Post-painterly abstraction is
a term created by art critic Clement Greenberg as
the title for an exhibit he curated for the Los Angeles County
Museum of Art in
1964, which subsequently travelled to the Walker Art Center and
the Art Gallery of Toronto.
Among the prior generation of contemporary artists, Barnett Newman has
been singled out as one who anticipated "some of the characteristics of
post-painterly abstraction.
As painting continued to move in different directions,
initially away from abstract expressionism, powered by the spirit of innovation of the time, the
term "post-painterly abstraction", which had obtained some currency
in the 1960s, was gradually supplanted by minimalism, hard-edge painting, lyrical abstraction, and color field painting.
Greenberg believed that, during
the early 1950s, Abstract Expressionism (or, as he preferred to call it, "Painterly
Abstraction") had degenerated into a weak school, and, in the hands of
less talented painters, its innovations had become nothing but empty devices.
But he also believed that many artists were advancing in some of Abstract
Expressionism's more fruitful directions - principally those allied to color
field painting - and these were yielding to a range of new tendencies that he
described as "post-painterly."
Greenberg characterized
post-painterly abstraction as linear in design, bright in color, lacking in
detail and incident, and open in composition (inclined to lead the eye beyond
the limits of the canvas). Most importantly, however, it was anonymous in
execution: this reflected the artists' desire to leave behind the grandiose
drama and spirituality of Abstract Expressionism.
Some critics, including Clement Greenberg and Barbara Rose, remarked on the
decorative character of some post-painterly abstraction. In the past, Harold Rosenberghad described
failed Abstract Expressionist paintings as "apocalyptic wallpaper,"
suggesting that decorative qualities were to be avoided. The new tendency
suggested a change in attitudes.
Hiç yorum yok:
Yorum Gönder