- Industry: Art history
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Art made on and for the internet is called Net art. This is a term used to describe a process of making art using a computer in some form or other, whether to download imagery that is then exhibited online or build programs that create the artwork. Net art emerged in the 1990s when artists found that the Internet was a useful tool to promote their art uninhibited by political, social or cultural constraints. For this reason it has been heralded as subversive, deftly transcending geographical and cultural boundaries and defiantly targeting nepotism, materialism and aesthetic conformity. Sites like MySpace and YouTube have become forums for art, enabling artists to exhibit their work without the endorsement of an institution. Pioneers of Net art include Tilman Baumgarten, Jodi and Vuc Cosik.
Industry:Art history
Around 1980 there can be seen to have been a general reaction in western art to the predominance of Minimal and Conceptual art in the previous decade. In painting this reaction took the form of Neo-Expressionism and related phenomena. In sculpture there was a notable return to the use of a wide range of techniques of fabrication and even the use of traditional materials and methods such as carving in stone and marble. Figurative and metaphoric imagery reappeared together with poetic or evocative titles. In Britain a strong group of young sculptors emerged whose work although quite disparate, quickly became known as New British Sculpture. The principal artists associated with New British Sculpture were Stephen Cox, Tony Cragg, Barry Flanagan, Anthony Gormley, Richard Deacon, Shirazeh Houshiary, Anish Kapoor, Alison Wilding and Bill Woodrow.
Industry:Art history
Founded in London in 1886 as an exhibiting society by artists influenced by Impressionism and whose work was rejected by the conservative Royal Academy. Key early members were Whistler (although he soon resigned) Sickert and Steer. Others in the first show included Clausen, Stanhope Forbes and Sargent. Initially avant-garde the NEAC quickly became increasingly conservative and Sickert and Steer formed an 'Impressionist nucleus' within it, staging their own show London Impressionists in 1889. NEAC remained important as showcase for advanced art until 1911 when challenged by the Camden Town Group and London Group, and continued to be influential into the 1920s with artists such as Augustus John and Stanley Spencer exhibiting. It still exists, now preserving the Impressionist tradition.
Industry:Art history
New Generation was the title used for a series of exhibitions of painting and sculpture by young British artists held at the Whitechapel Gallery in London in the early 1960s. The 1965 show was devoted to sculpture and brought to wide public attention the work of Phillip King, together with David Annesley, Michael Bolus, Tim Scott, William Tucker and Isaac Witkin. All these artists had been taught by Anthony Caro at St Martins School of Art in London and are sometimes referred to as School of Caro as well as the New Generation sculptors. In 1960 Caro had developed a completely new form of abstract sculpture using steel beams, sheets and tubes, welded and bolted together and painted in bright industrial colours. King and the others soon developed their own work, exploring a basic vocabulary of sculptural form and using in addition materials such as plastic sheeting and fibreglass. New Generation Sculpture became a major phenomenon of British art in the 1960s.
Industry:Art history
A term used to describe the sophisticated technologies that have become available to artists since the late 1980s. New media defines the mass influx of media, from the CD-Rom to the mobile phone and the world wide web, that can enable the production and distribution of art digitally. Websites like MySpace and YouTube are key aspects of new media, being places that can distribute art to millions of people at the click of a button. (See also Browser Art; medium; Net Art; Software Art)
Industry:Art history
Name given to work of group of sculptors identified by critic Edmund Gosse in 1876 article in Art Journal titled 'The New Sculpture'. Distinguishing qualities were a new dynamism and energy as well as physical realism, mythological or exotic subject matter and use of symbolism, as opposed to prevailing style of frozen Neo-Classicism. Can be considered part of Symbolism. Keynote work was seen by Gosse as Leighton's Athlete Wrestling with a Python, but key artist was Alfred Gilbert followed by George Frampton. Important precursor was Michelangelesque work of Alfred Stevens.
Industry:Art history
This term seems to have come into use in the 1940s to describe the artists of the intensely creative and innovative New York art scene that was giving birth to the radical and world conquering new style of painting that in the early 1950s became known as Abstract Expressionism. The two terms are effectively interchangeable, that is the artists of the New York School are the Abstract Expressionists. New York School has echoes of School of Paris and may also be seen to reflect the notion that after the Second World War, New York took over from Paris as the world centre for innovation in modern art.
Industry:Art history
Following the extension of the Great Western Railway to West Cornwall in1877 the Cornish fishing towns of St Ives and Newlyn both began to attract artists, drawn by the beauty of the scenery, quality of light, simplicity of life and drama of the sea. . The artists known as the Newlyn School were led by Stanhope Forbes and Frank Bramley who settled there in the early 1880s. Newlyn painting combined the Impressionist derived doctrine of working directly from the subject, and where appropriate in the open air (plein-airism), with subject matter drawn from rural life, particularly the life of the fishermen. Forbes's The Health of the Bride and Bramley's A Hopeless Dawn are quintessential Newlyn masterpieces.
Industry:Art history
Major regional school of landscape painting formally dating from 1803 when, at his house in Norwich, John Crome and others formed the Norwich Society, initially as a self-help discussion group for 'an Enquiry into the Rise, Progress and present state of painting—with a view to point out the best methods of study to attain to Greater Perfection. ' In 1805 it became an exhibiting society and was joined by its other leading figure John Sell Cotman. Paintings were in a low-key realist manner inspired by Norfolk landscape and the life of the Norfolk Broads and rivers. Other members of the School included the sons of Crome and Cotman, Stannard, Stark and Vincent. Best seen in the large collection at Norwich Castle Museum.
Industry:Art history
French movement (meaning new realism) founded in 1960 by the critic Pierre Restany. It was the focus for developments which can be seen as the European counterpart to Pop art. As well as painting, Nouveau Réalistes made extensive use of collage and assemblage, using real objects incorporated directly into the work and acknowledging a debt to the readymades of Marcel Duchamp. The leading exponents of this aspect were Arman, César, Christo, Tinguely and Daniel Spoerri. Raymond Hains, Mimmo Rotella, Jacques Mahé de la Villeglé and Wolf Vostell developed the décollage, or torn poster technique, making striking works from accumulated layers of posters they removed from advertising hoardings. Among the painters were Valerio Adami, Alain Jacquet, Martial Raysse (who also made notable installations) and the German, Gerhard Richter, who named his work Capitalist Realism. One of the most significant artists associated with Nouveau Réalisme was Yves Klein who died prematurely in 1962. He was enormously inventive in his short career, staging Happenings and carrying out early examples of Performance art using his own body, and anticipating Conceptual art as well as making remarkable paintings.
Industry:Art history
