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New York pp 70-88 | Cite as

The New York Art Scene in the 1960s

  • John Osborne
Part of the Insights book series

Abstract

With the rise of Fascism in the 1920s and 1930s, many of the leaders of European modernism emigrated to the United States, thereby freeing American artists from their traditional feeling of inferiority. The result was an uprush of creativity, as American art first assimilated and then moved beyond the European inheritance. In the Abstract Expressionism of the 1940s, such as one associates with the names of Jackson Pollock, Willem De Kooning and Mark Rothko, and in the 1950s assemblage art of Louise Nevelson, Robert Rauschenberg and Jasper Johns, American art acquired a confidence, an inventiveness, a largeness of ambition, that matched the nation’s assumption of the custodianship of the western world. The USA replaced France as the country towards which international avant-gardists gravitated; New York replaced Paris as the art capital of the world.

Keywords

Comic Book Consumer Capitalism Young Artist European Modernism American Painting 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Clement Greenberg, ‘The Present Prospects of American Painting and Sculpture’, Horizon, October 1947, pp. 28–9.Google Scholar
  2. 3.
    L. Seldes, The Legacy of Mark Rothko (New York: W. Holt, 1978) p. 26.Google Scholar
  3. 4.
    D. Netzer, The Subsidized Muse (New York: Cambridge University Press, 1978) p. 4.Google Scholar
  4. 6.
    Tom Wolfe, The Painted Word (New York: Farrar, Straus & Giroux, 1975) p. 22.Google Scholar
  5. 7.
    J. Kosciuszko, ‘Marketing Rebellion’, Chrome, vol. III (Winter 1987) pp. 45–58.Google Scholar
  6. 8.
    Andy Warhol and P. Hackett, POPism: The Warhol 60s (New York: Harper & Row, 1980) pp. 20–1.Google Scholar
  7. 9.
    P. Deeley, ‘The Million-Dollar Art Wrangle’, Observer, 30 December 1973, p. 17.Google Scholar
  8. 10.
    C. Tomkins, ‘Moving With the Flow: Henry Geldzahler’, New Yorker, 6 November 1971, p. 58; Seldes, Legacy of Mark Rothko, pp. 93–6.Google Scholar
  9. 11.
    See Clark Polak’s series of articles in the Los Angeles Free Press, 17 January 1974–3 January 1975.Google Scholar
  10. 13.
    Robert Rosenblum, Frank Stella (Harmondsworth, Middx: Penguin, 1971) p. 52.Google Scholar
  11. 14.
    Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again) (New York: Harcourt Brace, 1975) p. 148.Google Scholar
  12. 15.
    V. Giallo, quoted on ‘Review’, BBC2 television, 22 April 1988.Google Scholar
  13. 18.
    H. Adams, Art of the Sixties (London: Peerage, 1978; new edn, 1984) p. 76.Google Scholar

Copyright information

© the Editorial Board, Lumiere (Co-operative) Press Ltd 1990

Authors and Affiliations

  • John Osborne

There are no affiliations available

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