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Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing

Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent... When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal. Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. Harold Rosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braque had left it...in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Aesthetic Education University of Illinois Press

Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing

Carrier, David
The Journal of Aesthetic Education , Volume 39 (1) – Feb 14, 2005
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Publisher
University of Illinois Press
Copyright
Copyright © 2005 Board of Trustees of the University of Illinois.
ISSN
1543-7809
Publisher site
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Abstract

When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal. Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. Harold Rosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braque had left it...in

Journal

The Journal of Aesthetic Education – University of Illinois Press

Published: Feb 14, 2005

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