EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
EGO AND EXPRESSION
Subtitled ( fashion exists as signposts in time )
Pop Art was a reaction to the hegemony of the Abstract Expressionists, as minimalism was a reaction to the hegemony of the Pop Art movement.
Because of the idealism of Clement Greenberg, advocating his desire for a
somewhat singular, purest painterly aesthetic, through this vision he created
the impulse for a reaction against this ideology – for artists to rebel and seek
its opposite.
Johns, Rauchenberg, Warhol, and Lichenstien wanted to hang out with the
“Hot “artists of the time – Pollock, De Kooning, Kline, and Rothko at the Cedar
Tavern “ the cathedral of American culture in the fifties “ said Norman Bluhm,
an artist. But the older established painters didn’t want to have anything to do
with these rather fey young artists. The heavy sided male macho scene of the
Cedar Bar didn’t have a place for supposed artists who supported their art practice
by dressing windows at Bonwitt Teller, as Johns and Rauchenberg did, and of
course Warhol would latter dress the windows with his paintings.No serious
exertensialist artist would ever concider doing such a “ cheap “ thing.
Modernism had characteristically discarded objects and representation in favor of an abstracted art. This new generation of artist were aware of the weight accorded to the abstract expressionists, who were promoted extensively in America and Europe, as the “true” American art. Abstract Expressionism had accrued a critical vocabulary by eminent apologists, such as Clement Greeberg and Herald Rosenberg, who regarded it as the true heir of modern art proper and the flagbearer for modernisn.
“Abstract Expressionism and modernism became synonymous”. ( 1 )
Now, if you can’t join the club you trash it and try to get up the noses of those that
dismiss you, you parody, you undermine their seriousness by doing exactly that
which you know they would hate ( be totally reactionary )
Johns and Rauchenberg used found objects and cast things as well as pictorial images,
and scored them with faux abstract expressionist gestural brushstrokes, particularly
mimicking De Kooning and Kline. Warhol’s Marilyn ,parodies De Kooning’s women
series of paintings and drawings which often had collaged lips,of Monroe’s frozen smile amongst the surface of his gestural painting and drawings.
Lichenstien presents a dislocated gestural brushstroke as an advertising, comic strip
commodity. All this must have surely grated the nerves of Greenberg and his gang
of purest formalist artists, who he championed.
Each art movement is a reaction to that which has preceeded them, somewhat like
a child’s relationship with their parents from puberty through to 18-21 years of age,
when parents are viewed as just so uncool, and you don’t want to know them.you
want to distance yourself from them so you can become truly your ownself.
Pop Art as distancing itself from that which it once loved. Minimalism as a reaction
Against Pop, etcetera etcetera, as fashion as signposts, pinpricks of time.
( 1 ) Jasper Johns – by Richard Francis, Abbeville Press, New York
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