurism, Dada and Surrealism, Klee, Kandinsky, Miro, De Chirico, Chagall, Duchamp, Schwitters, Ernst, Dali, Magritte.

 

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13

 

Late Modernism

1950-60

‘Reciprocal Depiction’

 

The convergence of abstraction, ‘Overstyle’ and ‘Rerealism’ results in a new style -‘Reciprocal Depiction’, with versions variously stressing ‘layout’, ‘traction’ and ‘interruption’.

(13 pages – 4795 words)

 

Giacometti, Dubuffet, Fautrier, CoBrA Group, Tapies, De Kooning, Bacon, Rivers, Rauschenberg, Johns, Hamilton, Blake.

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14

 

Pop Art and Post-Modernism:

Painting Printing

1960-1970

The shift in ‘Reciprocal Depiction’ to Pop Art, or print sampling. Basic graphics and text sources, link to expanded

materials.

(15 pages – 5681 words)

Warhol, Lichtenstein, Caulfield, Adami, Kitaj, Hockney, Rosenquist, Ruscha, Art and Language

Group, Kossuth.

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15

 

Post-Modernism Continued:

Painting Photography 1962-78

Painting of photography and sampling of related print processes. Photo-Realism and exhaustion of sample by late seventies.

(12 pages – 4813 words)

Warhol, Rauschenberg, Laing, Polke, Richter, Close, Estes, McLean, Goings, Raphael, Richter, Morley,

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16

 

The End of Post-Modernism:

1962-1985

‘Bad’ Painting, Neo-Expressionism and New Image Painting, traced both from ‘Reciprocal Depiction’ and print sampling, firstly in Germany, then the U.S. to dissipation in mid-eighties.

(14 pages – 5225 words)

Polke, Penck, Immendorff, Kiefer, Clemente, Salle, Schnabel, Haring, Basquiat, Jenney, Bartlett, Lane, Green, True, Zucker, Hurson, Moscowitz, Rothenburg,

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17

 

Abstraction in Late and Post-Modernism

Shows how the distinction between Late and Post Modernism holds for abstraction. Traces structures for colour, in scale, symmetry and basic pattern to three-dimensionality, or material exemplification, finally to Pattern and Decoration, pastiche and simulation.

(16 pages – 6094 words)

Rothko, Newman, Still, Albers, Noland, Gene Davis, Stella, De Feo, Olitski, Poons, Marden, Mangold, Ronald Davis, McCracken, Bell, Kozloff, Kushner, Zakanitch, Mullican, Halley, Taaffe, Levine, Bidlo

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18

 

Expanded Materials in Late and Post-Modernism.

Shows how the distinction between Late and Post Modernism holds for works of ‘expanded materials’.

The shift from kinetics and performance in the fifties to Conceptual Art. Sampling of script and score, performance, place, and recording, until the mid eighties.

(20 pages – 7604 words)

Smith, Kenneth and Mary Martin, Tinguely, Hamilton, Fontana, Cage, Mathieu, The Gutai, Klein, Rauschenburg, Kapprow, Manzoni, Nauman, Gilbert and George, Schneeman, Christo, Bochner, Barry, Beuys, Andre, Serra, Morris, Kounellis, Fabro, Heizer, Oppenheim, Graham, Armajani, Acconci, Piper, Oiticica, Haacke, Boltanski, Kruger, Holzer

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19

 

 

Globalism

1985 - 2000

 

All three strands, more concrete depiction, abstraction, and works of expanded materials are now traced within an open or incomplete period up until 2000.

The shift from Conceptual Art to institutional sampling in expanded materials, the shift from basic pattern to more complex versions and layout in abstraction, the shift from Neo-Expressionism and allegory to broader genres are all shown to share crucial synchrony in a Globalist period.

(26 pages – 10,906 words)

 

Koons, Steinbach, Lavier, Mucha, Cady Noland, Stockholder, Rhoades, Hirst, Orozco, Shaw, La Noue, Rae, Oehlen, Ackermann, Odita, Lasker, Australian Aboriginal artists, Oulton, Wojnarowitz, Marshall, Occampo, Ritchie, Murakami, Pittman, Hume, Ritchie, Ruyter, Marshall, Walker, Tuymans, Doig, Neo Rauch, Scheibitz, Currin, Peyton, Yuskavage, Loeb, Glenn Brown, Saville, Cecily Brown,

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20

 

Conclusion

Reviews distinctive features, compares prominent rival versions and registers unavoidable omissions.

(11 pages – 3967 words)

 

Marco Livingstone, Brandon Taylor, Edward Lucie-Smith, Daniel Wheeler, Jonathan Fineberg, Michael Archer, Hal Foster, David

Hopkins, Mathew Collings, Kristine Stiles and Peter Selz, Johanna Drucker.

 

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Bibliography

(47 pages – 9277 words)

 

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All of History

Chapters 11 - 20

(1,613 KB)

 

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All of Depiction & Painting

Entire study

(1,777 KB)