How Did The Art World Change In The 1970s

Artist Drew Hamilton’s, Street Corner Project exhibits the transformation of the view of American art and aesthetics. What was once viewed as beautiful art has changed with out modern art. The artist chose to exhibit his very own Bushwick apartment over the neighborhood bodega in Brooklyn. The artist Drew Hamilton’s artistic choice to change the standard view on aesthetic artwork depicting a true view of the neighborhood through his mini model. Drew Hamilton’s creation of the mini model that mimics the scene of everyday life of Brooklyn residents. Hamilton refashions the basic norms of aesthetics by inventing a new form of imperfect perfection and reaming true to the actual view of his apartment.

While the liberal experienced emotional changes amid the 1970s, the Communist agreement experienced reduced rates of development yet not the sorts of amazing economic rebuilding that happened in the West. These improvements in the 1970s suggested the Cold War's determination in the 1980s. Arranged in similar connection, the changes of the liberal world economy during the 1970s uncovered – an in a few ways improved – the relative backwardness of the Soviet Union's charge economy, with final outcomes for the truth of the Communist administration. Universal fiscal change, in this view, encouraged the ideological and geopolitical improvements that would take the Cold War.

Art education initially began in the United States around the nineteenth century to prepare future workers to be able to “design competitive industrial goods” (Chira, 1993). Susan Chira explains in her article “As Schools Trim Budgets, The Arts Lose Their Place.” that in 1989 a nationwide survey conducted by the University of Illinois at Champaign-Urbana reports that since 1962 the amount of time devoted to teaching art in school had declined as well as the amount of full time art teachers. Throughout the sixties until the early eighties the nation was dealing with a major economic crisis. Most notably was the Great Inflation of the 1970's along with New York's 1970 Fiscal Crisis which greatly affected the art scene in New York that was at the time the place to be if you were an artist.

One hundred and fifty years ago, Paris was the center of art culture in France. Back then, every artist had one goal: get into the Salon, which was a gallery for all the greatest art within France. There was one problem, the Salon forced artists to conform to what the Salon believed was real art (i.e. young men at war and fair maidens under trees). The artists were forced to become the little fish in the big pond. It got to the point where some artists got sick of conforming and decided to create there own Salon with paintings that probably wouldn’t have made it into the Salon.

America finally had the war behind it. The country was booming and the majority had a carefree attitude. People were accustom to their lives and were not prepared for what was about to happen in 1929. The new decade would be a time of great change for everyone – art included. The 1920’s would bring a rollercoaster of events to America.

Since the wealthy class decided whether or not what was considered fine art, many contemporary artists began to rebel against these practices and began creating work that not only included lower class members of society but also addressed many of the issues they were facing in their societies such as homelessness. During the mid-1980s, many contemporary artists began taking their works out of the museums’ and galleries and started presenting them in the city streets, poverty stricken ghettos and urban communities. By doing this they were able to reach a broader audience outside of high-class society. Artists such as, Krzysztof Wodiczko, was one of the first artist to take his work out of the museums and into the streets.

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

An exhibition never fails in taking the spectator on a journey through the chosen art’s narrative. The vast selection of exhibitions that were available at the National Gallery of Art made it difficult to narrow down the preferred choices. While examining the exhibition list one word seemed to capture my attention. Urban. I had the privilege to be born in a foreign city and to grow up in yet another city. This perspective colored my gallery selection and placed emphasis on the word “Urban.” Located in the West Wing of the Natural Gallery of Art, “Urban Scene 1920-1950” is an exhibition that reveals the four century-old artistic interpretation of the dynamic life that comes with residing in a city. Part of the beauty of the exhibition is the incorporation of less recognized American artists that worked on various printmaking techniques to create these astonishing achievements. The installation utilized minimalistic styles that introduced the viewer to various cities in the US. During the

During the mid-20th century, there were many artists competing for the best artwork in the world. Commercialization began to mass-produce art in all varieties, from comic magazines and books, to billboards and so much more. As a result, art was now widely available to the general public. However, one of the biggest question was being asked, with the creation of so many replicas’ what would define the value of art? Critic Clement Greenberg was the denouncing voice of the fine art community, criticizing this movement throughout the 1940’s, 50’s and on.

When Peggy came to New York in 1941, she brought with her, not only her family but, all of her 170 artworks by 67 artists. For a short time period, Peggy derangedly displayed her art collection at the Hale House, her residential space in Midtown East of Manhattan, up until 1942, when Art of This Century opened its doors to the public in the month of October of that same year. The art forum space, that was neither a museum nor a gallery but a fusion of the two was not just renowned for complementing the aesthetics of Peggy’s art collection, nor for resembling her dramatic charisma, but also for hosting shows with artworks made by then non-famous who now are famous American artists. At the Art of This Century, history of the modern art world

Spurred on by exhibitions, industry sponsorship and education programmes, the artists of the 1960s began to grapple with the space age. The launch of Sputnik in 1957 prompted a new interest in the world of the machine, yet the artistic approach to technology differed from the Futurist and Constructivist precedent. Technology did not hold utopian potential; rather the artists of the 1960s adopted varied approaches, ranging from sheer admiration to fearful pessimism. However, by the end of the 1960s technology became closely associated with the American war effort. The negativity that developed in response resulted in the technological work of artists such as Jean Tinguely and Robert Rauschenberg being pushed aside in favour of Conceptualism. Jean Tinguely’s Homage to New York (1960) and Robert Rauschenberg’s Soundings (1968) will be used to explore how these particular artists responded to the rising technology, and the extent to which artist and scientist collaborated.

Location- Generally, due to severity of totalitarian regimes of Europe, modernist artists were forced to flee Europe in order to continue their art. This meant a shift from the art capitol of

“Painting today is pure intuition and luck and taking advantage of what happens when you splash the stuff down. “- Francis Bacon. However when I learnt more about history of art and the way each movement and happenings in the world inspired artist to make new works, I was able to see much more than just a canvas with random paints and sketches. The interesting part about this concept is that each piece of art could be interpreted in many different ways. In contemporary art there isn’t right and wrong, each of us view and find different meanings and connections with artworks.

Does Pop Art form a critique of post-WWII society and culture or is it a celebration of high

Helen Molesworth's book, This Will Have Been: Art, Love & Politics in the 1980s, discusses a time in which desire was sparking the revolution for gender, sexuality, and racial equality. The 1980s became the decade in which people’s demands strived to make progressive changes within the art scene and society. The work produced by artists during this time was a pivotal movement in the world of visual art. The 1980s ignited a desire for the rise of equality for women, controversial debates regarding the HIV/AIDS crisis, the acknowledgement of LGBT representations within culture, and the idea of freedom that was long promised by democratic power; furthermore, artists used these longings to create raw visual pieces that were competing for a place