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Conceptual revolutions in twentieth-century art

Galenson combines social scientific methods with qualitative analysis to produce a new interpretation of modern art.

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  • "Galenson combines social scientific methods with qualitative analysis to produce a new interpretation of modern art."@en
  • "This volume combines social scientific methods with qualitative analysis to produce an interpretation of modern art. The art of the twentieth century broke completely with earlier artistic traditions. A basic change in the market for advanced art produced a heightened demand for innovation, and young conceptual innovators -- from Picasso and Duchamp to Rauschenberg and Warhol to Cindy Sherman and Damien Hirst -- responded not only by creating dozens of new forms of art, but also by behaving in ways that would have been incomprehensible to their predecessors. The author concludes that contemporary art is the logical result of conceptual innovators operating in a competitive market that has consistently rewarded radical and conspicuous innovation."
  • "This volume combines social scientific methods with qualitative analysis to produce an interpretation of modern art. The art of the twentieth century broke completely with earlier artistic traditions. A basic change in the market for advanced art produced a heightened demand for innovation, and young conceptual innovators -- from Picasso and Duchamp to Rauschenberg and Warhol to Cindy Sherman and Damien Hirst -- responded not only by creating dozens of new forms of art, but also by behaving in ways that would have been incomprehensible to their predecessors. The author concludes that contemporary art is the logical result of conceptual innovators operating in a competitive market that has consistently rewarded radical and conspicuous innovation."@en
  • "Art critics and scholars have acknowledged the breakdown of their explanations and narratives of contemporary art in the face of what they consider the incoherent era of "pluralism" or "postmodernism" that began in the late twentieth century. This failure is in fact a result of their inability to understand the nature of the development of advanced art throughout the entire twentieth century, and particularly the novel behavior of young conceptual innovators in a new market environment. The rise of a competitive market for advanced art in the late nineteenth century freed artists from the constraint of having to satisfy powerful patrons, and gave them unprecedented freedom to innovate. As the rewards for radical and conspicuous innovation increased, conceptual artists could respond to these incentives more quickly and decisively than their experimental counterparts. Early in the twentieth century, the young conceptual genius Pablo Picasso initiated two new practices, by alternating styles at will and inventing a new artistic genre, that became basic elements of the art of a series of later conceptual innovators. By the late twentieth century, extensions of these practices had led to the emergence of important individual artists whose work appeared to have no unified style, and to the balkanization of advanced art, as the dominance of painting gave way before novel uses of old genres and the creation of many new ones. Understanding not only contemporary art, but the art of the past century as a whole, will require art scholars to abandon their outmoded insistence on analyzing art in terms of style, and to recognize the many novel patterns of behavior that have been created over the course of the past century by young conceptual innovators."
  • "Art critics and scholars have acknowledged the breakdown of their explanations and narratives of contemporary art in the face of what they consider the incoherent era of "pluralism" or "postmodernism" that began in the late twentieth century. This failure is in fact a result of their inability to understand the nature of the development of advanced art throughout the entire twentieth century, and particularly the novel behavior of young conceptual innovators in a new market environment. The rise of a competitive market for advanced art in the late nineteenth century freed artists from the constraint of having to satisfy powerful patrons, and gave them unprecedented freedom to innovate. As the rewards for radical and conspicuous innovation increased, conceptual artists could respond to these incentives more quickly and decisively than their experimental counterparts. Early in the twentieth century, the young conceptual genius Pablo Picasso initiated two new practices, by alternating styles at will and inventing a new artistic genre, that became basic elements of the art of a series of later conceptual innovators. By the late twentieth century, extensions of these practices had led to the emergence of important individual artists whose work appeared to have no unified style, and to the balkanization of advanced art, as the dominance of painting gave way before novel uses of old genres and the creation of many new ones. Understanding not only contemporary art, but the art of the past century as a whole, will require art scholars to abandon their outmoded insistence on analyzing art in terms of style, and to recognize the many novel patterns of behavior that have been created over the course of the past century by young conceptual innovators."@en

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  • "History"@en
  • "History"
  • "Electronic books"
  • "Electronic books"@en

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  • "Conceptual revolutions in twentieth-century art"
  • "Conceptual revolutions in twentieth-century art"@en
  • "Conceptual revolutions in twentieth century art"
  • "Conceptual Revolutions in Twentieth-Century Art"@en
  • "Conceptual Revolutions in Twentieth-Century Art"

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