3: Postwar American art
- Page ID
- 188114
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
From Abstract Expressionism to Pop, the United States was the epicenter of the postwar art world
1945 - 1980
- 3.1: Abstract Expressionism
- 3.1.1: Abstract Expressionism, an introduction
- 3.1.2: Finding meaning in abstraction
- 3.1.3: Norman Lewis, Untitled
- 3.1.4: Willem de Kooning, Woman, I
- 3.1.5: Hedda Sterne, Number 3—1957
- 3.1.6: Lee Krasner, Untitled
- 3.1.7: Robert Motherwell, Elegy to the Spanish Republic No. 57
- 3.1.8: Jackson Pollock
- 3.1.8.1: Autumn Rhythm
- 3.1.8.2: Mural
- 3.1.8.3: The Case for Jackson Pollock
- 3.1.8.4: Why is that important? Looking at Jackson Pollock
- 3.1.8.5: The Painting Techniques of Jackson Pollock
- 3.1.8.6: Conservation- Jackson Pollock, One- Number 31, 1950
- 3.1.8.7: Paint Application Studies of Jackson Pollock’s Mural
- 3.1.9: Mark Rothko
- 3.1.9.1: No. 210/No. 211 (Orange), 1960
- 3.1.9.2: No. 3/No. 13
- 3.1.9.3: The Case for Mark Rothko
- 3.1.9.4: Mark Rothko (at MoMA)
- 3.1.9.5: Restoring Rothko
- 3.1.10: Barnett Newman
- 3.1.10.1: Onement, I
- 3.1.10.2: Barnett Newman at MoMA
- 3.1.10.3: The Painting Techniques of Barnett Newman
- 3.1.10.4: Representation and abstraction- looking at Millais and Newman
- 3.1.11: Franz Kline
- 3.1.11.1: Franz Kline at MoMA
- 3.1.11.2: The Painting Techniques of Franz Kline
- 3.1.12: Beauford Delaney, Marian Anderson
- 3.1.13: Mark Bradford on Clyfford Still
- 3.2: New York School
- 3.2.1: The Impact of Abstract Expressionism
- 3.2.2: Sari Dienes, Star Circle
- 3.2.3: Jasper Johns
- 3.2.3.1: Flag
- 3.2.3.2: White Flag
- 3.2.4: Robert Rauschenberg
- 3.2.4.1: Erased de Kooning Drawing
- 3.2.4.2: Canyon
- 3.2.4.3: Bed
- 3.2.4.4: Retroactive I
- 3.2.4.5: Robert Rauschenberg, Signs
- 3.2.5: Ed Kienholz and Nancy Reddin Kienholz, Useful Art #5- The Western Motel
- 3.2.6: Ad Reinhardt
- 3.2.6.1: Abstract Painting
- 3.2.6.2: Ad Reinhardt at MoMA
- 3.2.6.3: The Painting Techniques of Ad Reinhardt
- 3.2.7: Helen Frankenthaler
- 3.2.7.1: Mountains and Sea
- 3.2.7.2: The Bay
- 3.2.8: Frank Stella, The Marriage of Reason and Squalor
- 3.3: Postwar figurative art
- 3.3.1: Thelma Streat, Girl with Bird
- 3.3.2: Charles Sebree, The Mystic
- 3.3.3: George Tooker, Highway
- 3.3.4: Jess, If All the World Were Paper and All the Water Sink
- 3.3.5: Benny Andrews, Flag Day
- 3.3.6: Romare Bearden, Three Folk Musicians
- 3.3.7: Brummett Echohawk (Pawnee), An Island of Redbuds on the Cimarron
- 3.3.8: Duane Hanson, Executive
- 3.3.9: Faith Ringgold, Dancing at the Louvre
- 3.3.10: Faith Ringgold, Ben
- 3.3.11: Ruthe Blalock Jones (Delaware, Shawnee, Peoria), Medicine Woman
- 3.3.12: Lin Tianmiao on Alex Katz’s Black and Brown Blouse
- 3.5: Photography
- 3.5.1: Gordon Parks, Off on My Own (Harlem, New York)
- 3.5.2: LaToya Ruby Frazier on Gordon Parks’s Red Jackson
- 3.5.3: Garry Winogrand, Democratic Convention, 1960
- 3.5.4: Richard Avedon, Audrey Hepburn, New York, January 1967
- 3.5.5: New Topographics
- 3.5.6: How Photographs of Poverty in the Americas Ignited an International Battle over Propaganda
- 3.5.7: Richard Misrach’s early work and Border Cantos
- 3.5.8: Robert Frank
- 3.5.8.1: An interview with Robert Frank
- 3.5.8.2: Rashid Johnson on Robert Frank’s The Americans