He mentioned that every medium was being self-referential, "divested of all extraneous points such as narrative and illusion, and in a position to move from abstraction to universal essence" (Stiles and Selz 2). Greenberg's process definition can be observed as an element defining Modernism as a theory in the teleology of art, showing that there is a final trigger and that it involves evidence of the design. Greenberg's view has become one widely adopted by scholars, critics, and students to characterize the avant-garde during the pre-1945 period.
Various artists express their view in the artistic method and of their artistic expression since it relates to form and content, and in so making they express similar ideas to individuals out there by Greenberg. Jackson Pollock, for instance, states on the connection in between the medium and the expression,
My opinion is that new needs need new techniques. And also the modern day artists have discovered new ways and new ways of generating their statements. It seems to me how the current painter cannot express this age, the airplane, the atom bomb, the radio, inside the old varieties of the Renaissance or of any other past culture. Every age finds its own technique (Stiles and Selz 22).
David Smith expresses the thought that art follows no rules and indeed makes its individual rules since it goes, thus creating and commenting on its form at 1 and the same time in a lot the manner cited by Greenberg:
On the one hand, Estes is praised like a rare genius and a singular artist, but on the other hand, Estes himself proclaims that he is allied with all realist painters.
Art is a paradox that has no laws to bind it. Laws can often be violated. That confuses the pragmatic mind. There might exist conventionalized terminologies and well-liked designations for periods, but no rules bind, either towards material substances from which it [art] is created or the mental procedure of its thought . . . As soon as art exists, it becomes tradition. After it's created, it represents a unity that did not exist before (Stiles and Selz 37).
If you desire to know all about Any Warhol, just take into account the surface: of my paintings and films and me; and there I am. There is nothing behind it (Stiles and Selz 340).
Pop Art as in the works of Andy Warhol was a counter to the European dedication towards struggling artist as accepted by the abstract expressionists. His originality was in his denial of originality. Warhol's imagery was derived from well-liked material such as advertising, television, films, and so on. He employed a commercial art variety to painting, and he appropriated subject matter within the pulp media. Warhol created a kind out of his own non-involvement in the material, and he attempted to produce works that were machine-like and so that were separated inside artist. At the same time, Warhol stood himself as an artist embodying a certain image of the artist. He was his own artwork and was dedicated to fame and wealth as much as to art. He presented himself in easy terms, but in a way this presentation itself was complex and conflicted. He wrote at 1 point,
Warhol actively sought to offer only the surface, emulating popular art in this regard and complicated the abstract expressionist's interplay on the artwork and the viewer of the artwork.
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