Post World War II Art Term Paper

Length: 4 pages Sources: 5 Subject: Art - Social Aspects Type: Term Paper Paper: #39652475
Excerpt from Term Paper :

¶ … Art History: Post War

The global impact of the Second World War II on the society, politics, culture and technology was reflected how art produced after 1945 was changing in appearance and feeling. The rapid significant changes were a reflection of the intense and sometimes radical responses made by artists. Artists' works during this period responded to or questioned the nature personal and national identity, gender/race issues, the emergence and growth of media and/or mass culture. Works of art also responded to the existing definitions of art and its relationship to the environment. In the aftermath of the Second World War, the core of Western Art shifted from Europe to the United States and resulted in the use of new materials and techniques. Post war social, political, economic and cultural needs contributed to changes in strategies used by artists, art production, and how artists express themselves.

Aesthetic Strategies used by Artists

Prior to the Second World War, European artists were taken more seriously than American artists mostly created work for themselves and one another. The aftermath of World War II generated significant changes as the United States slowly became the center of Western art. This shift was fueled by prosperity, development, and the emerging consumer culture that characterized the American society (Perdew, p.80). During this period, artists used different types of aesthetic strategies to communicate their ideas. Artists started to use nearly anything and everything to create their work as they tried different things. Some types of aesthetic strategies that artists have used to date to communicate their ideas include exploration of the collective unconscious, illusion, imagery, action logic and science and left many thinking life is out of control. Jackson Pollock is one of the abstract expressionists who utilized a unique style of drip painting to explore the collective unconscious. Through pouring and dripping paint, Pollock achieved a more instant technique of creating art and introduced a new dimension of viewing and applying paint to canvas. Pollock's work, particularly Autumn Rhythm (Number 30) of 1950 demonstrated action painting, which is a form of abstract expressionism that is characterized by a more violent, frenzied appearance. Bridget Riley, on the contrary, is an op artist whose aesthetic strategies were influenced by illusion in the 1960s. Throughout her works, Riley sought to challenge simple truths about perception in her attempts to challenge the definition of art. Riley's Painting, Current, which she produced in 1964, was an optical illusion of depth and movement that were created on a flat surface and incorporated geometric shapes as well as patterns of lines and colors (Perdew, p.87). Similar to other artists, Riley's paintings focused on disorienting the viewer instead of creating representations of people, objects or places.

Needs that Prompted Changes in Art Production

Art production, definition and experience during post World War II period was influenced by the political, social, economic or cultural needs that emerged during this period. One of the greatest influences of post war art was the emergence of the United States as the center stage for Western art rather than Europe. This generated an economic need that changed art given that the United States was preferred because of its increased prosperity, development, and budding consumer culture (Perdew, p.80). From a social perspective, United States provided a suitable place for redefining art because of New York City's emergence as the center of world art…

Sources Used in Documents:

Works Cited

Alberro, Alexander, and Blake Stimson. Conceptual Art: A Critical Anthology. Boston, MA: MIT, 1999. Print.

Ciment, James. Postwar America: An Encyclopedia of Social, Political, Cultural, and Economic History. Vol. 14. New York: Routledge, 2015. Print.

Davies, Stephen, Kathleen M. Higgins, Robert Hopkins, Robert Stecker, and David E. Cooper. A Companion to Aesthetics. 2nd ed. Malden, MA: Blackwell, 2009. Print.

Day, Michael, and Al Hurwitz. Children and Their Art: Art Education for Elementary and Middle Schools. 9th ed. Boston, MA: Wadsworth Cengage Learning, 2011. Print.

Cite this Document:

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