Neo-Expressionism ~ Art History ~ 166 Slides ~ Neo-Express ~ Modern Art
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This is a very complete, highly visual and thoroughly annotated presentation on Neo-Expressionist art history.
I have included 20 actual slides in the preview. This gives you the best idea of what this total product is like.
EXCERPT 1: OVERVIEW
~Neo-expressionism is considered either late-modernist or early-postmodern painting and sculpture.
~The movement began in Germany where it was called Neue Wilde (New Wild).
~The 'New Fauves' was another name for these artists because of the bright colors and rawer style and materials.
~This is intensely subjective art. Unlike the Abstract Expressionists who who were accused of having no content, this art just about screams its content.
~Conceptual and minimal art, which preceded it, also did not have this visceral content.
~This movement did not intellectualize itself whereas Conceptual and ~Minimal art were very intellectual (both criticized as light on content while heavy on thought).
~These art works use recognizable objects but in different ways, often in controversial and overtly sexual ways.
~There are parts of other art movements in it. Thus, there are pieces of the following: German Expressionists, American Lyrical Abstraction painting, Abstract Expressionism and Pop Art.
~The style emerged internationally instead of in America. The moving of the art world capital to New York from Paris after WWII, was instrumental in making subsequent art movements American in origin.
~Although Americans may not have started this movement, they certainly made up for it by the number of artists, amount of work and importance of work they churned out when they joined the movement.
~The worthwhileness of this movement has been debated. Many feel it has not aged well and that it may come to be regarded as just a passing fancy. Present day this is still a guess.
~The art critics had a lot to say against it pertaining to hot button social and economic issues of the time. The critics felt that this art was being thrown onto the art market to feed an art buying frenzy then ongoing—that there was no other reason for it.
~The critics also noticed the movement had an emphasis on media celebrity, a backlash against feminism, and an anti-intellectual attitude.
~Women were ignored in the movement at a time when they were gaining in most other careers.
~The movement began just as the AIDS crisis became public. ~Sexuality is dealt with in just about every way possible in this movement. AIDS meant certain death during this era.
~Not everyone agrees about which artists should be included in this movement. The names of the artists shift considerably as to who is included and who is not.
~Every artist listed here has been on Neo-Expressionist lists on various websites. Yet when another website is consulted, some of them are inexplicably omitted. In the end, this was resolved by relying on the dates. If the artists didn’t have work which fell within the dates, they were omitted.
~The movement ended in the 1990s. The most common years accorded to it are from 1979-1994, with some artists overlapping for a number of years on both sides of that date range.
EXCERPT 2: CONCLUSION
~Should we just write off this 15 or so years of work as just a tiny blip in the art world, hardly worthy of being declared a “movement”? A careful review of the evidence suggests we should not.
~Although this is considered a feminist backlash movement which excluded women, paradoxically it was the first movement to honor them. There is NO other art movement which has the art critics howling in outrage because women were excluded from a major exhibition. At the same time, major museums were buying Elizabeth Murray and displaying her work rather than putting it into storage. Not too long before this, both the critics and the museums barely acknowledged women artists existed. Women also emerged as artists without having a well known artist husband in tow to whom they played a life long second fiddle.
~The content of the art work was now only restricted by the artist’s lack of imagination. Issues raised in one’s art were wide open. All aspects of sexuality were open for inclusion. Racism was likewise fully open and an American black artist was at the forefront of the movement. There were objections over public funding of art works with controversial subjects but that is a different issue from making it taboo and refusing to show it.
~Celebrity culture has only gotten worse in the ensuing decades. Why should this obsession be ignored when other obsessions have not been ignored?
~No other art era has covered sex linked with death as thoroughly as this one did. This mirrored what was ongoing in society, rising numbers of deaths caused by sexual transmission of a fatal disease. Any artist covering it now is looking back at a phenomenon whereas these artists were painting and sculpting it as it was taking place.
~Categorizing whether an object was art or craft based solely on its materials eased up in this movement. Artists experimented with a wide array of materials but didn’t suddenly become demoted to “craftsmen” because of their use of craft materials in their art works.
~That content was back “in” after being out for several decades was significant. That such content was visceral and emotional rather than intellectual was immediately grasped by its audience. Viewers had visceral and emotional reactions to this art work as their part of the art experience. One could again have a gut reaction to art without mounting an intellectual argument on its elusive meaning.
~There has been concern expressed that this movement will not be a good investment, that the auction prices will be low. Not enough time has gone by to know if this will take place. Even if its prices do overall end up being tepid, there are some artists who already are bringing in excellent auction prices. Jean-Michel Basquiat’s prices are doing very well but, of course, he’s been dead for awhile.