Difference between revisions of "Art"

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{{Art}}
 
{{Art}}
  
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[[Image:Gatys_et_al_2015_A_Neural_Algorithm_of_Artistic_Style_page_5.jpg|thumb|350px|Style transfer. Computer rendering of a photograph in the style of five well-known paintings: ''The Shipwreck of the Minotaur'' by J.M.W. Turner, 1805; ''The Starry Night'' by Vincent van Gogh, 1889; ''Der Schrei'' by Edvard Munch, 1893; ''Femme nue assise'' by Pablo Picasso, 1910; and ''Composition VII'' by Wassily Kandinsky, 1913. From [http://arxiv.org/abs/1508.06576 Gatys et al 2015: 5].]]
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[[Image:Willis Thomas Hank 2019 Colonialism and Abstract Art.jpg|thumb|350px|Hank Willis Thomas, ''Colonialism and Abstract Art'', 2019. [[Media:Willis_Thomas_Hank_2019_Colonialism_and_Abstract_Art.pdf|PDF]].]]
  
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<div class="lede">Movements and styles in visual art</div>
  
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<div class="lede">Annotated index of styles and movements in modern and contemporary art worldwide<ref>.. and anti-art.</ref></div>
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This page brings together art movements and styles from the 1860s to the present day. In addition to the isms of modern art, the list includes movements usually treated as secondary to the visual art canon, such as Lettrism, Situationism, Sound Art, Expanded Cinema, Neoism and Software Art, as well as those represented by protagonists other than Western white males.
  
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The page brings together some 350 art styles and movements from the 1860s until today. Besides the canonical isms of modern art, it expands the list with movements usually treated as secondary to the visual art canon, such as Lettrism, Situationism, Sound art, Expanded cinema, Neoism, or Software art, and does not leave out non-Western art either.
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==Introduction==
  
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==Introduction==
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Art historians have debated the limits and biases of style analysis and classification for decades,<ref>[[#Schapiro1953|Schapiro (1953)]] argued that "style is an essential object of investigation [to the historian of art]" (287) and defined it as "the constant form--and sometimes the constant elements, qualities, and ex­pression--in the art of an individual or a group" (287), while "the description of a style refers to three aspects of art: form elements or motives, form relationships, and qualities (including an all-over quality which we may call the 'expression'). [...] Technique, subject matter, and material may be characteristic of certain groups of works and will sometimes be included in definitions; but more often these features are not so peculiar to the art of a period as the formal and qualitative ones" (289). [[#Kubler1967|Kubler (1967)]], on the other hand, criticised the definition of style as constant form: "The idea of style is best adapted to static situation, in crosscut or synchronous section. It is an idea unsuited to duration." More recently, [[#Elsner2003|Elsner (2003)]] summarised the bias of style in art history as follows: "The key assumption is that what matters about a work of art and what stylistic analysis may reveal is its origin and its moment of creation. Style rarely has any truck with the afterlife of objects, their messy history in the real world as they are bashed about, adapted, reused, and altered." For other aspects of the art historical debate on style, see [[#Woelfflin1950|Wölfflin (1950)]], [[#Gombrich1968|Gombrich (1968)]], [[#Goodman1975|Goodman (1975)]], [[#Alpers1979|Alpers (1979)]], and [[#Kubler1979|Kubler (1979)]].</ref> yet style remains "inseparable from working concepts of art and its history".<ref>[[#Elkins1998|Elkins 1998]].</ref> Its relevance is being reaffirmed in an unexpected way, as a database column in an ever-growing number of art collections. Major art museums have adopted it as an organising element of their online catalogues.<ref> Some collection catalogues combine it with or imply in the notion of ''movement''. The [http://www.tate.org.uk/art/search Tate's collection] can be navigated by the category ''Style or '-ism' '', [http://www.metmuseum.org/toah/keywords/ Met] by ''Art Movement / Style'', the collection aggregator [https://www.artsy.net/categories/ Artsy] by ''Style and Movement'', while [https://collection.centrepompidou.fr/artworks?filters=query%3A Pompidou] has entitled the field ''Mouvement'', [http://www.guggenheim.org/artwork/movement/ Guggenheim] ''Movements'', and [http://www.nga.gov/content/ngaweb/collection-search-result.html#Styles NGA] and [http://www.arthermitage.org/Style.html Hermitage] stick with ''Styles''.</ref>
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Art historians have debated the limits and bias of style analysis and classification for decades.<ref>[[#Schapiro1953|Schapiro (1953)]] in his influential essay argued that "style is an essential object of investigation [to the historian of art]" (287) and defined it as "the constant form--and sometimes the constant elements, qualities, and ex­pression--in the art of an individual or a group" (287), while "the description of a style refers to three aspects of art: form elements or motives, form relationships, and qualities (including an all-over quality which we may call the 'expression'). [...] Technique, subject matter, and material may be characteristic of certain groups of works and will sometimes be included in definitions; but more often these features are not so peculiar to the art of a period as the formal and qualitative ones" (289). [[#Kubler1967|Kubler (1967)]], in turn, criticised the definition of style as constant form: "The idea of style is best adapted to static situation, in crosscut or synchronous section. It is an idea unsuited to duration." More recently, [[#Elsner2003|Elsner (2003)]] summarised bias in style art history as follows: "The key assumption is that what matters about a work of art and what stylistic analysis may reveal is its origin and its moment of creation. Style rarely has any truck with the afterlife of objects, their messy history in the real world as they are bashed about, adapted, reused, and altered." For other aspects of the debate on style art history see also [[#Woelfflin1950|Wölfflin (1950)]], [[#Gombrich1968|Gombrich (1968)]], [[#Goodman1975|Goodman (1975)]], [[#Alpers1979|Alpers (1979)]], and [[#Kubler1979|Kubler (1979)]].</ref> Despite that, the style remains "inseparable from working concepts of art and its history",<ref>[[#Elkins1998|Elkins 1998]].</ref> while its relevance is now being reaffirmed in an unexpected way, as a database column in an ever-growing number of art collections. Major art museums adopted it as an organising element of their online catalogues.<ref> Some collection catalogues combine it with or imply in the notion of ''movement''. [http://www.tate.org.uk/art/search Tate's collection] can be navigated by the ''Style or '-ism' '' category, [http://www.metmuseum.org/toah/keywords/ Met] by ''Art Movement / Style'', the collections aggregate [https://www.artsy.net/categories/ Artsy] by ''Style and Movement'', while [https://collection.centrepompidou.fr/artworks?filters=query%3A Pompidou] has entitled the field ''Mouvement'', [http://www.guggenheim.org/artwork/movement/ Guggenheim] ''Movements'', and [http://www.nga.gov/content/ngaweb/collection-search-result.html#Styles NGA] and [http://www.arthermitage.org/Style.html Hermitage] stay with ''Styles''.</ref>
 
  
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Museums present their online databases as neutral resources which often lack acknowledgment of editorial work and instead derive their legitimacy from the reputation of the institution.<ref>The same holds for collections aggregates such as Artsy, Google Art Project and Artwiki.</ref> While they increasingly influence how we (and [http://www.smithsonianmag.com/smart-news/computers-are-getting-better-identifying-artists-art-historians-are-180955241/ machines]) look at and learn about art, their protocols are rarely discussed. In contrast to the tradition of scholarly argumentation, the context in the database is given by the way its data are interconnected, where each item is defined by the set of its relations to other items. Rather than notions supporting the argument, styles and movements are vectors along which an online collection is designed to be viewed, queried, and referred to. This enables databases to position artworks as belonging to particular styles and movements by the mere designation of a relation.<ref>While narrative text allows explaining the fine distinctions between, for example, dadaist and surrealist works of Max Ernst using art-historical tropes, the database subsumes this tradition to the logic of normalised data. It assumes a binary relation between a work of Ernst and the category "Dada", and between a work of Ernst and the category "Surrealism". It can be linked to both, but there is no place in the structure for conditionals. Here, styles are simply tags and narrative text is secondary to the database structure. Similarly, if Marcel Duchamp may be treated in an essay as an early Conceptualist, the database will resist the introduction of the category ''early Conceptualism'' because that would be unsystematic unless a more nuanced categorisation is introduced for other included styles as well.</ref> Even though art collections databases are heir to the art-historical tradition, they adjust art to the logic of the relational database--the logic of organising data into rows and columns containing items pointing at one another. The same holds for other attributes of artworks, pre-formatted by the database as lists of authors, materials, years of production, and so on.
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Online databases are often presented as neutral resources, with no acknowledgment of editorial work, and instead derive their legitimacy from the reputation of the institution.<ref>This applies not only to museums, but also to collection aggregators such as Artsy, Google Art Project and Artwiki.</ref> While they increasingly influence how we (and [http://www.smithsonianmag.com/smart-news/computers-are-getting-better-identifying-artists-art-historians-are-180955241/ machines]) see and learn about art, their protocols are rarely discussed. In contrast to the tradition of scholarly argumentation, the context in the database is given by the way its data are interconnected, where each item is defined by the set of its relations to other items. Rather than notions supporting an argument, styles and movements become vectors along which an online collection is designed to be viewed, queried, and referenced. This allows databases to position artworks as belonging to particular styles and movements simply by designating a relation.<ref>While the narrative text allows the fine distinctions between, say, Dadaist and Surrealist works by Max Ernst to be explained using art historical tropes, the database subordinates this tradition to the logic of normalised data. It assumes a binary relationship between a work by Ernst and the category "Dada", and between a work by Ernst and the category "Surrealism". It can be linked to both, but there is no place in the structure for conditionals. Here, styles are simply tags, and narrative text is secondary to the database structure. Similarly, if Marcel Duchamp can be treated in an essay as an early Conceptualist, the database will resist the introduction of the category ''early Conceptualism'', as this would be unsystematic, unless a more nuanced categorisation is introduced for other included styles as well.</ref> Although art collection databases are heirs to the art historical tradition, they adapt art to the logic of the relational database - the logic of organising data into rows and columns of items that point to each other. The same can be said of other attributes of artworks, pre-formatted by the database as lists of authors, materials, years of production, and so on.
  
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There are certainly more strands in ''datafication'' of the history of art left for analysis and critique, but this page focuses on this particular phenomenon, takes it one step further--and juxtaposes. It takes styles and movements as represented in online collections of art museums and simply place them next to each other. To achieve greater contrasts, it adds definitions from [[#References|dictionaries and glossaries]] in several languages, as well as selected writings of historians, critics, and artists, and recent retrospective exhibitions questioning origin myths of this or that style or movement. As a result, the page brings together some 350 art styles and movements from the 1860s until today as they came to us through these four paths. Besides the canonical ''isms'' of modern art, it expands the list with movements usually treated as secondary to the visual art canon, such as [[#lettrism|Lettrism]], [[#situationists|Situationism]], [[#soundart|Sound art]], [[#expandedcinema|Expanded cinema]], [[#neoism|Neoism]], or [[#softwareart|Software art]], and does not leave out those best represented by works made by others than Western white men either.<ref>Non-Western movements which have recently received belated recognition through retrospective exhibitions include [[#jikkenkobo|Jikken Kobo]] (2009), [[#resistanceart|Resistance Art]] (2011), [[#tansaekhwa|Tansaekhwa]] (2014), [[#monoha|Mono-ha]] (2015), [[#casablancaschool|Casablanca School]] (2016) and [[#khartoumschool|Khartoum School]] (2016).</ref>
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To further explore this strand of the ''datafication'' of art history, this page juxtaposes styles and movements as represented in the online collections of art museums. To achieve greater contrast, it adds definitions from [[#References|dictionaries and glossaries]] in several languages, as well as selected writings by artists, critics and historians, and recent retrospective exhibitions that challenge the origin myths of this or that style or movement. As a result, the page brings together some 350 art styles and movements from the 1860s to the present day, as they have come to us through these four paths. In addition to the ''isms'' of modern art, the list includes movements that are usually treated as secondary to the visual art canon, such as [[#lettrism|Lettrism]], [[#situationists|Situationism]], [[#soundart|Sound art]], [[#expandedcinema|Expanded cinema]], [[#neoism|Neoism]], or [[#softwareart|Software art]], and does not leave out those best represented by works made by others than Western white males either.<ref>Non-Western movements that have recently received belated recognition through retrospective exhibitions include [[#jikkenkobo|Jikken Kobo]] (2009), [[#resistanceart|Resistance Art]] (2011), [[#tansaekhwa|Tansaekhwa]] (2014), [[#monoha|Mono-ha]] (2015), [[#casablancaschool|Casablanca School]] (2016) and [[#khartoumschool|Khartoum School]] (2016).</ref>
  
 
Entries are structured in the following way:
 
Entries are structured in the following way:
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<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .95em;">
 
<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .95em;">
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: The '''term''' under which a given style, movement, ism or school came to be established. Preferably in its original language with an English equivalent and optionally frequent synonymous terms. Terms should not be understood as mutually exclusive: body art does not exclude performance art, performance art does not exclude conceptual art, process art does not exclude postminimalism. Where the link is active it leads to a Monoskop page with more detailed information including bibliographies; among the most extensive at the moment are [[Cubism]], [[Constructivism]], [[Conceptual art]], [[Expanded cinema]], [[Neoism]] and [[Sound art]].  
 
: The '''term''' under which a given style, movement, ism or school came to be established. Preferably in its original language with an English equivalent and optionally frequent synonymous terms. Terms should not be understood as mutually exclusive: body art does not exclude performance art, performance art does not exclude conceptual art, process art does not exclude postminimalism. Where the link is active it leads to a Monoskop page with more detailed information including bibliographies; among the most extensive at the moment are [[Cubism]], [[Constructivism]], [[Conceptual art]], [[Expanded cinema]], [[Neoism]] and [[Sound art]].  
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: '''Major events'''. Mostly exhibitions, but also group formations, conferences, etc. In most cases, titles are kept in their original languages (English equivalents are chosen for events better known as such today). Links point to event websites and online versions of catalogues.
 
: '''Major events'''. Mostly exhibitions, but also group formations, conferences, etc. In most cases, titles are kept in their original languages (English equivalents are chosen for events better known as such today). Links point to event websites and online versions of catalogues.
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: '''Major texts'''. These include manifestos, key essays, magazines, but also later art-historical analyses. Links point to their online versions, some in translation.
 
: '''Major texts'''. These include manifestos, key essays, magazines, but also later art-historical analyses. Links point to their online versions, some in translation.
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: '''Associated artists'''. Only those participating during the formative years of a given phenomenon are included (i.e. "first" and "second generations"). Many artist names are hyperlinked; as there is not more than one link per artist/group in an entry, the order of preference is as follows: (1) Monoskop wiki page, (2) official home page/estate, (3) major collection with online presence, (4) latest retrospective exhibition with online companion/catalogue. Country shortcuts following names indicate countries where artists were active during periods for which they are associated with a given phenomenon.  
 
: '''Associated artists'''. Only those participating during the formative years of a given phenomenon are included (i.e. "first" and "second generations"). Many artist names are hyperlinked; as there is not more than one link per artist/group in an entry, the order of preference is as follows: (1) Monoskop wiki page, (2) official home page/estate, (3) major collection with online presence, (4) latest retrospective exhibition with online companion/catalogue. Country shortcuts following names indicate countries where artists were active during periods for which they are associated with a given phenomenon.  
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: '''Media'''. "Design" includes the broad area of decorative arts and crafts. If there were notable works created also in architecture, it is indicated, however architects, their works and architectural movements per se are not included in the table [[Architecture|(history of 20th-century architecture is treated on a separate page)]].
 
: '''Media'''. "Design" includes the broad area of decorative arts and crafts. If there were notable works created also in architecture, it is indicated, however architects, their works and architectural movements per se are not included in the table [[Architecture|(history of 20th-century architecture is treated on a separate page)]].
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: '''Key references'''.  
 
: '''Key references'''.  
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: '''Works''' are selected to illustrate the diversity of forms, materials, subject matter, and techniques associated with a term. Size and materials are included and entry in an online catalogue of the collection a work is part of is linked where available. Please note that photo reproductions come from a multitude of collections and parameters under which they were produced vary greatly (no post-processing on our side was done).  
 
: '''Works''' are selected to illustrate the diversity of forms, materials, subject matter, and techniques associated with a term. Size and materials are included and entry in an online catalogue of the collection a work is part of is linked where available. Please note that photo reproductions come from a multitude of collections and parameters under which they were produced vary greatly (no post-processing on our side was done).  
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: '''Collections'''. Only those with a database entry for a given term in their online catalogues are included.  
 
: '''Collections'''. Only those with a database entry for a given term in their online catalogues are included.  
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: '''Dictionary and glossary entries''' from sources in multiple languages published in the last twenty years and at least partly freely available online. Bibliographic citations for the abbreviations are [[#References|listed at the bottom]].
 
: '''Dictionary and glossary entries''' from sources in multiple languages published in the last twenty years and at least partly freely available online. Bibliographic citations for the abbreviations are [[#References|listed at the bottom]].
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</div>
 
</div>
  
 
An ism, style, movement or school is usually established through a number of players: artists, gallerists, collectors, critics and historians, as well as various institutional mechanisms, professional protocols and personal interests. Different phenomena can serve as triggers--aesthetic and/or sociopolitical visions or their (pejorative) criticism, financial speculation or its rejection--and it may be first recognised decades after its foundational works were made. These issues are documented and analysed in publications, some of which are listed in the column ''Key texts''. Those writings, along with recent large-scale reexaminations informed the selection of formative works and artists for respective entries on this page.<ref>In recent decades, many ''isms'' were subjected to major reexaminations through retrospective exhibitions which acknowledged the legacy of women and non-Caucasian artists and extended the geographic radius beyond the West. Examples include ''[[Media:Hulten_Pontus_ed_Futurism_and_Futurisms.pdf|Futurism & Futurisms]]'' (1986), ''[http://www.moca.org/exhibition/out-of-actions-between-performance-and-the-object-1949-1979 Out of Actions: Between Performance and the Object, 1949-1979]'' (reassessing [[#performanceart|performance art]], [[#happening|happening]] and [[#processart|process art]], 1998), ''[http://post.at.moma.org/content_items/580-global-conceptualism-reflections Global Conceptualism: Points of Origin 1950-1980s]'' (1999), ''[http://www.fluxus-east.eu/ Fluxus East]'' (2007), ''[http://www.brooklynmuseum.org/exhibitions/seductive_subversion/ Seductive Subversion: Women Pop Artists, 1958–1968]'' (2010), ''[http://ops.thejewishmuseum.org/ Other Primary Structures]'' (reassessing [[#minimalism|Minimalism]], 2014), ''[http://schirn.de/sturmfrauen/digitorial/en/ Storm Women]'' (reassessing [[#expressionism|Expressionism]], 2015), ''[http://www.walkerart.org/calendar/2015/international-pop International Pop]'' (2015), ''[http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-world-goes-pop World Goes Pop]'' (2015). Another phenomenon are reprises, restagings and returns to style-defining exhibitions such as [https://commons.wikimedia.org/w/index.php?search=OBMOkHU+1921&title=Special:Search&go=Go ''Second Spring Exhibition'' of Obmokhu at Tretyakov Gallery] (defining [[#constructivism|Constructivism]], opened 2006), ''[http://www.kunsthalle-duesseldorf.de/index.php?id=342 Living with Pop: A Reproduction of Capitalist Realism]'' (2013) and ''[http://www.centrepompidou.fr/cpv/resource/c5eRpey/rERz8A Magiciens de la terre]'' (2014).</ref>  
 
An ism, style, movement or school is usually established through a number of players: artists, gallerists, collectors, critics and historians, as well as various institutional mechanisms, professional protocols and personal interests. Different phenomena can serve as triggers--aesthetic and/or sociopolitical visions or their (pejorative) criticism, financial speculation or its rejection--and it may be first recognised decades after its foundational works were made. These issues are documented and analysed in publications, some of which are listed in the column ''Key texts''. Those writings, along with recent large-scale reexaminations informed the selection of formative works and artists for respective entries on this page.<ref>In recent decades, many ''isms'' were subjected to major reexaminations through retrospective exhibitions which acknowledged the legacy of women and non-Caucasian artists and extended the geographic radius beyond the West. Examples include ''[[Media:Hulten_Pontus_ed_Futurism_and_Futurisms.pdf|Futurism & Futurisms]]'' (1986), ''[http://www.moca.org/exhibition/out-of-actions-between-performance-and-the-object-1949-1979 Out of Actions: Between Performance and the Object, 1949-1979]'' (reassessing [[#performanceart|performance art]], [[#happening|happening]] and [[#processart|process art]], 1998), ''[http://post.at.moma.org/content_items/580-global-conceptualism-reflections Global Conceptualism: Points of Origin 1950-1980s]'' (1999), ''[http://www.fluxus-east.eu/ Fluxus East]'' (2007), ''[http://www.brooklynmuseum.org/exhibitions/seductive_subversion/ Seductive Subversion: Women Pop Artists, 1958–1968]'' (2010), ''[http://ops.thejewishmuseum.org/ Other Primary Structures]'' (reassessing [[#minimalism|Minimalism]], 2014), ''[http://schirn.de/sturmfrauen/digitorial/en/ Storm Women]'' (reassessing [[#expressionism|Expressionism]], 2015), ''[http://www.walkerart.org/calendar/2015/international-pop International Pop]'' (2015), ''[http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-world-goes-pop World Goes Pop]'' (2015). Another phenomenon are reprises, restagings and returns to style-defining exhibitions such as [https://commons.wikimedia.org/w/index.php?search=OBMOkHU+1921&title=Special:Search&go=Go ''Second Spring Exhibition'' of Obmokhu at Tretyakov Gallery] (defining [[#constructivism|Constructivism]], opened 2006), ''[http://www.kunsthalle-duesseldorf.de/index.php?id=342 Living with Pop: A Reproduction of Capitalist Realism]'' (2013) and ''[http://www.centrepompidou.fr/cpv/resource/c5eRpey/rERz8A Magiciens de la terre]'' (2014).</ref>  
  
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The page puts forward the kind of visual art the historian of modernism wishes to see. Regardless, it does not intend to list the most significant artworks nor the most significant artists of the past 150 years. Admitting a certain power of the concepts of style and movement even today, this page can be seen as an entry point and contextual resource for modern and contemporary art which is not be based primarily on technique, subject matter, material or economic value of works nor on identity of their authors or owners.
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The page puts forward the kind of visual art the historian of modernism wishes to see. Regardless, it does not intend to list the most significant artworks nor the most significant artists of the past 150 years. Admitting a certain power of the concepts of style and movement even today, this page can be seen as an entry point and contextual resource for visual art which is not be based primarily on technique, subject matter, material or economic value of works nor on identity of their authors or owners.
  
 
''First published on 23 May 2016.''
 
''First published on 23 May 2016.''
  
 
==Index==
 
==Index==
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''Even though it is default, the linear chronology is only one of the parameters for viewing the table: four columns are sortable, and it possible to switch to the visual mode by clicking on any image.''
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''Although the default is linear chronology, this is only one way to view the list: the four columns can be sorted, and you can click on any image to switch to visual mode.''
 
{| class="wikitable sortable" style="font-size: .9em; width:100%;"
 
{| class="wikitable sortable" style="font-size: .9em; width:100%;"
 
|- class="nobottom"
 
|- class="nobottom"
Line 686: Line 697:
 
''en'' [https://www.tate.org.uk/art/art-terms/f/fantastic-realism Tate], {{wp|Vienna_School_of_Fantastic_Realism}}. ''cr'' {{Suvakovic|200}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/fantasztikus-realizmus Artportal].  
 
''en'' [https://www.tate.org.uk/art/art-terms/f/fantastic-realism Tate], {{wp|Vienna_School_of_Fantastic_Realism}}. ''cr'' {{Suvakovic|200}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/fantasztikus-realizmus Artportal].  
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|kineticart}} [[Kinetic art|Kinetic Art, Kineticism]] || {{sm|1955}} ''[[Kinetic_art#Exhibitions|Mouvement]]''<br>{{sm|1961}} ''Rörelse i konsten''<br>{{sm|1964-66}} Signals Gallery<br>{{sm|1966}} ''[[9 Evenings]]'' || [[Kinetic art#Vasarely1955|{{sm|1955}} Vasarely]]<br>{{sm|1964-66}} ''Signals'' || [[Tinguely]] (CH), [[Bury]] (BE-FR), [http://www.jr-soto.com Soto] (VE-FR), Agam (IL-FR), [[Takis]] (GR-FR), Medalla (PH-UK), GRAV (FR), [[Dvizheniye]] (RU) || sculpture || [[Gabo#mediaviewer/File:Gabo_Naum_1919-20_1985_Kinetic_Construction_Standing_Wave.jpg|Gabo 1919-20]], [http://www.moma.org/explore/multimedia/audios/339/4317 Duchamp 1924], [http://www.calder.org/work/by-category/hanging-mobile Calder 1932ff]
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| {{a|kineticart}} [[Kinetic art|Kinetic Art, Kineticism]] || {{sm|1955}} ''[[Kinetic_art#Exhibitions|Mouvement]]''<br>{{sm|1961}} ''Rörelse i konsten''<br>{{sm|1964-66}} Signals Gallery<br>{{sm|1966}} ''[[9 Evenings]]'' || [[Kinetic art#Vasarely1955|{{sm|1955}} Vasarely]]<br>{{sm|1964-66}} ''Signals'' || [[Tinguely]] (CH), [[Bury]] (BE-FR), [[Jesús Rafael Soto|Soto]] (VE-FR), Agam (IL-FR), [[Takis]] (GR-FR), [[David Medalla|Medalla]] (PH-UK), [[GRAV]] (FR), [[Dvizheniye]] (RU) || sculpture || [[Gabo#mediaviewer/File:Gabo_Naum_1919-20_1985_Kinetic_Construction_Standing_Wave.jpg|Gabo 1919-20]], [http://www.moma.org/explore/multimedia/audios/339/4317 Duchamp 1924], [http://www.calder.org/work/by-category/hanging-mobile Calder 1932ff]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 739: Line 750:
 
''en'' [http://www.moma.org/collection_ge/details.php?theme_id=10170 Grove], [http://www.moma.org/learn/moma_learning/themes/pop-art MoMA], [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100337963 Oxford DA], [http://mediation.centrepompidou.fr/education/ressources/ENS-PopArt-EN/ENS-PopArt-EN.htm Pompidou], [http://faculty.winthrop.edu/stockk/contemporary%20art/styles%20pop002.pdf SSM], [https://www.tate.org.uk/art/art-terms/p/pop-art Tate], {{wp|Pop_art}}. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-pop_art/ENS-pop_art.htm Pompidou]. ''it'' {{Treccani|pop-art}}. ''cr'' {{Suvakovic|466}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/pop-art Artportal], [http://artportal.hu/lexikon/fogalmi_szocikkek/pop-art-magyarorszagon Artportal]. ''no'' [http://snl.no/popkunst SNL].
 
''en'' [http://www.moma.org/collection_ge/details.php?theme_id=10170 Grove], [http://www.moma.org/learn/moma_learning/themes/pop-art MoMA], [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100337963 Oxford DA], [http://mediation.centrepompidou.fr/education/ressources/ENS-PopArt-EN/ENS-PopArt-EN.htm Pompidou], [http://faculty.winthrop.edu/stockk/contemporary%20art/styles%20pop002.pdf SSM], [https://www.tate.org.uk/art/art-terms/p/pop-art Tate], {{wp|Pop_art}}. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-pop_art/ENS-pop_art.htm Pompidou]. ''it'' {{Treccani|pop-art}}. ''cr'' {{Suvakovic|466}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/pop-art Artportal], [http://artportal.hu/lexikon/fogalmi_szocikkek/pop-art-magyarorszagon Artportal]. ''no'' [http://snl.no/popkunst SNL].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|zero}} Zero || {{sm|1957}} ''[http://www.4321zero.com/1957.html First Evening Exhibition]''<br>{{sm|1958}} ''[http://www.4321zero.com/1958.html The Red Picture]''<br>{{sm|1959}} ''[http://www.4321zero.com/1959.html Motion in Vision–Vision in Motion]''<br>{{sm|1960}} ''[http://www.4321zero.com/1960.html The New Conception]''<br>{{sm|1961}} ''[http://www.4321zero.com/1961.html ZERO. Edition, Exposition, Demonstration]''<br>{{sm|1962}} ''[http://www.4321zero.com/1962.html Nul 62]''<br>{{sm|2014}} ''[http://exhibitions.guggenheim.org/zero/ ZERO: Countdown to Tomorrow]'' || {{sm|1958-61}} ''Zero''<br>[http://www.zerofoundation.de/statements.html {{sm|1964}} Piene] || Piene, Mack, Uecker (DE), [http://www.yveskleinarchives.org Klein] (FR), Tinguely (CH), Fontana (AR-IT), Manzoni (IT), Bury (BE-FR), Soto (VE-FR), Spoerri (RO-CH), Nul group (NL) || painting, sculpture, drawing, environment, performance || [[#kineticart|kinetic art]]
+
| {{a|zero}} [[Zero]] || {{sm|1957}} ''[http://www.4321zero.com/1957.html First Evening Exhibition]''<br>{{sm|1958}} ''[http://www.4321zero.com/1958.html The Red Picture]''<br>{{sm|1959}} ''[http://www.4321zero.com/1959.html Motion in Vision–Vision in Motion]''<br>{{sm|1960}} ''[http://www.4321zero.com/1960.html The New Conception]''<br>{{sm|1961}} ''[http://www.4321zero.com/1961.html ZERO. Edition, Exposition, Demonstration]''<br>{{sm|1962}} ''[http://www.4321zero.com/1962.html Nul 62]''<br>{{sm|2014}} ''[http://exhibitions.guggenheim.org/zero/ ZERO: Countdown to Tomorrow]'' || {{sm|1958-61}} ''Zero''<br>[http://www.zerofoundation.de/statements.html {{sm|1964}} Piene] || [[Otto Piene|Piene]], Mack, Uecker (DE), [http://www.yveskleinarchives.org Klein] (FR), [[Jean Tinguely|Tinguely]] (CH), Fontana (AR-IT), Manzoni (IT), [[Pol Bury|Bury]] (BE-FR), [[Jesús Rafael Soto|Soto]] (VE-FR), [[Daniel Spoerri|Spoerri]] (RO-CH), Nul group (NL) || painting, sculpture, drawing, environment, performance || [[#kineticart|kinetic art]]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 803: Line 814:
 
''en'' [http://www.guggenheim.org/artwork/movement/nouveau-realisme Guggenheim], [http://mediation.centrepompidou.fr/education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm Pompidou], [https://www.tate.org.uk/art/art-terms/n/nouveau-realisme Tate], {{wp|Nouveau_réalisme}}. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-nouvrea/ENS-nouvrea.htm Pompidou]. ''it'' {{Treccani|nouveau-realisme}}. ''cr'' {{Suvakovic|427}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/ujrealizmus Artportal]  
 
''en'' [http://www.guggenheim.org/artwork/movement/nouveau-realisme Guggenheim], [http://mediation.centrepompidou.fr/education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm Pompidou], [https://www.tate.org.uk/art/art-terms/n/nouveau-realisme Tate], {{wp|Nouveau_réalisme}}. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-nouvrea/ENS-nouvrea.htm Pompidou]. ''it'' {{Treccani|nouveau-realisme}}. ''cr'' {{Suvakovic|427}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/ujrealizmus Artportal]  
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|environment}} Environment || {{sm|1962}} ''Dylaby''<br>{{sm|1967-68}} ''[http://archleague.org/2013/03/timeline-franzen-the-league/ Environment, I-V]'' || [[Media:Kaprow_Allan_1958_1993_The_Legacy_of_Jackson_Pollock.pdf|{{sm|1958}} Kaprow]]<br>[http://libgen.rs/book/index.php?md5=b7b561fd342fb2a1ccb6d08608d11318 {{sm|1969}} Wedewer]<br>{{sm|1972}} Kepes || [[Kaprow]], [http://www.oldenburgvanbruggen.com/ Oldenburg], Dine, Kienholz, [http://www.segalfoundation.org Segal] (US), [http://www.jr-soto.com Soto] (VE-FR), Alviani, [http://www.archiviogiannicolombo.org/ Colombo], [http://www.archivioenricocastellani.it/ Castellani] (IT) || mixed-media construction, assemblage || Schwitters' ''Merzbau''  
+
| {{a|environment}} Environment || {{sm|1962}} ''Dylaby''<br>{{sm|1967-68}} ''[http://archleague.org/2013/03/timeline-franzen-the-league/ Environment, I-V]'' || [[Media:Kaprow_Allan_1958_1993_The_Legacy_of_Jackson_Pollock.pdf|{{sm|1958}} Kaprow]]<br>[http://libgen.is/book/index.php?md5=b7b561fd342fb2a1ccb6d08608d11318 {{sm|1969}} Wedewer]<br>{{sm|1972}} Kepes || [[Kaprow]], [http://www.oldenburgvanbruggen.com/ Oldenburg], Dine, Kienholz, [http://www.segalfoundation.org Segal] (US), [http://www.jr-soto.com Soto] (VE-FR), Alviani, [http://www.archiviogiannicolombo.org/ Colombo], [http://www.archivioenricocastellani.it/ Castellani] (IT) || mixed-media construction, assemblage || Schwitters' ''Merzbau''  
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 975: Line 986:
 
</gallery>
 
</gallery>
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|artepovera}} Arte Povera || {{sm|1967}} ''Arte povera – IM Spazio''<br>{{sm|1968}} ''[http://www.defoscherari.com/archivio-1963-2000-galleria-arte-de-foscherari-bologna/arte-povera-1968 Arte Povera]''<br>{{sm|1968}} ''Arte Povera+Azioni Povere'' || [http://www.flashartonline.it/article/arte-povera/ {{sm|1967}} Celant]<br>[https://monoskop.org/log/?p=19521 {{sm|1969}} Celant] || Anselmo, Boetti, Calzolari, Fabro, Gilardi, Mario Merz, Marisa Merz, Paolini, Pascali, Penone, [http://www.pistoletto.it Pistoletto], Prini, Zorio (IT), Kounellis (GR-IT) || sculpture, installation, happening, performance || [[#conceptualart|conceptual art]], Pasolini
+
| {{a|artepovera}} [[Arte Povera]] || {{sm|1967}} ''Arte povera – IM Spazio''<br>{{sm|1968}} ''[http://www.defoscherari.com/archivio-1963-2000-galleria-arte-de-foscherari-bologna/arte-povera-1968 Arte Povera]''<br>{{sm|1968}} ''Arte Povera+Azioni Povere'' || [http://www.flashartonline.it/article/arte-povera/ {{sm|1967}} Celant]<br>[https://monoskop.org/log/?p=19521 {{sm|1969}} Celant] || Anselmo, Boetti, Calzolari, Fabro, Gilardi, Mario Merz, Marisa Merz, Paolini, Pascali, Penone, [http://www.pistoletto.it Pistoletto], Prini, Zorio (IT), Kounellis (GR-IT) || sculpture, installation, happening, performance || [[#conceptualart|conceptual art]], Pasolini
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 997: Line 1,008:
 
''en'' [http://www.britannica.com/art/performance-art Britannica], [http://www.moma.org/collection_ge/details.php?theme_id=10463 Grove], [http://www.guggenheim.org/artwork/movement/performance Guggenheim], [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100317137 Oxford DA], [http://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0047.xml Oxford Bib], [https://www.tate.org.uk/art/art-terms/p/performance-art Tate], {{wp|Performance_art}}. ''es'' [http://cvaa.com.ar/02dossiers/accion/2_intro.php CVAA]. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-Performance/ Pompidou]. ''it'' {{Treccani|performance}}. ''cr'' {{Suvakovic|454}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/performance Artportal]. ''sl'' [http://www.pojmovnik.si/koncept/performans/ Pojmovnik].
 
''en'' [http://www.britannica.com/art/performance-art Britannica], [http://www.moma.org/collection_ge/details.php?theme_id=10463 Grove], [http://www.guggenheim.org/artwork/movement/performance Guggenheim], [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100317137 Oxford DA], [http://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0047.xml Oxford Bib], [https://www.tate.org.uk/art/art-terms/p/performance-art Tate], {{wp|Performance_art}}. ''es'' [http://cvaa.com.ar/02dossiers/accion/2_intro.php CVAA]. ''fr'' [http://mediation.centrepompidou.fr/education/ressources/ENS-Performance/ Pompidou]. ''it'' {{Treccani|performance}}. ''cr'' {{Suvakovic|454}}. ''hu'' [http://artportal.hu/lexikon/fogalmi_szocikkek/performance Artportal]. ''sl'' [http://www.pojmovnik.si/koncept/performans/ Pojmovnik].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|blackarts}} Black Arts Movement || {{sm|1968}} Weusi at Stony Brook U<br>{{sm|1970}} ''AfriCOBRA 1: Ten in Search of a Nation''<br>{{sm|1971}} ''Where We At: Black Women Artists''<br>{{sm|2010}} ''[http://www.northwestern.edu/newscenter/stories/2010/01/africobra.html AfriCOBRA]''<br>{{sm|2015}} ''[http://exhibitions.mcachicago.org/freedomprinciple/ The Freedom Principle]''<br>{{sm|2018}} ''[https://www.brooklynmuseum.org/exhibitions/soul_of_a_nation Soul of a Nation]'' || [http://nka.dukejournals.org/content/2012/30/76.full.pdf {{sm|1970}} Donaldson] || Andrews, Bellow, Brown, [http://artbymariecalloway.com Calloway], Donaldson, [http://web.archive.org/web/20120323114910/http://africobra.com/JaePage_1.html J Jarrell], [http://web.archive.org/web/20120323114603/http://africobra.com/WadsworthPage1.html W Jarrell], [http://art.artandutility.com/~benfjone/ Jones], [http://web.archive.org/web/20120323115204/http://africobra.com/BarbaraPage1.html Jones-Hogu], Lawrence, [http://web.archive.org/web/20120323115305/http://africobra.com/HowardPage1.html Mallory], [http://www.weusiart.com/#!dindga-mccannon/ccz3 McCannon], [http://www.weusiart.com/#!ademola-olugebefola-/c1c5p Olugebefola], Riddle, [http://www.betyesaar.net/ Saar], collectives: [http://www.weusiart.com/ Weusi], [http://web.archive.org/web/20120323114603/http://africobra.com AfriCOBRA], Where We At (US) || printmaking, collage, painting, quilt || [http://www.ohio.edu/people/hartleyg/docs/blackarts_neal.html Neal 1968], liberation, equality
+
| {{a|blackarts}} Black Arts Movement || {{sm|1968}} Weusi at Stony Brook U<br>{{sm|1970}} ''AfriCOBRA 1: Ten in Search of a Nation''<br>{{sm|1971}} ''Where We At: Black Women Artists''<br>{{sm|2010}} ''[http://www.northwestern.edu/newscenter/stories/2010/01/africobra.html AfriCOBRA]''<br>{{sm|2015}} ''[http://exhibitions.mcachicago.org/freedomprinciple/ The Freedom Principle]''<br>{{sm|2018}} ''[https://www.brooklynmuseum.org/exhibitions/soul_of_a_nation Soul of a Nation]'' || [http://nka.dukejournals.org/content/2012/30/76.full.pdf {{sm|1970}} Donaldson]<br>[http://library.memoryoftheworld.org/#/book/271ec0ff-77a8-46e1-99e1-e1b2c3acc0c9 {{sm|2018}} Morgan] || Andrews, Bellow, Brown, [http://artbymariecalloway.com Calloway], Donaldson, [http://web.archive.org/web/20120323114910/http://africobra.com/JaePage_1.html J Jarrell], [http://web.archive.org/web/20120323114603/http://africobra.com/WadsworthPage1.html W Jarrell], [http://art.artandutility.com/~benfjone/ Jones], [http://web.archive.org/web/20120323115204/http://africobra.com/BarbaraPage1.html Jones-Hogu], Lawrence, [http://web.archive.org/web/20120323115305/http://africobra.com/HowardPage1.html Mallory], [http://www.weusiart.com/#!dindga-mccannon/ccz3 McCannon], [http://www.weusiart.com/#!ademola-olugebefola-/c1c5p Olugebefola], Riddle, [http://www.betyesaar.net/ Saar], collectives: [http://www.weusiart.com/ Weusi], [[AfriCOBRA]], Where We At (US) || printmaking, collage, painting, quilt || [http://www.ohio.edu/people/hartleyg/docs/blackarts_neal.html Neal 1968], liberation, equality
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 1,064: Line 1,075:
 
{{sm|AUTH}} [http://vocab.getty.edu/page/aat/300264827 AAT].
 
{{sm|AUTH}} [http://vocab.getty.edu/page/aat/300264827 AAT].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|institutionalcritique}} Institutional Critique || {{sm|1971}} Guggenheim cancels Haacke's show<br>{{sm|1971}} Guggenheim censores Buren's work || [http://everydayarchive.org/awt/wp-content/uploads/2014/01/buren_studio.pdf {{sm|1971}} Buren]<br>[[Haacke#Haacke1977|{{sm|1977}} Haacke]]<br>[http://www.corner-college.com/udb/cproIhsEiyBuchloh_-_Conceptual_Art.pdf {{sm|1990}} Buchloh] || [[Haacke]] (DE-US), [[Broodthaers]] (BE), [http://www.danielburen.com Buren] (FR), Asher, [[Rosler]], [http://www.guerrillagirls.com/ Guerrilla Girls], [[Fraser]] (US), [[Wodiczko]] (PL-US) || sculpture, installation, performance || [[#conceptualart|conceptual art]], [[Foucault]]
+
| {{a|institutionalcritique}} [[Institutional Critique]] || {{sm|1971}} Guggenheim cancels Haacke's show<br>{{sm|1971}} Guggenheim censores Buren's work || [http://everydayarchive.org/awt/wp-content/uploads/2014/01/buren_studio.pdf {{sm|1971}} Buren]<br>[[Haacke#Haacke1977|{{sm|1977}} Haacke]]<br>[http://www.corner-college.com/udb/cproIhsEiyBuchloh_-_Conceptual_Art.pdf {{sm|1990}} Buchloh] || [[Haacke]] (DE-US), [[Broodthaers]] (BE), [http://www.danielburen.com Buren] (FR), Asher, [[Rosler]], [http://www.guerrillagirls.com/ Guerrilla Girls], [[Fraser]] (US), [[Wodiczko]] (PL-US) || sculpture, installation, performance || [[#conceptualart|conceptual art]], [[Foucault]]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 1,303: Line 1,314:
 
''en'' [https://www.tate.org.uk/art/art-terms/n/neue-slowenische-kunst Tate]. ''cr'' {{Suvakovic|416}}. ''sl'' [http://www.pojmovnik.si/koncept/novo_slovensko_kiparstvo/ Pojmovnik].  
 
''en'' [https://www.tate.org.uk/art/art-terms/n/neue-slowenische-kunst Tate]. ''cr'' {{Suvakovic|416}}. ''sl'' [http://www.pojmovnik.si/koncept/novo_slovensko_kiparstvo/ Pojmovnik].  
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|postcolonialart}} Postcolonial Art || {{sm|1984}} ''[[Media:Primitivism_in_20th_Century_Art_catalogue_1984.pdf|'Primitivism' in 20th Century Art]]'' [http://moma.org/calendar/exhibitions/1907?locale=en]<br>{{sm|1989}} ''[https://monoskop.org/log/?p=17368 Magiciens de la terre]''<br>{{sm|2014}} ''[http://www.centrepompidou.fr/cpv/resource/c5eRpey/rERz8A Magiciens de la terre. Retour sur une exposition légendaire]'' || || Durham, Hammons (US), Ofili (UK-TT), Orozco (MX-FR-US), Walker (US) || sculpture, performance, installation || [[Fanon#Fanon1961|Fanon 1961]], [[Media:Said_Edward_Orientalism_1979.pdf|Said 1978: ''Orientalism'']]
+
| {{a|postcolonialart}} Postcolonial Art || {{sm|1984}} ''[[Media:Primitivism_in_20th_Century_Art_catalogue_1984.pdf|'Primitivism' in 20th Century Art]]'' [http://moma.org/calendar/exhibitions/1907?locale=en]<br>{{sm|1989}} ''[https://monoskop.org/log/?p=17368 Magiciens de la terre]''<br>{{sm|2014}} ''[http://www.centrepompidou.fr/cpv/resource/c5eRpey/rERz8A Magiciens de la terre. Retour sur une exposition légendaire]'' || || [[Jimmie Durham|Durham]], Hammons (US), Ofili (UK-TT), Orozco (MX-FR-US), Walker (US) || sculpture, performance, installation || [[Fanon#Fanon1961|Fanon 1961]], [[Media:Said_Edward_Orientalism_1979.pdf|Said 1978: ''Orientalism'']]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 1,314: Line 1,325:
 
''en'' [https://www.tate.org.uk/art/art-terms/p/postcolonial-art Tate].
 
''en'' [https://www.tate.org.uk/art/art-terms/p/postcolonial-art Tate].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|britishblackarts}} British Black Arts Movement || {{sm|1984}} ''Into the Open''<br>{{sm|1987}} ''The Image Employed''<br>{{sm|1989}} ''The Other Story'' || || Araeen, Bailey, Black Audio Film Collective, Boyce, Chambers, Dedi, Forrester, Himid, C Johnson, Kapo, Palmer, [http://www.keithpiper.info K Piper], Rodney, Sealy, M Smith, Sulter (UK) || painting, sculpture, photography || Stuart Hall
+
| {{a|britishblackarts}} British Black Arts Movement || {{sm|1984}} ''Into the Open''<br>{{sm|1987}} ''The Image Employed''<br>{{sm|1989}} ''The Other Story'' || || Araeen, Bailey, [[Black Audio Film Collective]], Boyce, Chambers, Dedi, Forrester, Himid, C Johnson, Kapo, Palmer, [http://www.keithpiper.info K Piper], Rodney, Sealy, M Smith, Sulter (UK) || painting, sculpture, photography || [[Stuart Hall]]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 1,396: Line 1,407:
 
''en'' [http://contemporary_chinese_culture.academic.ru/610/Political_Pop ECCC].
 
''en'' [http://contemporary_chinese_culture.academic.ru/610/Political_Pop ECCC].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|relationalart}} Relational Art,<br>Relational Aesthetics || {{sm|1993}} ''[http://www.kunstverein.de/ausstellungen/archiv/1990-1999/1993/19930910-backstage.php Backstage]''<br>{{sm|1996}} ''Traffic''<br>{{sm|2002}} ''[http://www.karensmoss.net/touch/ Touch]''<br>{{sm|2008}} ''[http://web.guggenheim.org/exhibitions/anyspace/ theanyspacewhatever]'' || [http://libgen.rs/book/index.php?md5=774ED2ACDD5C80E075E4BAC62BE2D491 {{sm|1998}} Bourriaud]<br>[[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|{{sm|2004}} Bishop]] || Parreno, Huyghe (FR), Gillick (UK-US), Tiravanija (TH-US), Beecroft (IT-US), Cattelan (IT), Höller (BE), Gordon (UK) || performance, installation, sculpture ||  
+
| {{a|relationalart}} Relational Art,<br>Relational Aesthetics || {{sm|1993}} ''[http://www.kunstverein.de/ausstellungen/archiv/1990-1999/1993/19930910-backstage.php Backstage]''<br>{{sm|1996}} ''Traffic''<br>{{sm|2002}} ''[http://www.karensmoss.net/touch/ Touch]''<br>{{sm|2008}} ''[http://web.guggenheim.org/exhibitions/anyspace/ theanyspacewhatever]'' || [http://libgen.is/book/index.php?md5=774ED2ACDD5C80E075E4BAC62BE2D491 {{sm|1998}} Bourriaud]<br>[[Media:Bishop_Claire_2004_Antagonism_and_Relational_Aesthetics.pdf|{{sm|2004}} Bishop]] || Parreno, Huyghe (FR), Gillick (UK-US), Tiravanija (TH-US), Beecroft (IT-US), Cattelan (IT), Höller (BE), Gordon (UK) || performance, installation, sculpture ||  
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
Line 1,405: Line 1,416:
 
</gallery>
 
</gallery>
 
''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3AArt%20relationnel Pompidou]. ''INT'' [https://www.artsy.net/gene/relational-aesthetics Artsy].<br>
 
''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3AArt%20relationnel Pompidou]. ''INT'' [https://www.artsy.net/gene/relational-aesthetics Artsy].<br>
−
''en'' [   https://doi.org/10.1093/gao/9781884446054.article.T2093934 Grove], [https://www.tate.org.uk/art/art-terms/r/relational-aesthetics Tate]. ''cr'' {{Suvakovic|547}}.
+
''en'' [https://doi.org/10.1093/gao/9781884446054.article.T2093934 Grove], [https://www.tate.org.uk/art/art-terms/r/relational-aesthetics Tate]. ''cr'' {{Suvakovic|547}}.
 
|- class="nobottom"
 
|- class="nobottom"
 
| {{a|newgenrepublicart}} New Genre Public Art || {{sm|1993}} ''Culture in Action'' || [https://monoskop.org/log/?p=19518 {{sm|1995}} Lacy]<br>[https://monoskop.org/images/d/d3/Kwon_Miwon_One_Place_after_Another_Site-Specific_Art_and_Locational_Identity.pdf#page=113 {{sm|2002}} Kwon] || [http://www.suzannelacy.com Lacy], Dion (US), [http://www.taniabruguera.com Bruguera] (CU-US) || ||  
 
| {{a|newgenrepublicart}} New Genre Public Art || {{sm|1993}} ''Culture in Action'' || [https://monoskop.org/log/?p=19518 {{sm|1995}} Lacy]<br>[https://monoskop.org/images/d/d3/Kwon_Miwon_One_Place_after_Another_Site-Specific_Art_and_Locational_Identity.pdf#page=113 {{sm|2002}} Kwon] || [http://www.suzannelacy.com Lacy], Dion (US), [http://www.taniabruguera.com Bruguera] (CU-US) || ||  
Line 1,446: Line 1,457:
 
''en'' [https://www.tate.org.uk/art/art-terms/t/tactical-media Tate].
 
''en'' [https://www.tate.org.uk/art/art-terms/t/tactical-media Tate].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|netart}} [[Net art|Net Art,<br>Internet Art]] || {{sm|1993}} jodi.org<br>{{sm|1994}} irational.org<br>{{sm|1997}} ''[http://www.documenta12.de/archiv/dx/english/frm_home.htm documenta X]''<br>{{sm|1998}} ''[http://www.walkerart.org/gallery9/beyondinterface/ Beyond Interface]''<br>{{sm|2000}} ''[http://www.d-i-n-a.net/en/dina/dina00.html Digital Is Not Analog]'' || [http://www.irational.org/cern/netart.txt {{sm|1996}} Blank]<br>{{sm|1999}} ''[http://web.archive.org/web/20150107012813/http://www.medialounge.net/lounge/workspace/nettime/DOCS/zkp5/pdf/art.pdf ReadMe!]'' || [[Jodi]] (BE/NL), [[Vuk Ćosić|Ćosić]] (SL), [[Heath Bunting|Bunting]] & [[irational.org]] (UK/int), [[Alexei Shulgin|Shulgin]], [[Olia Lialina|Lialina]] (RU), [[Natalie Bookchin|Bookchin]] (US), [[0100101110101101.org]] (IT) || software || [[Nettime]]
+
| {{a|netart}} [[Net art|Net Art,<br>Internet Art]] || {{sm|1993}} jodi.org<br>{{sm|1994}} irational.org<br>{{sm|1997}} ''[[Hybrid Workspace]]''<br>{{sm|1998}} ''[http://www.walkerart.org/gallery9/beyondinterface/ Beyond Interface]''<br>{{sm|2000}} ''[http://www.d-i-n-a.net/en/dina/dina00.html Digital Is Not Analog]'' || [http://www.irational.org/cern/netart.txt {{sm|1996}} Blank]<br>{{sm|1999}} ''[http://web.archive.org/web/20150107012813/http://www.medialounge.net/lounge/workspace/nettime/DOCS/zkp5/pdf/art.pdf ReadMe!]'' || [[Jodi]] (BE/NL), [[Vuk Ćosić|Ćosić]] (SL), [[Heath Bunting|Bunting]] & [[irational.org]] (UK/int), [[Alexei Shulgin|Shulgin]], [[Olia Lialina|Lialina]] (RU), [[Natalie Bookchin|Bookchin]] (US), [[0100101110101101.org]] (IT) || software || [[Nettime]], net culture
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
 
<gallery widths=300 heights=280>
 
<gallery widths=300 heights=280>
−
Jodi_1995_wwwwwwwww.jodi.org.png|Jodi, ''wwwwwwwww.jodi.org'', 1995. The sub-domain ''wwwwwwwww'' was installed in 2001 and contains works from 1995 to 1998. Web page. [http://wwwwwwwww.jodi.org Online].
+
Jodi_1995_wwwwwwwww.jodi.org.png|Jodi, ''wwwwwwwww.jodi.org'', 1995. The sub-domain ''wwwwwwwww'' was installed in 2001 and contains works from 1995 to 1998. Website. [http://wwwwwwwww.jodi.org Online].
−
Shulgin_Alexei_1997_Form_Art.jpg|Alexei Shulgin, ''Form Art'', 1997. Web page. [http://www.c3.hu/collection/form/ Online].
+
Shulgin_Alexei_1997_Form_Art.jpg|Alexei Shulgin, ''Form Art'', 1997. Website. [http://www.c3.hu/collection/form/ Online].
−
0100101110101101.org 2000-03 Life Sharing.png|0100101110101101.org, ''Life Sharing'', 2000-03. Web page. [http://0100101110101101.org/life-sharing/ Documentation].
+
0100101110101101.org 2000-03 Life Sharing.png|0100101110101101.org, ''Life Sharing'', 2000-2003. Website. [http://0100101110101101.org/life-sharing/ Documentation].
 
</gallery>
 
</gallery>
 
''US'' [http://turbulence.org/ Turbulence]. ''INT'' [https://www.artsy.net/gene/net-art Artsy].<br>
 
''US'' [http://turbulence.org/ Turbulence]. ''INT'' [https://www.artsy.net/gene/net-art Artsy].<br>
 
''en'' [https://doi.org/10.1093/gao/9781884446054.article.T2287852 Grove], [http://www.guggenheim.org/artwork/movement/networked-art Guggenheim], [https://www.tate.org.uk/art/art-terms/n/net-art Tate]. ''it'' {{Treccani|net-art}}. ''cr'' {{Suvakovic|283}}. ''sl'' [http://www.pojmovnik.si/koncept/netart_spletna_umetnost/ Pojmovnik].  
 
''en'' [https://doi.org/10.1093/gao/9781884446054.article.T2287852 Grove], [http://www.guggenheim.org/artwork/movement/networked-art Guggenheim], [https://www.tate.org.uk/art/art-terms/n/net-art Tate]. ''it'' {{Treccani|net-art}}. ''cr'' {{Suvakovic|283}}. ''sl'' [http://www.pojmovnik.si/koncept/netart_spletna_umetnost/ Pojmovnik].  
−
|- class="nobottom"
 
−
| {{a|browserart}} Browser Art || || || [http://bak.spc.org/iod/index.html I/O/D] (UK), [[Jodi]] (BE/NL), [http://potatoland.org/ Napier] (US) || software || [[#netart|net art]], [[#softwareart|software art]]
 
−
|- class="expand-child notop"
 
−
| || colspan="6" |
 
−
<gallery widths=300 heights=280>
 
−
I_O_D_1997_I_O_D_4_The_Web_Stalker.jpg|I/O/D (Matthew Fuller, Colin Green, Simon Pope), ''I/O/D 4: The Web Stalker'', 1997. Software. [http://bak.spc.org/iod/iod4.html Online].
 
−
Jodi_1998-2000_Wrong_Browser.png|Jodi, ''Wrong Browser'', 1998-2000. Software. [http://wrongbrowser.jodi.org/ Online].
 
−
Napier_Mark_1998_Shredder.jpg|Mark Napier, ''Shredder'', 1998. Software. [http://www.potatoland.org/shredder/ Online].
 
−
</gallery>
 
−
''en'' [https://www.tate.org.uk/art/art-terms/b/browser-art Tate].
 
 
|- class="nobottom"
 
|- class="nobottom"
 
| {{a|afrofuturism}} [[Afrofuturism]] || {{sm|2013}} ''[http://www.studiomuseum.org/exhibition/the-shadows-took-shape The Shadows Took Shape]''<br>{{sm|2015}} ''[http://www.nypl.org/events/exhibitions/unveiling-visions Unveiling Visions]'' || {{sm|1994}} Dery<br>[http://monoskop.org/log/?p=805 {{sm|1998}} Eshun] || Akomfrah (GH-UK), Kia Henda (AO), [http://otolithgroup.org/ Otolith Group] (UK), [http://wangechimutu.com/ Mutu] (KE-US), [http://www.lademiddel.com/ De Middel] (ES-UK) || || mythology, race, technology
 
| {{a|afrofuturism}} [[Afrofuturism]] || {{sm|2013}} ''[http://www.studiomuseum.org/exhibition/the-shadows-took-shape The Shadows Took Shape]''<br>{{sm|2015}} ''[http://www.nypl.org/events/exhibitions/unveiling-visions Unveiling Visions]'' || {{sm|1994}} Dery<br>[http://monoskop.org/log/?p=805 {{sm|1998}} Eshun] || Akomfrah (GH-UK), Kia Henda (AO), [http://otolithgroup.org/ Otolith Group] (UK), [http://wangechimutu.com/ Mutu] (KE-US), [http://www.lademiddel.com/ De Middel] (ES-UK) || || mythology, race, technology
Line 1,478: Line 1,479:
 
''en'' [https://www.tate.org.uk/art/art-terms/a/afrofuturism Tate].
 
''en'' [https://www.tate.org.uk/art/art-terms/a/afrofuturism Tate].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|gameart}} [[Game art|Game Art]] || {{sm|1998}} ''[http://synreal.netbase.org/ Synreal: The Unreal Modification]''<br>{{sm|2001}} ''[http://www.massmoca.org/event_details.php?id=55 Game Show]''<br>{{sm|2003}} ''[https://www.hmkv.de/_en/programm/programmpunkte/2003/Ausstellungen/2003_games.php Games: Computer Games by Artists]'' || [http://www.crudeoils.us/artwrite/August2002/Holmes.htm {{sm|2002}} Holmes] || [[Jodi]] (BE/NL), [[Mongrel]] (UK), [[Natalie Bookchin|Bookchin]] (US), [[Eastwood]] (SR), [[Ivor Diosi|Diosi]] (SK-CZ), [http://www.molleindustria.org Molleindustria] (IT), [http://julianoliver.com J Oliver] (NZ-DE), [http://ludic-society.net/ Jahrmann] (AT) || software, installation ||  
+
| {{a|softwareart}} [[Software art|Software Art]] || {{sm|2002}} ''[[Readme]]''<br>{{sm|2002}} ''[http://artport.whitney.org/commissions/codedoc/ CODeDOC]''<br>{{sm|2003}} [http://90.146.8.18/en/archives/festival_archive/festival_overview.asp?iPresentationYearFrom=2003 ''Ars Electronica: Code''] || [http://monoskop.org/log/?p=8265 {{sm|2006}} Goriunova]<br>[http://monoskop.org/log/?p=31 {{sm|2008}} Mansoux & de Valk] || [[Aymeric Mansoux|Mansoux]] (FR-NL), [[I/O/D]], [[Mongrel]], [[Alex McLean|McLean]], [[Adrian Ward|Ward]], [[Simon Yuill|Yuill]] (UK), [[Golan Levin|Levin]], [http://potatoland.org/ Napier], [[Radical Software Group]] (US), [[0100101110101101.org]] (IT), [[Moddr]], [[Netochka Nezvanova]] (int) || software || [[#netart|net art]], [[#gameart|game art]]
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
 
<gallery widths=300 heights=280>
 
<gallery widths=300 heights=280>
−
Jodi_1999_SOD.jpg|Jodi, ''SOD'', 1999. Macintosh/PC computer game. 12 screen shots. [http://sod.jodi.org/ Online].
+
I_O_D_1997_I_O_D_4_The_Web_Stalker.jpg|I/O/D (Matthew Fuller, Colin Green, Simon Pope), ''I/O/D 4: The Web Stalker'', 1997. Software. [http://bak.spc.org/iod/iod4.html Online].
−
Bookchin_Natalie_1999_The_Intruder.jpg|Natalie Bookchin, ''The Intruder'', 1999. Web-based game. [http://bookchin.net/projects/the-intruder/ Artist].
+
Jodi_1998-2000_Wrong_Browser.png|Jodi, ''Wrong Browser'', 1998-2000. Software. [http://wrongbrowser.jodi.org/ Online].
−
Eastwood_2004-06_Civilization_IV.jpg|Eastwood, ''Civilization IV: Age of Empire'', 2004. PC computer game. [http://eastwd.org/civilization-4-age-of-empire-2004/ Online].
+
Napier_Mark_1998_Shredder.jpg|Mark Napier, ''Shredder'', 1998. Software. [http://www.potatoland.org/shredder/ Online].
 +
McLean_Alex_2001_Forkbomb_pl.jpg|Alex McLean, ''forkbomb.pl'', 2001. Software. [http://runme.org/project/+forkbomb/ Online].
 +
0100101110101101.org Epidemic 2001 Biennale py.jpg|''Perpetual Self Dis/Infecting Machine'', custom made computer infected with ''Biennale.py'' by 0100101110101101.org and Epidemic, 2001. [http://0100101110101101.org/biennale-py/ Online].
 +
Ward_Adrian_2002_Auto-Illustrator.png|Adrian Ward, ''Auto-Illustrator'', 2002. Software. [http://web.archive.org/web/20070928211859/http://www.auto-illustrator.com/ Online].
 
</gallery>
 
</gallery>
 +
''en'' [[Software art|Monoskop]], [https://www.tate.org.uk/art/art-terms/s/software-art Tate].
 
|- class="nobottom"
 
|- class="nobottom"
−
| {{a|postsense}} Post-Sense Sensibility || {{sm|1999}} ''Post-sense, Sensibility, Alien Bodies and Delusion'' || || WANG Wei, SUN Yuan (CN) || installation, performance, video, photography ||  
+
| {{a|gameart}} [[Game art|Game Art]] || {{sm|1998}} ''[http://synreal.netbase.org/ Synreal: The Unreal Modification]''<br>{{sm|2001}} ''[http://www.massmoca.org/event_details.php?id=55 Game Show]''<br>{{sm|2003}} ''[https://www.hmkv.de/_en/programm/programmpunkte/2003/Ausstellungen/2003_games.php Games: Computer Games by Artists]'' || [http://www.crudeoils.us/artwrite/August2002/Holmes.htm {{sm|2002}} Holmes] || [[Jodi]] (BE/NL), [[Mongrel]] (UK), [[Natalie Bookchin|Bookchin]] (US), [[Eastwood]] (SR), [[Ivor Diosi|Diosi]] (SK-CZ), [http://www.molleindustria.org Molleindustria] (IT), [http://julianoliver.com J Oliver] (NZ-DE), [http://ludic-society.net/ Jahrmann] (AT) || software, installation ||  
 
|- class="expand-child notop"
 
|- class="expand-child notop"
 
| || colspan="6" |
 
| || colspan="6" |
 
<gallery widths=300 heights=280>
 
<gallery widths=300 heights=280>
−
Yuan_Sun_1999_Honey.jpg|Sun Yuan, ''Honey'', 1999. Installation. 200 × 300 × 150 cm. Bed, old man's face sample, fetus sample, ice. [https://en.wikipedia.org/wiki/Sun_Yuan_%26_Peng_Yu Artist].
+
Jodi_1999_SOD.jpg|Jodi, ''SOD'', 1999. Macintosh/PC computer game. 12 screen shots. [http://sod.jodi.org/ Online].
−
Wei_Wang_1999_1_30_Sec_Underwater.jpg|Wei Wang 1999 1 30 Sec Underwater.jpg|Wang Wei, ''1/30 Sec. Underwater'', 1999. Lightboxes with sound.
+
Bookchin_Natalie_1999_The_Intruder.jpg|Natalie Bookchin, ''The Intruder'', 1999. Web-based game. [http://bookchin.net/projects/the-intruder/ Artist].
 +
Griffiths_Mansoux_de_Valk_2012_Naked_on_Pluto_website.png|Marloes de Valk, Aymeric Mansoux, Dave Griffiths, ''Naked on Pluto'', 2010-2015. [[Naked_on_Pluto|Online (archive)]]
 
</gallery>
 
</gallery>
 
|- class="nobottom"
 
|- class="nobottom"
Line 1,504: Line 1,510:
 
</gallery>
 
</gallery>
 
''en'' [https://doi.org/10.1093/gao/9781884446054.article.T2088795 Grove].
 
''en'' [https://doi.org/10.1093/gao/9781884446054.article.T2088795 Grove].
−
|- class="nobottom"
 
−
| {{a|softwareart}} [[Software art|Software Art]] || {{sm|2002}} ''[[Readme]]''<br>{{sm|2002}} ''[http://artport.whitney.org/commissions/codedoc/ CODeDOC]''<br>{{sm|2003}} [http://90.146.8.18/en/archives/festival_archive/festival_overview.asp?iPresentationYearFrom=2003 ''Ars Electronica: Code''] || [http://monoskop.org/log/?p=8265 {{sm|2006}} Goriunova]<br>[http://monoskop.org/log/?p=31 {{sm|2008}} Mansoux & de Valk] || [[Aymeric Mansoux|Mansoux]] (FR-NL), [[I/O/D]], [[Mongrel]], [[Alex McLean|McLean]], [[Adrian Ward|Ward]], [[Simon Yuill|Yuill]] (UK), [[Golan Levin|Levin]], [[Radical Software Group]] (US), [[0100101110101101.org]] (IT), [[Moddr]], [[Netochka Nezvanova]] (int) || software || [[#netart|net art]], [[#browserart|browser art]], [[#gameart|game art]]
 
−
|- class="expand-child notop"
 
−
| || colspan="6" |
 
−
<gallery widths=300 heights=280>
 
−
McLean_Alex_2001_Forkbomb_pl.jpg|Alex McLean, ''forkbomb.pl'', 2001. Software. [http://runme.org/project/+forkbomb/ Online].
 
−
0100101110101101.org Epidemic 2001 Biennale py.jpg|''Perpetual Self Dis/Infecting Machine'', custom made computer infected with ''Biennale.py'' by 0100101110101101.org and Epidemic, 2001. [http://0100101110101101.org/biennale-py/ Online].
 
−
Ward_Adrian_2002_Auto-Illustrator.png|Adrian Ward, ''Auto-Illustrator'', 2002. Software. [http://web.archive.org/web/20070928211859/http://www.auto-illustrator.com/ Online].
 
−
</gallery>
 
−
''en'' [[Software art|Monoskop]], [https://www.tate.org.uk/art/art-terms/s/software-art Tate].
 
 
|- class="nobottom"
 
|- class="nobottom"
 
| {{a|postinternet}} [[Post-internet art|Post-Internet Art]] || {{sm|2011}} ''[[Post-internet art#GroupedShow|Grouped Show]]''<br>{{sm|2011}} ''[[Post-internet art#GreaterCloud|The Greater Cloud]]''<br>{{sm|2014}} ''[[Post-internet art#ArtPostInternet|Art Post-Internet]]''<br>{{sm|2016}} ''[[Post-internet art#bb9|The Present in Drag]]'' || [http://www.albany.edu/faculty/dgoodwin/shared_resources/WordsWithoutPictures.pdf#page=284 {{sm|2008}} Olson]<br>[http://jstchillin.org/artie/vierkant.html {{sm|2010}} Vierkant]<br>{{sm|2011}} ''[http://monoskop.org/log/?p=3490 Pool'']<br>[http://monoskop.org/log/?p=2677 {{sm|2011}} McGugh]<br>[http://aaaaarg.fail/ref/ec73962a698b4f63d0e49007e0647c2b#0.01 {{sm|2014}} Kholeif] || [http://oliverlaric.com/ Laric] (AT-DE), [[Aleksandra Domanović|Domanović]] (SR-SL-AT-DE), [http://katjanovi.net/ Novitskova] (EE-NL), [http://jonrafman.com/ Rafman] (CA), [http://timursiqin.com/ Si-Qin] (DE), [http://www.coryarcangel.com/ Arcangel], [http://www.marisaolson.com/ Olson], [http://www.petracortright.com/ Cortright], [http://artievierkant.com Vierkant] (US) || sculpture, digital print, software, video || [[surf clubs]], [http://www.vvork.com/ VVORK], [http://dismagazine.com/ DIS], [http://new-aesthetic.tumblr.com/ new aesthetic]
 
| {{a|postinternet}} [[Post-internet art|Post-Internet Art]] || {{sm|2011}} ''[[Post-internet art#GroupedShow|Grouped Show]]''<br>{{sm|2011}} ''[[Post-internet art#GreaterCloud|The Greater Cloud]]''<br>{{sm|2014}} ''[[Post-internet art#ArtPostInternet|Art Post-Internet]]''<br>{{sm|2016}} ''[[Post-internet art#bb9|The Present in Drag]]'' || [http://www.albany.edu/faculty/dgoodwin/shared_resources/WordsWithoutPictures.pdf#page=284 {{sm|2008}} Olson]<br>[http://jstchillin.org/artie/vierkant.html {{sm|2010}} Vierkant]<br>{{sm|2011}} ''[http://monoskop.org/log/?p=3490 Pool'']<br>[http://monoskop.org/log/?p=2677 {{sm|2011}} McGugh]<br>[http://aaaaarg.fail/ref/ec73962a698b4f63d0e49007e0647c2b#0.01 {{sm|2014}} Kholeif] || [http://oliverlaric.com/ Laric] (AT-DE), [[Aleksandra Domanović|Domanović]] (SR-SL-AT-DE), [http://katjanovi.net/ Novitskova] (EE-NL), [http://jonrafman.com/ Rafman] (CA), [http://timursiqin.com/ Si-Qin] (DE), [http://www.coryarcangel.com/ Arcangel], [http://www.marisaolson.com/ Olson], [http://www.petracortright.com/ Cortright], [http://artievierkant.com Vierkant] (US) || sculpture, digital print, software, video || [[surf clubs]], [http://www.vvork.com/ VVORK], [http://dismagazine.com/ DIS], [http://new-aesthetic.tumblr.com/ new aesthetic]
Line 1,525: Line 1,521:
 
''INT'' [https://www.artsy.net/gene/post-internet-art Artsy].<br>
 
''INT'' [https://www.artsy.net/gene/post-internet-art Artsy].<br>
 
''en'' [[Post-internet|Monoskop]], {{wp|Postinternet}}.
 
''en'' [[Post-internet|Monoskop]], {{wp|Postinternet}}.
 +
|- class="nobottom"
 +
| {{a|decolonial}} [[Decolonial Aesthetics]] || {{sm|2009-}} [[SAVVY Contemporary]]<br>{{sm|2012-2018}} [[Alanna Lockward|BE.BOP]] || [[Decolonial_aesthetics#manifesto|{{sm|2011}} manifesto]]<br>[https://socialtextjournal.org/periscope_topic/decolonial_aesthesis/ {{sm|2013}} Decolonial aestheSis] || [https://www.jeannetteehlers.dk/ Ehlers], [http://www.pedrolasch.com/ Lasch], [[Povinelli]], [https://en.wikipedia.org/wiki/Fred_Wilson_(artist) Wilson] || installation, performance, sculpture, video, intervention ||
 +
|- class="expand-child notop"
 +
| || colspan="6" |
 +
<gallery widths=300 heights=280>
 +
Wilson Fred 1992 Mining_the_Museum_pedestals.jpg|Fred Wilson, ''Mining the Museum: An Installation'' (detail), 1992. (Right) Pedestals described as Harriet Tubman, Frederick Douglass, Benjamin Banneker; (Middle) Globe (known as Truth Trophy) ca. 1913; (Left) Henry Clay, Napoleon Bonaparte, Andrew Jackson busts. ''See'' [[Media:Wilson_Fred_Halle_Howard_1993_Mining_the_Museum.pdf|Wilson & Halle 1993]], [[Media:Corrin Lisa 1993 Mining the Museum An Installation Confronting History.pdf|Corrin 1993]], [[Media:Mignolo_Walter_2011_Museums_in_the_Colonial_Horizon_of_Modernity_Fred_Wilsons_Mining_the_Museum_1992.pdf|Mignolo 2011]], [https://bmoreart.com/2017/05/how-mining-the-museum-changed-the-art-world.html Houston 2017].
 +
Lasch Pedro 2008 Black Mirror Espejo Negro.jpg|Pedro Lasch, ''[https://www.pedrolasch.com/blackmirror.html Black Mirror/Espejo Negro]'', 2007-. Installation.
 +
Ehlers_Jeannette_2013_Whip_It_Good_photo_Casper_Maare.jpg|Jeannette Ehlers, ''[http://jeannetteehlers.dk/m4v/video21.htm Whip It Good]'', 2014. Performance. Photo: Casper Maare. First commissioned by Art Labour Archive ([[Alanna Lockward]]) and Ballhaus Naunynstrasse in Berlin, 2013. [https://finespind.dk/index.php/billedgallerier/834-kunstner-queen-jeannette-ehlers-interviewbilledeidstart1venstre Source]. [https://monoskop.org/images/9/91/BE.BOP_2014_Spiritual_Revolutions_and_The_Scramble_for_Africa.pdf]
 +
</gallery>
 
|}
 
|}
  
 
===More===
 
===More===
−
''This list extends the above table to include terms that are not widely established. Some may be added to it later.''<ref>The list can be further expanded with more recent concepts created by artists to describe their practice: [http://www.taniabruguera.com/cms/703-0-.htm Arte de Conducta] ("Behavior art", Bruguera), [http://www.taniabruguera.com/cms/609-0-.htm Arte Útil] ("Useful art", "Art as a tool", Bruguera), [https://monoskop.org/log/?p=16823 Tools] (Superflex, 2003), [http://memoir.okno.be/?id=548 Connected Aesthetics] (mxhz.org, 2004), [http://criticalengineering.org/ Critical Engineering] (Oliver, Savičić, Vasiliev, 2011), etc.</ref>
+
''This list extends the table above to include terms that are not widely used. Some may be added later.''<ref>The list can be further extended to include more recent concepts created by artists to describe their practice: [http://www.taniabruguera.com/cms/703-0-.htm Arte de Conducta] ("Behavior art", Bruguera), [http://www.taniabruguera.com/cms/609-0-.htm Arte Útil] ("Useful art", "Art as a tool", Bruguera), [https://monoskop.org/log/?p=16823 Tools] (Superflex, 2003), [http://memoir.okno.be/?id=548 Connected Aesthetics] (mxhz.org, 2004), [http://criticalengineering.org/ Critical Engineering] (Oliver, Savičić, Vasiliev, 2011), etc.</ref>
 
<div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3; font-size: .9em;">
 
<div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3; font-size: .9em;">
 
* Abramtsevo Colony. ''en'' [http://books.google.no/books?id=i3Od9bcGus0C&pg=PA2 Grove DA], {{wp|Abramtsevo_Colony}}.
 
* Abramtsevo Colony. ''en'' [http://books.google.no/books?id=i3Od9bcGus0C&pg=PA2 Grove DA], {{wp|Abramtsevo_Colony}}.
Line 1,566: Line 1,571:
 
* BMPT. ''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3ABMPT Pompidou]. ''es'' [http://books.google.com/books?id=y6709Jr7JD0C&pg=PA79 Akal].  
 
* BMPT. ''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3ABMPT Pompidou]. ''es'' [http://books.google.com/books?id=y6709Jr7JD0C&pg=PA79 Akal].  
 
* La Boca. ''en'' [http://cvaa.com.ar/04ingles/02dossiers_en/la_boca_en/3_intro.php CVAA]. ''es'' [http://cvaa.com.ar/02dossiers/la_boca/3_intro.php CVAA].
 
* La Boca. ''en'' [http://cvaa.com.ar/04ingles/02dossiers_en/la_boca_en/3_intro.php CVAA]. ''es'' [http://cvaa.com.ar/02dossiers/la_boca/3_intro.php CVAA].
 +
* Browser Art. ''en'' [https://www.tate.org.uk/art/art-terms/b/browser-art Tate].
 
* Brücke (now part of [[#expressionism|Expressionism]]). ''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3ADie%20Brücke Pompidou]. ''US'' [http://www.metmuseum.org/toah/keywords/die-brucke/ Met]. ''INT'' [https://www.artsy.net/gene/die-brucke Artsy]. ''en'' [http://www.moma.org/collection_ge/details.php?theme_id=10953 Grove], [http://faculty.winthrop.edu/stockk/modernism/styles%20brucke006.pdf SSM], [https://www.tate.org.uk/art/art-terms/b/br%C3%BCcke Tate], {{wp|Die_Brücke}}. ''es'' [http://books.google.com/books?id=y6709Jr7JD0C&pg=PA98 Akal]. ''no'' [http://snl.no/Br%C3%BCcke SNL].
 
* Brücke (now part of [[#expressionism|Expressionism]]). ''FR'' [https://collection.centrepompidou.fr/artworks?filters=query%3ADie%20Brücke Pompidou]. ''US'' [http://www.metmuseum.org/toah/keywords/die-brucke/ Met]. ''INT'' [https://www.artsy.net/gene/die-brucke Artsy]. ''en'' [http://www.moma.org/collection_ge/details.php?theme_id=10953 Grove], [http://faculty.winthrop.edu/stockk/modernism/styles%20brucke006.pdf SSM], [https://www.tate.org.uk/art/art-terms/b/br%C3%BCcke Tate], {{wp|Die_Brücke}}. ''es'' [http://books.google.com/books?id=y6709Jr7JD0C&pg=PA98 Akal]. ''no'' [http://snl.no/Br%C3%BCcke SNL].
 
* Brutalism. ''INT'' [http://artsy.net/gene/brutalism Artsy]. ''en'' SSM2, [https://www.tate.org.uk/art/art-terms/b/brutalism Tate].
 
* Brutalism. ''INT'' [http://artsy.net/gene/brutalism Artsy]. ''en'' SSM2, [https://www.tate.org.uk/art/art-terms/b/brutalism Tate].
Line 1,784: Line 1,790:
 
</div>
 
</div>
  
−
==Media coverage==
+
==This page in media==
 
[http://www.openculture.com/2017/08/an-online-guide-to-350-international-art-styles-movements.html Open Culture], [http://www.novaplanet.com/novamag/80061/un-guide-en-ligne-passe-en-revue-350-mouvements-artistiques Radio Nova], [https://cameralabs.org/11673-bestsennyj-gid-po-350-stilyam-i-techeniyam-iskusstva Cameralabs].
 
[http://www.openculture.com/2017/08/an-online-guide-to-350-international-art-styles-movements.html Open Culture], [http://www.novaplanet.com/novamag/80061/un-guide-en-ligne-passe-en-revue-350-mouvements-artistiques Radio Nova], [https://cameralabs.org/11673-bestsennyj-gid-po-350-stilyam-i-techeniyam-iskusstva Cameralabs].
  
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* [[Artists' cultures]]
 
* [[Artists' cultures]]
  
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==Citation==
 
−
"Art styles and movements." In ''Monoskop''. Monoskop, 2016–. http://monoskop.org/Art/Styles_and_movements (May 2016)
 
  
  
 
{{Art}}
 
{{Art}}

Latest revision as of 19:55, 7 May 2025

Hank Willis Thomas, Colonialism and Abstract Art, 2019. PDF.
Movements and styles in visual art

This page brings together art movements and styles from the 1860s to the present day. In addition to the isms of modern art, the list includes movements usually treated as secondary to the visual art canon, such as Lettrism, Situationism, Sound Art, Expanded Cinema, Neoism and Software Art, as well as those represented by protagonists other than Western white males.

Introduction[edit]

Art historians have debated the limits and biases of style analysis and classification for decades,[1] yet style remains "inseparable from working concepts of art and its history".[2] Its relevance is being reaffirmed in an unexpected way, as a database column in an ever-growing number of art collections. Major art museums have adopted it as an organising element of their online catalogues.[3]

Online databases are often presented as neutral resources, with no acknowledgment of editorial work, and instead derive their legitimacy from the reputation of the institution.[4] While they increasingly influence how we (and machines) see and learn about art, their protocols are rarely discussed. In contrast to the tradition of scholarly argumentation, the context in the database is given by the way its data are interconnected, where each item is defined by the set of its relations to other items. Rather than notions supporting an argument, styles and movements become vectors along which an online collection is designed to be viewed, queried, and referenced. This allows databases to position artworks as belonging to particular styles and movements simply by designating a relation.[5] Although art collection databases are heirs to the art historical tradition, they adapt art to the logic of the relational database - the logic of organising data into rows and columns of items that point to each other. The same can be said of other attributes of artworks, pre-formatted by the database as lists of authors, materials, years of production, and so on.

To further explore this strand of the datafication of art history, this page juxtaposes styles and movements as represented in the online collections of art museums. To achieve greater contrast, it adds definitions from dictionaries and glossaries in several languages, as well as selected writings by artists, critics and historians, and recent retrospective exhibitions that challenge the origin myths of this or that style or movement. As a result, the page brings together some 350 art styles and movements from the 1860s to the present day, as they have come to us through these four paths. In addition to the isms of modern art, the list includes movements that are usually treated as secondary to the visual art canon, such as Lettrism, Situationism, Sound art, Expanded cinema, Neoism, or Software art, and does not leave out those best represented by works made by others than Western white males either.[6]

Entries are structured in the following way:

The term under which a given style, movement, ism or school came to be established. Preferably in its original language with an English equivalent and optionally frequent synonymous terms. Terms should not be understood as mutually exclusive: body art does not exclude performance art, performance art does not exclude conceptual art, process art does not exclude postminimalism. Where the link is active it leads to a Monoskop page with more detailed information including bibliographies; among the most extensive at the moment are Cubism, Constructivism, Conceptual art, Expanded cinema, Neoism and Sound art.
Major events. Mostly exhibitions, but also group formations, conferences, etc. In most cases, titles are kept in their original languages (English equivalents are chosen for events better known as such today). Links point to event websites and online versions of catalogues.
Major texts. These include manifestos, key essays, magazines, but also later art-historical analyses. Links point to their online versions, some in translation.
Associated artists. Only those participating during the formative years of a given phenomenon are included (i.e. "first" and "second generations"). Many artist names are hyperlinked; as there is not more than one link per artist/group in an entry, the order of preference is as follows: (1) Monoskop wiki page, (2) official home page/estate, (3) major collection with online presence, (4) latest retrospective exhibition with online companion/catalogue. Country shortcuts following names indicate countries where artists were active during periods for which they are associated with a given phenomenon.
Media. "Design" includes the broad area of decorative arts and crafts. If there were notable works created also in architecture, it is indicated, however architects, their works and architectural movements per se are not included in the table (history of 20th-century architecture is treated on a separate page).
Key references.
Works are selected to illustrate the diversity of forms, materials, subject matter, and techniques associated with a term. Size and materials are included and entry in an online catalogue of the collection a work is part of is linked where available. Please note that photo reproductions come from a multitude of collections and parameters under which they were produced vary greatly (no post-processing on our side was done).
Collections. Only those with a database entry for a given term in their online catalogues are included.
Dictionary and glossary entries from sources in multiple languages published in the last twenty years and at least partly freely available online. Bibliographic citations for the abbreviations are listed at the bottom.

An ism, style, movement or school is usually established through a number of players: artists, gallerists, collectors, critics and historians, as well as various institutional mechanisms, professional protocols and personal interests. Different phenomena can serve as triggers--aesthetic and/or sociopolitical visions or their (pejorative) criticism, financial speculation or its rejection--and it may be first recognised decades after its foundational works were made. These issues are documented and analysed in publications, some of which are listed in the column Key texts. Those writings, along with recent large-scale reexaminations informed the selection of formative works and artists for respective entries on this page.[7]

The page puts forward the kind of visual art the historian of modernism wishes to see. Regardless, it does not intend to list the most significant artworks nor the most significant artists of the past 150 years. Admitting a certain power of the concepts of style and movement even today, this page can be seen as an entry point and contextual resource for visual art which is not be based primarily on technique, subject matter, material or economic value of works nor on identity of their authors or owners.

First published on 23 May 2016.

Index[edit]

Although the default is linear chronology, this is only one way to view the list: the four columns can be sorted, and you can click on any image to switch to visual mode.

Term Key events
Selected works
Collections
Dictionaries *		 Key texts Key artists Media Ref
Impressionism
1874-86
eight group shows
1874
Leroy		 Monet, Renoir, Degas, Cézanne, Pissarro, Manet, Morisot, Sisley, Bazille (FR), Cassatt (US-FR), Caillebotte (FR), Whistler, Sickert, Steer (UK) painting

  • Berthe Morisot, Bateaux en construction [Boats under Construction], 1874. Oil on canvas. 32 x 41 cm. M Marmottan Monet Paris.

  • Pierre-Auguste Renoir, Bal du moulin de la galette [Dance at Le Moulin de la Galette], 1876. Oil on canvas. 131.1 × 175.3 cm. Orsay.

  • Claude Monet, La gare Saint-Lazare [The Saint-Lazare Station], 1877. Oil on canvas. 75 x 104 cm. Orsay.

FR Orsay, Orangerie. UK Courtauld, NG London, Tate, Tate Br.I.. US Guggenheim, Met, Met US i., NGA, Philadelphia M, LACMA, MiA, Artic, Denver M. RU Hermitage. NL Gemeente. AR MNBA. INT Artsy, Artsy US i., Google AP.
en Grove, Met, SSM, Tate, Tate UK i., Wikipedia. it Treccani. cr Šuvaković. no SNL.

Arts and Crafts
1884
Art Workers' Guild founded
1887
Cobden-Sanderson
1893
Arts and Crafts Essays		 Morris, Rossetti, Brown, Burne-Jones, Ashbee, Voysey (UK) design Ruskin 1853

  • Tile panel of 66 tiles, designed by Willaim Morris and made by the firm of William de Morgan, 1876. V&A.

  • Screen, designed by John Henry Dearle, manufactured by Morris & Co., 1885-1910. V&A.

  • Opening page from John Ruskin's The Nature of Gothic: The Stones of Venice [1853], 1892, printed by William Morris at the Kelmscott Press in Golden type inspired by the 15th-c. printer Nicolas Jenson. IA.

UK V&A, Tate. US Met. INT Artsy, Google AP.
en Grove, Tate, V&A, Wikipedia. de Hartmann. it Treccani.

Aesthetic Movement, Aestheticism
2011
The Cult of Beauty
1882
Hamilton		 Godwin, Whistler, Beardsley, A Moore, Jeckyll, Dresser (UK), Herter Brothers, Ott & Brewer of Trenton, Tiffany, La Forge (US) painting, design, architecture

  • E.W. Godwin, Sideboard, 1867-70 (made). Mahogany, ebonised, with silver-plated handles and inset panels of embossed leather paper. V&A.

  • Christopher Dresser, Teapot, 1879. Electroplated nickel silver with ebony handle. V&A.

  • Aubrey Beardsley's drawing illustrating Salomé by Oscar Wilde, 1894/c1906. From the portfolio of 16 designs. V&A. BL. IA.

UK V&A, Tate. US Met. INT Artsy, Google AP.
en Grove DA, Tate, V&A, Wikipedia.

Neo-Impressionism, Divisionism, Pointillism
1886
last Impressionist show
1886
Fénéon		 Seurat, Signac, Pissarro, Cross, Luce, Angrand, Dubois-Pillet, Petitjean (FR), Rysselberghe, Finch, Boch, Toorop, Lemmen (BE), Segantini, Previati (IT) painting post-impr., anarchism

  • Georges Seurat, Un dimanche après-midi à l'Île de la Grande Jatte – 1884 [A Sunday Afternoon on the Island of La Grande Jatte – 1884], 1884/86. Oil on canvas. 207.5 x 308.1 cm. Artic +. Orsay (study). Orsay (study).

  • Paul Signac, Portrait de Félix Fénéon, Opus 217 [Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890], 1890. Oil on canvas. 73.5 x 92.5 cm. MoMA.

  • Henri-Edmond Cross, L'air du soir [The Evening Air], c1893. Oil on canvas. 116 x 164 cm. Orsay.

FR Pompidou d. RU Hermitage. UK Tate. US Met, Met p. INT Artsy, Artsy p., Google AP.
en Grove, SSM, Tate, Wikipedia, Wikipedia p. it Treccani. cr Šuvaković. no SNL.

Symbolism
1997
Symbolism in Britain
2007
Symbolism in Belgium
2012
Australian Symbolism
2015
Symbolism in Bohemian Lands
1891
Aurier
1906-10
Zolotoe runo		 Moreau, Chavannes, Redon, Carrière (FR), Böcklin (CH-IT), Burne-Jones (UK), Gauguin (FR), Munch (NO-DE), Hodler (CH), Toorop (ID-NL-BE-UK), Khnopff, Ensor (BE), Picasso (ES), Klimt (AT), Vrubel, Borisov-Musatov (RU), Čiurlionis (LT-PL), Malczewski (PL), Rossetti, Watts (UK), Delville (BE), Klinger (DE-IT), Segantini (AT-IT-CH) painting, sculpture Baudelaire 1857, Moréas 1886, mythology

  • Gustave Moreau, Œdipe et le Sphinx [Oedipus and the Sphinx], 1864. Oil on canvas. 206.4 x 104.8 cm. Met.

  • Paul Gauguin, D'où venons-nous? Que sommes-nous? Où allons-nous? [Where Do We Come From? What Are We? Where Are We Going?], 1897-98. Oil on canvas. 139.1 x 374.6 cm. MFA Boston.

  • Edvard Munch, Livets dans [The Dance of Life], 1899-1900. Oil on canvas, 125 x 191 cm. Final painting in The Frieze of Life series. NM Oslo.

GR Costakis. US Met, MiA. AR MNBA. INT Artsy, Google AP.
en Grove, Guggenheim, Met, Tate, Wikipedia. it Treccani. cr Šuvaković. no SNL.

Post-Impressionism
1886-93
Les XX annual shows
1910
Manet and the Post-Impressionists
1912
Second Post-Impressionist Exhibition
1979
Post-Impressionism: Cross-Currents in European Painting
1910
Fry		 Cézanne, Van Gogh, Toulouse-Lautrec, Gauguin, Seurat, Les Nabis: Sérusier, Bonnard, Vuillard, Denis (FR), Prendergast (US-FR) painting

  • Paul Cézanne, Le Château de Médan [House at Médan], c1880. 83.6 x 96.4 cm. Glasgow M.

  • Vincent van Gogh, Self-Portrait, 1887. Oil on artist's board, mounted on cradled panel. 41 × 32.5 cm. Artic.

  • Paul Gauguin, Nevermore, 1897. Oil on canvas. 83,7 × 139,1 cm. Courtauld.

US Barnes, DIA, Met, Guggenheim, NGA, MiA, Artic. UK Courtauld, NG London, Tate. NL Van Gogh M Amsterdam. RU Hermitage. AR MNBA. INT Artsy, Google AP.
en Britannica, Grove, Met, SSM, Tate, Wikipedia. it Treccani. cr Šuvaković. no SNL.

Synthetism
1889
Volpini Exhibition		 Gauguin, Schuffenecker, Bernard, Laval, Sérusier (FR) painting Japanese woodcuts, Cloisonnism

  • Paul Gauguin, La Vision après le Sermon (La Lutte de Jacob avec l'Ange) [Vision of the Sermon (Jacob Wrestling with the Angel)], 1888. Oil on canvas. 72.2 x 91 cm. NG Scotland.

  • Paul Sérusier, Le Talisman [The Talisman, the Aven River at the Bois d'Amour], Oct 1888. Oil on wood. 27 × 21.5 cm. Orsay.

  • Charles Laval, Allant au marché [Going to Market, Brittany], 1894. Oil on canvas. 37.5 × 46 cm. Indianapolis M Art.

INT Google AP.
en SSM, Tate, Wikipedia. it Treccani. no SNL.

Secession, Sezessionstil
1893
Internationale Kunst-Ausstellung des Vereins bildender Künstler Münchens "Secession"
1898
I. Kunst-Ausstellung der Vereinigung bildender Künstler Österreichs
1899
Deutsche Kunstausstellung der Berliner Secession
1902
Beethovenausstellung +
1898-1903
Ver Sacrum		 Stuck, Uhde, Dill, Habermann (DE), Klimt, Hoffmann, Moser, Moll, Kurzweil (AT), Liebermann, Corinth, Leistikow, Slevogt, Beckmann, Barlach (DE) painting, sculpture, mural, printmaking, craft, design, architecture impr., art nouveau

  • Gustav Klimt, Beethovenfries: Die feindlichen Gewalten, 1902. Secession.

  • Gustav Klimt, Jurisprudenz [Jurisprudence], 1903-07. Oil on canvas. Destroyed 1945. [1]

  • Josef Hoffmann, Sitzmaschine, c1905. Bent beechwood, turned wood, plywood, brass. 106 x 67.5 x 90 cm. Vitra DM.

FR Pompidou. US Frye M, Met v.s. UK V&A. INT Artsy v.s., Google AP V.S.
en Tate, Wikipedia. it Treccani. cr Šuvaković.

Art Nouveau,
Jugendstil,
Sezessionstil,
Style nouille,
Modern Style,
Glasgow Style,
Modernista,
Stile Liberty,
Stil' modern
1895
L'Art Nouveau gallery opens
1900
Exposition universelle
1901
Glasgow International Exhibition
1902
Esposizione internazionale d'arte decorativa moderna
1889-1914
Le Plume
1893-1964
The Studio
1896-1940
Jugend
1899-1904
Mir iskusstva		 Horta, Hankar (BE), Van de Velde (BE-DE), Galle, Feure, Colonna, Gaillard (FR), Mucha (CZ-FR), Fouquet, Bracquemond, Lalique, Chéret, Toulouse-Lautrec (FR), Eckmann, Behrens, Endell, Obrist, Paul, Riemerschmid (DE), Sezession artists and designers (AT-DE), Mackintosh, Macnair, M & F Macdonald, Beardsley (UK), Schechtel (RU), Bugatti (IT), Tiffany (US) design, architecture, painting, sculpture botany, nature, Arts and Crafts, Japonisme, Violett-le-Duc

  • Alphonse Mucha, Gismonda, 1894. Colour lithograph. 216 x 74.2 cm. Mucha Foundation.

  • Henry van de Velde, Bloemenwerf, c1898. Elm, leather, brass. H 95.6 cm. Met.

  • Peter Behrens, Vase, c1900-05. Porcelain. H 19.4 cm. Met.

FR LAD Paris jewelry, LAD Paris glass, Pompidou. UK V&A, Tate (G.s.). RU Hermitage. NL Gemeente. US Met, MiA. INT Artsy, Google AP.
en Grove DA, Met, Oxford DMCA, Tate, Tate G.s., V&A G.s., Wikipedia. fr Larousse. it Treccani. cr Šuvaković. no SNL.

Photo-Secession
1902
American Pictorial Photography
1905
The Little Galleries of the Photo-Secession opens (renamed 291 in
1908
)
1903-17
Camera Work
1903
Stieglitz
1960
Doty		 Stieglitz (US), Steichen (LX-US), White, Käsebier (US), Coburn (US-UK), Eugene (US) photography pictorialism, secession

US Met.
en Britannica, Grove, Grove US, Met, Tate, Wikipedia.

Fauvism
1905
Salon d'Automne
1906
Salon d'Automne
1905
Vauxcelles
1908
Matisse		 Matisse, Camoin, Manguin, Marquet, Derain, de Vlaminck, Braque, Dufy, Friesz (FR), van Dongen (NL-FR), Puy, Valtat, Rouault (FR), Kupka (CZ-FR) (FR) painting post-impr.

  • Henri Matisse, Femme au chapeau [Woman with a Hat], 1905. Oil on canvas. 80.7 cm x 59.7 cm. SFMOMA.

  • Henri Matisse, Le Bonheur de vivre [The Joy of Life], Oct 1905-Mar 1906. Oil on canvas. 176.5 x 240.7 cm. Barnes. SFMOMA (sketch).

  • André Derain, Les deux péniches, 1906. Oil on canvas. 80 x 97,5 cm. Pompidou.

FR Pompidou. US Met, MiA. RU Hermitage. UK Tate. INT Artsy, Google AP.
en Britannica, Grove, Met, MoMA, Oxford DA, SSM, Tate, Wikipedia. fr Pompidou. it Treccani, Treccani. no SNL.

Expressionism
1905
Brücke founded
1911
Blaue Reiter founded
2015
Storm Women
1906
Brücke Manifesto
1908
Worringer
1912
Blaue Reiter Almanac
1910-32
Der Sturm
1918
November Group Manifesto		 Kirchner, Heckel, Marc (DE), Kandinsky, Jawlensky (RU-DE), Schiele, Kokoschka (AT), Nolde, Rohlfs, Schmidt-Rottluff, Pechstein, Macke, Feininger, Dix, Beckmann, Barlach, Kollwitz (DE), Permeke (BE), Váchal (CZ); groups: Brücke, Blaue Reiter, Rheinische Expressionisten, Pathetiker, Novembergruppe, Gruppe 1919 (DE), Latemse School (BE), Osma (CZ) painting, printmaking (esp. woodcut), sculpture, architecture Van Gogh, Munch, Klimt, "primitivism", art of children

  • Erich Heckel, Fränzi liegend [Fränzi Reclining], 1910. Woodcut. Sheet (irreg.): 35.6 x 55.5 cm. MoMA +.

  • Egon Schiele, Nude Self-Portrait in Gray with Open Mouth, 1910. Black chalk and gouache. 44.8 x 32.1 cm. Leopold M Vienna.

  • Franz Marc, Tierschicksale [The Fate of the Animals], 1913. Oil on canvas. 195 × 263,5 cm. KM Basel.

DE Schleswig-Holstein museums, Ziegler, Ketterer. FR Pompidou, Pompidou B.. AT Leopold M Vienna. US MoMA, Met, Met B., LACMA, MiA. RU Hermitage. NL Gemeente. UK Tate. AR MNBA. INT Artsy, Artsy g.e., Artsy B., Google AP.
en Grove, Grove B., Guggenheim, MoMA, Oxford DA, SSM B., Tate, Tate g.e., Tate B., Wikipedia, Wikipedia g.e., Wikipedia B. it Treccani. es Akal B. cr Šuvaković, Šuvaković g.e. no SNL, SNL B.

Cubism
1907
Kahnweiler Gallery opens
1911
Salle 41 at Salon des Indépendants
1912
Salon de la Section d'or
1913
Armory Show
1936
Cubism and Abstract Art
1908
Vauxcelles
1912
Gleizes & Metzinger
1920
Kahnweiler
1939/1951
Barr
1972
Steinberg		 Picasso (ES-FR), Braque (FR), Gris (ES-FR), Léger, Metzinger, R Delaunay, Gleizes, Archipenko (UA-FR), Duchamp, Duchamp-Villon (FR), Le Fauconnier, Lipchitz (LT-FR), Laurens (FR), Picabia (FR), Zadkine (RU-FR), Csaky (HU-FR), Kupka (CZ-FR), Marcoussis, La Fresnaye, Chagall, Lhôte (FR), Rivera (MX), Filla, Beneš (CZ) painting, sculpture, drawing, collage, construction, assemblage, architecture Cézanne, "primitivism"

  • Pablo Picasso, Les Demoiselles d'Avignon, Jun-Jul 1907. Oil on canvas. 243.9 x 233.7 cm. MoMA.

  • Georges Braque, Le Portugais (L'émigrant) [The Portuguese (Emigrant)], 1911-12. Oil on canvas. 116.7 x 81.5 cm. KM Basel.

  • Pablo Picasso, Nature morte à la chaise cannée [Still Life with Chair Caning], Spring 1912. Oil on oil-cloth over canvas edged with rope. 29 × 37 cm. M Picasso Paris.

FR Pompidou. US Lauder/Met +, Guggenheim, MiA. RU Hermitage. UK Tate. CZ Czech Cubism M Prague. AR MNBA. INT Artsy, Google AP, (more).
en Britannica, Grove, Met, MoMA, Monoskop, Pompidou, SSM, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. no SNL.

Futurism
1910
first series of serate evenings
1912
Les peintres futuristes italiens
1961
Futurism MoMA
1986
Futurism & Futurisms Venice
2009
Futurism Tate
2014
Italian Futurism, 1909-1944 Guggenheim
1909
Marinetti
1910
Boccioni et al
1911
Bragaglia
1912
Boccioni
1913
Russolo		 Marinetti, Boccioni, Balla, Carrà, Severini, Russolo, Bragaglia, Prampolini (IT) painting, sculpture, photography, printmaking, film, architecture symbolism, neo-impr., cubism

  • Anton Giulio Bragaglia, Salutando, [Waving], 1911. Gelatin silver print. Image: 8 x 10.7 cm.

  • Giacomo Balla, Dinamismo di un Cane al Guinzaglio [Dynamism of a Dog on a Leash], 1912. Oil on canvas. 89.9 x 109.9 cm. Albright-Knox Buffalo.

  • Umberto Boccioni, Forme uniche della continuità nello spazio [Unique Forms of Continuity in Space], 1913 (cast 1931). Bronze. 111.2 x 88.5 x 40 cm. M del Novecento Milan. MoMA. Met. Tate. Kröller-Müller. KH Mannheim.

IT Mattioli/Guggenheim. FR Pompidou. US Guggenheim, Met, MiA. UK Tate. GR Costakis books. INT Artsy, Google AP.
en EUA, Grove, Monoskop, Oxford DA, Pompidou, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. no SNL.

Cubo-Expressionism
1912
Group of Plastic Artists
1967
Lamač		 Kubišta, Čapek, Gutfreund, Filla, Kubín, Beneš, Procházka, Zrzavý, Group of Plastic Artists (CZ) painting, sculpture, architecture, film expr., cubism

  • Otto Gutfreund, Úzkost [Anxiety], 1911. Bronze. H 147 cm. MU Olomouc. KM Bochum (study).

  • Otakar Kubín, Lidské bídy [Human Misery], 1914. Woodcut. Series of 6. Sheet: 21.6 x 24.1 cm. U Chicago. Full portfolio.

  • Bohumil Kubišta, Oběšenec [Hanged], 1915. Oil on canvas. 50 x 30.5 cm. Moravia Gallery Brno.

Orphism, Simultanism,
Orphic Cubism
1913
Salon des Indépendants
1913
Apollinaire		 R Delaunay, S Delaunay (FR), Kupka (CZ-FR), Exter (UA-FR) painting cubism, light, abstraction

  • Robert Delaunay, Les Fenêtres simultanée sur la ville [Simultaneous Windows on the City], 1912. 40 x 46 cm. Kunsthalle Hamburg. From the Windows series of 23 paintings and drawings.

  • František Kupka, Amorpha, fugue a deux couleurs [Amorpha: Fugue in Two Colours], 1912. Oil on canvas. 210 x 200 cm. NG Prague. Studies: Pompidou, MoMA, Guggenheim, Guggenheim Venice. Second in the series: MA Cleveland.

  • Sonia Delaunay (ill.), Blaise Cendrars (text), La Prose du Transsibérien et de la petite Jehanne de France, 1913. Illustrated book with pochoir. Page: 207.4 x 36.2 cm. PDF. Log. Beinecke. British Library. MoMA.

FR Pompidou. US Guggenheim, MiA. UK Tate. INT Artsy.
en Grove, Tate, Tate, Wikipedia. it Treccani, Treccani. cr Šuvaković. no SNL.

Blaue Reiter
1911
group founded
1911
Die erste Ausstellung der Redaktion Der Blaue Reiter
1912
Die zweite Ausstellung der Redaktion Der Blaue Reiter Schwarz-Weiß
1911
Kandinsky
1912
Blaue Reiter Almanac		 Kandinsky (RU-DE), Marc, Münter (DE), Kubin (AT), Klee (CH-DE), Macke (DE), Jawlensky, Werefkin (RU-DE) painting, printmaking expr., futurism, fauvism, cubism, "primitivism", child art

  • Franz Marc, Tiger, 1912. Oil on canvas. 111 x 111.5 cm. Lenbachhaus Munich.

  • Wassily Kandinsky, Composition VII, 1913. Oil on canvas. 200 х 300 cm. Tretyakov.

  • Paul Klee, Garten der Leidenschaft [Garden of Passion], 1913. Etching in black-brown with plate tone. One of 40 copies on this type of paper. Plate: 9,8 x 14,4 cm. NGA. MoMA. SFMOMA. Artic. Yale. Harvard. Ketterer.

DE Lenbachhaus Munich. FR +. US Met. INT Artsy, Google AP.
en Britannica, Grove, Oxford DA, Wikipedia. it Treccani. es Akal. no SNL.

Neo-Primitivism
1912
Oslinyi khvost
1913
Mishen'
1913
Shevchenko		 Larionov, Goncharova, Malevich, Shevchenko, Chagall, D Burliuk, Filonov, Donkey's Tail group (RU) painting lubok, icons, peasant art & craft

  • Mikhail Larionov, Barber, 1907. Oil on canvas. State Russian M.

  • Natalia Goncharova, Evangelisty. Tetratikh [Евангелисты. Тетраптих; Four Evangelists], 1911. Oil on canvas. 204 х 58 cm (each part). State Russian M.

  • Kazimir Malevich, Floor Polishers, 1911. Gouache on paper. 77,7 x 71 cm. Stedelijk.

US MiA.
en Oxford DA, Wikipedia.

Cubo-Futurism
1913
Victory Over the Sun
1915
Tramway V
1915
0.10
1912
A Slap in the Face of Public Taste
1914
Bogomazov		 D Burliuk, Larionov, Goncharova, Malevich, Rozanova (RU), Exter (UA-FR), Lentulov (RU-FR), Tatlin, Popova, Kliun (RU), Bogomazov (UA), Hylaea group (RU) painting cubism, futurism

  • David Burliuk, Sibirskaya flotilia (portret moryaka) [Siberian Flotilla (Portrait of a Sailor)], 1911. Oil on canvas. 46 x 38 cm.

  • Kazimir Malevich, Tochil'schik printsip mel'kaniia [The Knife Grinder or Principle of Glittering], 1912-13. Oil on canvas. 79.5 x 79.5 cm. Yale.

  • Lyubov Popova, Seated Figure, 1914-15. Oil on canvas.

GR Costakis. FR Pompidou.
en Grove, Oxford DA, Wikipedia. cr Šuvaković.

Rayonism, Rayism, Luchism
1913
Mishen'
1913
Larionov		 Larionov, Goncharova (RU) painting futurism

  • Mikhail Larionov, Steklo [Glass], 1912. Oil on canvas. 104.1 x 97.1 cm. Guggenheim.

  • Mikhail Larionov, Rayonist Composition: Domination of Red, 1912-13. Oil on canvas. 52.7 x 72.4 cm. MoMA.

  • Natalia Goncharova, Koshki [luchistoe vospr.{iiatie} rozovoe, chernoe i zheltoe] [Cats (rayist percep.[tion] in rose, black, and yellow], 1913. Oil on canvas. 85.1 x 85.7 cm. Guggenheim.

FR Pompidou. INT Google AP.
en Oxford DA, Tate, Wikipedia. it Treccani. no SNL.

Vorticism
1914
Rebel Art Centre
1915
Vorticist Group
1917
Exhibition of the Vorticists at the Penguin
2010
Vorticists: Rebel Artists in London and New York, 1914-1918 + +
1914
Lewis et al
1914-5
Blast
1914
Pound		 W Lewis (UK), Gaudier-Brzeska (FR-UK), Jacob Epstein (US-UK), Wadsworth, Bomberg (UK), Coburn (US-UK), W Roberts, Saunders, Dismorr, Etchells (UK) painting, sculpture, printmaking, drawing futurism, cubism, machine

  • Jacob Epstein, Rock Drill, 1913. Displayed at Brighton City Art Gallery Dec 1913-Jan 1914. Now lost. Tate (torso).

  • Wyndham Lewis, Workshop, c1914-15. Oil paint on canvas. Support: 76,5 x 61 cm, frame: 91 x 76 cm. Tate.

  • Edward Wadsworth, Dazzle-ships in Drydock at Liverpool, 1919. Oil on canvas. 304.8 x 243.8 cm. NG Canada.

UK Tate, V&A. FR Pompidou.
en Grove, Monoskop, Tate, Wikipedia. it Treccani. cr Šuvaković. no SNL.

Suprematism
1915
0.10
1919
X Gosudarstvennaya vystavka
1922
Erste russische Kunstausstellung
1927
Grosse Berliner Kunstausstellung
1915
Malevich
1927
Malevich		 Malevich (RU-BY), Kliun, Rozanova, Menkov, Udaltsova, Puni (RU), Lissitzky, Suetin (RU-BY), Chashnik, Khidekel (BY-RU), groups: Supremus (RU), Unovis (RU-BY) painting, sculpture, design, craft, architecture zaum, fourth dimension

  • Kazimir Malevich, Chernyy suprematicheskiy kvadrat [Черный супрематический квадрат; Black Suprematic Square], 1915. Oil on canvas. 79,5 х 79,5 cm. Tretyakov.

  • El Lissitzky, Proun 1A (Most) [Proun 1A (Bridge)], 1919. Gouache. 8,5 x 15 cm. Private coll. Stedelijk.

  • Kazimir Malevich, Arkhitekton Gota [Gota Architecton], 1923. Plaster. 85,3 x 56 x 52,5 cm. Russian State M. Pompidou (1978). MoMA (photo c1936). [2]

GR Costakis. FR Pompidou. US Guggenheim, MiA. INT Artsy, Google AP.
en Grove, Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković.

Activists,
Hungarian Activists
1914
group founded
1916-17
Fiatalok shows
1973
Magyar Aktivizmus
2016
A magyar aktivizmus, 1914-1927
1915-16
A Tett
1916-26
Ma
1971
Szabó		 Kassák, Uitz, Bortnyik, Tihanyi, Mattis-Teutsch, Nemes-Lampérth, Kmetty (HU), Dobrović (SR-HU) painting, printmaking expr., cubism, constr.

  • Lajos Kassák, Képarchitektúra [Picture Architecture], 1922. Gouache on paper. 26 x 20 cm.

  • Béla Uitz, Ikonanalízis [Icon Analysis], 1922. Oil on canvas. 156 x 142 cm. MNG Budapest.

  • Sándor Bortnyik, Az új Ádám [The New Adam], 1924. Oil on canvas. 48,3 x 38 cm. MNG Budapest.

en Oxford DMCA. es Akal. cr Šuvaković. hu Artportal, Wikipedia-HU.

Dada
1916
Cabaret Voltaire events
1920
Erste Internationale Dada-Messe
1921
Salon Dada
1953
Dada 1916-1923
2005
Dada +
1916
Cabaret Voltaire (ed. Ball)
1917
The Blindman (ed. Duchamp)
1917-21
Dada (ed. Tzara)
1917-24
391 (ed. Picabia)
1922-23
Mécano (ed. Doesburg)
1923-32
Schwitters' Merz		 Ball (DE-CH), Tzara (RO-CH-FR), Richter (DE-CH), Janco (RO-CH), Arp (DE-CH), Taeuber (CH), Picabia (FR), Duchamp (FR-US), Schwitters (DE), Höch, Hausmann, Heartfield, Grosz, Ernst (DE), Ray (US-FR), Doesburg (NL), Freytag-Loringhoven (DE-US) performance, collage, photography, photomontage, printmaking, painting, film

  • Marcel Duchamp, L.H.O.O.Q., 1919. Rectified ready-made: pencil on reproduction of Leonardo da Vinci's Mona Lisa. 19.7 x 12.4 cm. Pompidou. Pompidou (1930). NGA. versions.

  • Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte Weimarer Bierbauch-Kulturepoche Deutschlands [Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany], 1919. Collage. 114 x 90 cm. NG Berlin.

  • Raoul Hausmann, Mechanischer Kopf: der Geist unserer Zeit [Mechanical Head: The Spirit of Our Age], c1919. Hairdresser's wig-making dummy, crocodile wallet, ruler, pocket watch mechanism and case, bronze segment of old camera, typewriter cylinder, segment of measuring tape, collapsible cup, the number "22", nails, and bolt. 32,5 x 21 x 20 cm. Pompidou. NGA.

DE Berlinische. FR Pompidou. US Guggenheim, Met, MiA. UK Tate. INT Artsy, Google AP.
en Britannica, Grove US, Grove, MoMA, Monoskop, Oxford DA, Tate, Wikipedia. fr Pompidou. it Treccani. es Akal. cr Šuvaković. no SNL.

Metaphysical Art, Pittura Metafisica
1921
Valori plastici
1913
Apollinaire
1918-22
Valori plastici
1919
Carrà		 de Chirico (IT-FR), Carrà, Morandi, Sironi, Casorati, de Pisis (IT) painting Nietzsche, symbolism, Giotto

  • Giorgio de Chirico, Le Muse inquietanti [The Disquieting Muses], c1917. Oil on canvas. 94 × 62 cm. Pinakothek Monaco.

  • Carlo Carrà, La musa metafisica [The Metaphysical Muse], 1917. Oil on canvas. 90 x 66 cm. Pinacoteca di Brera Milan.

  • Giorgio Morandi, Grande natura morta metafisica [Large Metaphysical Still Life], 1918. Oil on canvas.

FR Pompidou. UK Tate. INT Artsy, Google AP.
en Grove, Tate, Wikipedia. it Treccani. no SNL.

De Stijl,
Neo-Plasticism
1923
Les Architectes du groupe De Stijl
2010
Mondrian/De Stijl
1917-32
De Stijl
1917
Mondrian
1918
van Doesburg et al
1925
Mondrian
1925
van Doesburg		 van Doesburg (NL), Mondrian (NL-FR), Huszár (HU-NL), van der Leck (NL) painting, sculpture, printmaking, architecture, design cubism, abstraction

  • Theo van Doesburg, Glas-in-loodcompositie IV [Stained-Glass Composition IV], 1917. Stained glass window, three sections. 286.5 x 56.6 cm each. Designed for the De Lange House, Alkmaar. Kröller-Müller. Tate.

  • Piet Mondrian, Compositie met geel, rood, zwart, blauw en grijs [Composition with Yellow, Red, Black, Blue, and Gray], 1920. Oil on canvas. 51.5 x 61 cm. Stedelijk.

  • Vilmos Huszar, Mechanisch dansende figuur [Mechano-Dancer], 1922. Photomontage. Private collection, NY.

NL Gemeente. FR Pompidou D.S., + N.. US Met, MiA. UK Tate, V&A. INT Artsy, Artsy n.p., Google AP.
en Britannica, Grove, Grove, Guggenheim, Oxford DA, Oxford DA, Pompidou, Tate, Wikipedia. fr Pompidou. it Treccani, Treccani (e.). cr Šuvaković. no SNL, SNL, SNL (e.).

Formism
1917
I wystawa Ekspresjonistów Polskich
1919
I wystawa Formistów Polskich
1918
Chwistek
1919
Witkacy
1919-21
Formiści		 Czyżewski, Chwistek, Witkiewicz, A Pronaszko, Z Pronaszko (PL) painting expr., cubism, futurism

  • Leon Chwistek, Szermierka [Fencing], c1919. Oil on cardboard. 70 x 100 cm. MN Kraków. WMM.

  • Tytus Czyżewski, Akt z kotkiem [Nude with Cat], 1920. Oil on canvas. 76 x 96 cm. MN Warsaw.

  • Zbigniew Pronaszko, Akt we wnętrzu (Wnętrze) [Nude in an Interior (The Interior)], c1920. Oil on canvas. 150 x 125 cm. MN Kraków.

PL MN Warsaw +.
en Monoskop.

Purism
1918
Ozenfant et Jeanneret
1921
Ozenfant et Jeanneret peintres puristes
1918
Jeanneret & Ozenfant
1920-5
L'Esprit nouveau
1921
Ozenfant & Jeanneret
1925
Ozenfant & Jeanneret
1928
Ozenfant		 Jeanneret (CH-FR), Ozenfant, Léger (FR) painting, architecture cubism, machine

  • Amédée Ozenfant, Nature morte [Still Life], 1920. Oil on canvas. 80.5 x 100.3 cm. NGV Melbourne.

  • Charles-Edouard Jeanneret, Nature morte (Nature morte "l'Effort Moderne"; Nature morte Léonce Rosenberg) [Still Life], 1922. Oil on canvas. 65 x 81 cm. Pompidou.

  • Fernand Léger, The Baluster, 1925. Oil on canvas. 129.5 x 97.2 cm. MoMA.

FR Pompidou. UK Tate. US Guggenheim, Met, MiA. INT Artsy.
en Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković. no SNL.

Agitprop
1918
ROSTA established
1920
Agit-prop Dept established
1918
Lenin's call for monumental propaganda		 Cheremnykh, Mayakovsky, Moor, Rodchenko (RU), Exter (UA-FR), Popova, Rozanova, Tatlin (RU), Klutsis (LV-RU) design, printmaking, sculpture

  • El Lissitzky, Klinom krasnym bey belykh [Клином красным бей белых; Beat the Whites with the Red Wedge], 1919-20. Lithograph. 23 × 19 cm. Van Abbemuseum.

  • ROSTA Collective (Mayakovsky), Khochesh? - Vstupi. ROSTA No 867 [Хочешь? - вступи. Роста No 867], [Jan 1921]. Poster.

  • Ekran. Design for Screen, Rostrum and Propaganda Stand, 1922. drawing, 34,7x19 cm. Costakis.

en Grove DA, Oxford DMCA, Tate, Wikipedia.

Bauhaus
1919
Bauhaus founded
1923
Staatliches Bauhaus Weimar, 1919-1923
1938
Bauhaus 1919–1928
1919
Gropius
1923
Gropius
1925-29
Bauhausbücher		 Gropius, Itten, Feininger, Schlemmer (DE), Klee (CH-DE), Kandinsky (RU-DE), Moholy-Nagy (HU-AT-DE), Bayer, Breuer, Albers (DE) painting, sculpture, mural, printmaking, photography, design, textiles, architecture expr., constr., functionalism

  • Gunta Stölzl, Schlitzgobelin Rot-Grün [Red-Green Slit Tapestry], 1927-28. Bauhaus-Archiv Berlin +.

  • Paul Klee, Burg und Sonne [Castle and Sun], 1928. Oil on canvas. 50 x 59 cm. Private coll.

  • László Moholy-Nagy, Lichtrequisit einer elektrischen Buehne [Light Prop for an Electric Stage, now known as Light-Space Modulator], 1922-30. Kinetic sculpture of aluminum, steel, nickel-plated brass, other metals, plastic, wood and electric motor. 151.1 x 69.9 x 69.9 cm. Harvard. Bauhaus-Archiv Berlin (1970) [3]. Van Abbemuseum (1970). photos: MoMA, Getty, NGC. more.

DE Bauhaus-Archiv. US Guggenheim, Met, MiA. FR Pompidou. UK Tate, V&A. INT Artsy, Google AP.
en Grove, Met, Met photogr., Monoskop, Tate, Wikipedia. fr Larousse. it Treccani. es Akal. cr Šuvaković.

Constructivism
1921
INKhUK debate
1921
Vtoraya vesennyaya vystavka Obmokhu
1922
Düsseldorf congress
1922
Weimar congress
1922
First Russian Art Exhibition
more
1920
Gabo
1922
Rodchenko, Stepanova, et al.
1922
Gan		 Tatlin, Gabo, Rodchenko, Popova (RU), Stepanova (LT-RU), Stenberg bros, Medunetsky (RU), Ioganson, Klutsis (LV-RU), Vesnin brothers (RU), Kobro (RU-PL), Strzemiński (PL-RU), Szczuka (PL), Kassák (HU), more spatial construction, set design, graphic design

  • Naum Gabo, Constructed Head No. 2, c1916. Galvanised iron painted yellow ochre. 45x40.5x40.5 cm. Tate. More works in the series.

  • Alexander Rodchenko, "Ellipse" from his Second Series of Spatial Constructions, 1920-21. Plywood, open construction partially painted with aluminum paint, and wire. 61x84x47 cm. MoMA. More works in the series.

  • Vladimir Tatlin, model for the Monument to the Third International, 1920. More images.

GR Costakis. US Guggenheim. FR Pompidou. UK Tate, Tate UK c. INT Artsy, Google AP.
en Britannica, Grove, Monoskop, Oxford DA, Tate, Wikipedia. it Treccani. es Akal. cr Šuvaković. no SNL.

Zenitism
1924
Première exposition internationale d'art nouveau
1921-26
Zenit
1921
Micić
1921
Goll
1921
Micić, Goll, Tokin		 Petrov (SR), Klek/Seissel, Gecan (CR) painting, printmaking expr., constr., futurism, dada

  • Mihailo Petrov, Autoportret [Self-Portrait], 1921, printed 1971. Linocut. MSU Belgrade.

  • Jo Klek, Pafama, 1922. Collage; pastel/paper. 17 x 17 cm. MSU Zagreb. [4]

  • Mihailo Petrov, Kompozicija 77 [Composition 77], 1924. Gouache on paper. 31 x 23.5 cm. MSU Belgrade.

CR Sudac.
en Monoskop, Wikipedia. cr Šuvaković.

Muralismo,
Mexican Muralism,
Indigenismo
1921
Vasconcelos's mural program launched
1921
Siqueiros
1924
Siqueiros et al		 Orozco, Rivera, Siqueiros, Tamayo (MX), Mérida (GT-MX), Leal, Revueltas, Montenegro, O'Gorman (MX), Charlot (FR-MX), Castellanos (MX), Sabogal (PE), Guzmán de Rojas (BO), Egas, Guayasamín (EC), Acuña Tapias (CO) mural painting Italian Renaissance, 1900s-20s avant-garde art, neoclassicism, Marx & Lenin

  • José Clemente Orozco, La trinchera [The Trench], 1926. Fresco. National Preparatory School, Mexico City. San Ildefonso.

  • Diego Rivera, West wall of the mural cycle Epopeya del pueblo mexicano [Epic of the Mexican People], 1929-30. Fresco. ca 8.59 x 12.87 m. Palacio Nacional, Mexico City. Schalkwijk.

  • Juan O'Gorman, The Colonial Past, 1949-52. Mosaic on the Central Library, Mexico University, Mexico City.

US WPA. INT Schalkwijk Archive, Artsy.
en Tate mm, Tate i, Oxford DA mm, Wikipedia. es Akal m.

Modernismo Brasileiro
1922
Semana de Arte Moderna
1922-23
Klaxon		 Malfatti, Di Cavalcanti, Monteiro, Tarsila (BR), Brecheret (IT-BR), Segall (LT-DE-BR), Graz, Gomide, Nery, Dias (BR), Goeldi (BR-CH), Guignard (BR-DE) painting, drawing, sculpture cubism, futurism, surrealism

  • Lasar Segall, Bananal [Banana Grove], 1927. Oil on canvas. 87 x 127 cm. Folha.

  • Tarsila do Amaral, Abaporu, 1928. Oil on canvas. 85 x 73 cm. MALBA Buenos Aires. Folha. Estate.

  • Emiliano Di Cavalcanti, Cinco moças de Guaratinguetá [Five Girls from Guaratinguetá], 1930. Oil on canvas. 92 x 70 cm. MASP São Paulo. Folha.

en Tate. pt Wikipedia-PT.

Stridentism, Estridentismo
1924
first Stridentist exhibition
1921
Maples Arce
1923
Maples Arce
1924
Irradiador
1926
List Arzubide		 Revueltas, Alva de la Canal, Méndez, Cueto (MX) performance, printmaking, sculpture, painting futurism, ultraism, modernisation, technology

  • Ramón Alva de la Canal, Edificio estridentista, 1921.

  • Fermín Revueltas, Andamios exteriores, 1923. Watercolor on paper. 26.5 x 32.5 cm. MUNAL.

  • Germán Cueto, Máscara III, 1924. Painted cardboard. 53.5 x 41 x 9 cm. Blaisten México DF.

en Monoskop, Tate, Wikipedia.

Harlem Renaissance, New Negro Movement
1928-33
Exhibit of Fine Arts Productions of American Negro Artists series
1925
Locke, PDF
1926
Fire!!
1940
Locke
1943
Porter		 Fuller, Douglas, Motley, Hayden, MG Johnson, LM Jones, Bearden, J Lawrence, NW Lewis, Catlett, Parks (US) painting, sculpture, mural, printmaking

  • Meta Warrick Fuller, Ethiopia Awakening, c1921. Bronze. 170.2 x 40.6 x 51 cm. Schomburg/NYPL.

  • Aaron Douglas, Aspects of Negro Life, 1934. Oil on canvas. Schomburg/NYPL. from the series.

  • Loïs Mailou Jones, Les Fétiches, 1938. Oil on linen. 64.7 x 54 cm. SAAM.

US Smithsonian, SLAM, Met, Artic, Schomburg/NYPL. INT Artsy, Google AP.
en Grove US, Oxford DA, Tate, Wikipedia.

Unism
1927
Strzemiński's first solo show
1924
Strzemiński
1928
Strzemiński
1931
Strzemiński & Kobro		 Strzemiński (PL-RU), Kobro (RU-PL), Stażewski (PL) painting, sculpture, architecture, design suprematism, De Stijl

  • Katarzyna Kobro, Kompozycja przestrzenna (1) [Spatial Composition (1)], 1925. Painted steel. 14 x 39,5 x 53,5 cm. From the series of eight Spatial Compositions. MS Łódź. [5]

  • Władysław Strzemiński, Kompozycja architektoniczna (1) [Architectonic Composition (1)], 1926. Oil on canvas. 90 x 64 cm. MS Łódź. [6]

  • Katarzyna Kobro, Kompozycja przestrzenna (4) [Spatial Composition (4)], 1929. Painted steel. 40 x 64 x 40 cm. MS Łódź.

pl Wikipedia-PL.

Neues Sehen
New Vision
1929
Film und Foto
1931
Fotomontage
1925
Moholy-Nagy
1929
Roh
1929
Moholy-Nagy		 Moholy-Nagy (HU-DE), Lissitzky (RU-DE), Rodchenko (RU), Bayer (AT-DE), Peterhans (DE), Citroen (DE-NL), Umbo, Renger-Patzsch, Biermann (DE), Man Ray (US-FR), Moholy (CZ-DE), Henri (US-DE-FR), Krull (DE-FR), Funke, Rössler (CZ), Finsler (CH-DE), Stone (RU-DE), Consemüller (DE) photography, photogram, photomontage Bauhaus

  • Paul Citroen, Weltstadt (Meine Geburtsstadt) [Metropolis (City of My Birth)], 1923. Gelatin silver print. 20.3 x 15.3 cm. MoMA. [7]

  • El Lissitzky, Self-Portrait (The Constructor), 1924. Gelatin silver print. 13.9 x 8.9 cm. MoMA. V&A. [8]

  • László Moholy-Nagy, Berlin, Funkturm [Berlin, Radio Tower], 1928. Gelatin silver print. 38.1 x 27.8 cm. MoMA. NGA. Artic. [9]

DE Folkwang. US Thomas Walther/MoMA. FR Pompidou.
en Met, Tate, Wikipedia.

Neue Sachlichkeit, New Objectivity
1925
Die neue Sachlichkeit
2015
New Objectivity, 1919-1933
1922
Das Kunstblatt 9
1925
Hartlaub
1925
Roh		 verists: Dix, Grosz, Beckmann, Schad, Schlichter, Hubbuch, Scholz; classicists: Kanoldt, Schrimpf, Mense, Davringhausen, Schnarrenberger, Viegener; photography: Renger-Patzsch, Sander (DE) painting, photography pittura metafisica

  • George Grosz, Die Stützen der Gesellschaft [Pillars of Society], 1926. NNG Berlin.

  • August Sander, Handlanger [Handyman], 1926. Gelatin silver print. 39.8 x 30 cm. From the series Menschen des 20. Jahrhunderts [Men of the Twentieth Century] (1927). Sprengel. Pinakothek Munich. Tate. NGS.

  • Christian Schad, Selbstbildnis mit Modell [Self-Portrait with Model], 1927. Oil on wood. Support: 76 x 61.5 cm. Tate.

DE Lenbachhaus Munich. UK Tate. FR Pompidou. INT Artsy, Google AP.
en Guggenheim, Oxford DA, Oxford DMCA, Tate, Wikipedia. it Treccani. cr Šuvaković. no SNL.

Surrealism
1925
La Peinture surréaliste
1936
Exposition surréaliste d'objects
1936
International Surrealist Exhibition
1936
Fantastic Art, Dada, Surrealism
1938
Exposition internationale du surréalisme
1972
Surrealism 1922–1942
1924
Breton
1925-27
Breton
1929
Breton
1930
Bataille et al
1985
Krauss		 Ernst, Arp (DE-FR), Man Ray (US-FR), Masson (FR), Miró (ES), Tanguy (FR), Magritte, Mesens (BE), Giacometti (CH-FR), Sima (CZ-FR), Dalí (ES), Penrose (UK-FR), Toyen, Štyrský (CZ-FR), Brauner (RO-FR), Koga (JP), Ubac (BE-FR), Oppenheim (DE-CH), Domínguez (ES), Paalen (AT-MX), Delvaux (BE), Tanning (US), Matta (CL), Fini (AR), Lam (CU-FR) painting, sculpture, drawing, collage, relief, film automatism, Freud's psychoan., dada

FR Pompidou. UK Tate, NGS, V&A. US Guggenheim, Met, MiA. AR MNBA. AU NGA. INT Artsy, Google AP.
en Grove, Met, Met photogr., MoMA, Monoskop, Oxford DA, Pompidou, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. no SNL.

Art Deco
1925
Exposition internationale des arts décoratifs et industriels
1912
Vera		 Poiret, Süe, Mare, Dunand, Follot, Legrain, Puiforcat, Ruhlmann (FR), studios: Atelier Martine, Atelier Français, Compagnie des arts français (FR) furniture, pottery, textiles, jewellery, glass art nouveau

  • André Mare, Paravent "Les Faunes", c1920. Enamel paint on parchment glued on wood panels, gilt brass mounts. LAD Paris.

  • Émile-Jacques Ruhlmann, Cabinet "État Rectangle", c1922-23. Amaranth, ivory, ebony, bronze. 126,7 x 84 x 31,5 cm. LAD Paris. Met.

  • Pierre Legrain, Chaise africaine, c1924. Palm wood, plywood, sheep skin. LAD Paris.

FR LAD Paris + +, Pompidou. UK V&A. NL Gemeente. US Met, MiA. INT Artsy, Google AP.
en Grove, Grove DA, Met, Tate, V&A, Wikipedia. fr Larousse. it Treccani. cr Šuvaković.

Artificialism
1926
Štyrský & Toyen's first solo show		 1927 Štyrský & Toyen Štyrský, Toyen painting, drawing, collage surrealism, poetry

  • Toyen, Fata morgana, 1926. Oil on canvas. 100 x 73 cm.

  • Jindřich Štyrský, Chrpy (Květy ve sněhu), 1927. Oil on canvas. 46 x 61 cm. Kodl.

cz ArtsLexikon. cr Šuvaković.

Socialist Realism
1928
10-letiye Krasnoy Armii
1935
Pervaya vystavka leningradskikh khudozhnikov
1933
Beskin
1934
Zhdanov
1936
Zhdanov		 Deineka, Brodsky, Gerasimov, B Ioganson, Samokhvalov, Plastov, Nissky, Pimenov, Laktionov (RU), Khmelko (UA), associations: AKhRR, Society of Easel Painters/OSt (RU) painting, sculpture, mural, architecture Peredvizhniki, agitprop

  • Alexander Deineka, Na stroyke novykh tsekhov [На стройке новых цехов; Building New Industrial Plants], 1926. Oil on canvas. 209 × 200 cm. Tretyakov.

  • Isaak Brodsky, V.I. Lenin v Smol'nom [В.И. Ленин в Смольном; Lenin in the Smolny Palace], 1930. Oil on canvas. 190 x 287 cm. Tretyakov.

  • Aleksandr Gerasimov, V.I. Lenin na tribune [В.И. Ленин на трибуне; Lenin on the Tribune], 1930. Oil on canvas. 288 x 177 cm. GIM Moscow.

RU IRRI. UK Art Russe, Tate. US MORA. FR Pompidou. INT Artsy, Google AP.
en Oxford DA, Tate, Wikipedia. cr Šuvaković. hu Artportal. sl Pojmovnik.

Precisionism
1960
The Precisionist View in American Art
1927
Barr
1943-5
Brown		 Sheeler, O'Keeffe, Demuth, Ault, Driggs, Dickinson, Hirsch, Lozowick, Spencer, Stella (US) painting, drawing, printmaking cubism, dada, realism, modernisation, machine

  • Georgia O'Keeffe, Black Iris, 1926. Oil on canvas. 91.4 x 75.9 cm. Met.

  • Charles Demuth, My Egypt, 1927. Whitney.

  • Charles Sheeler, American Landscape, 1930. Oil on canvas. 61 x 78.8 cm. MoMA.

US Met, MiA. FR Pompidou. INT Artsy.
en Grove US, Met, Wikipedia. it Treccani.

Abstraction-Création
1931
association founded
1932-36
Abstraction-création		 Herbin, Hélion (FR), Vantongerloo (BE-FR), Arp (DE-FR), Gabo (RU-UK), Kandinsky (RU-DE), Mondrian (NL), Hepworth, Nicholson (UK) painting, sculpture cubism, De Stijl, constr.

  • Jean Hélion, Ile de France, 1935. Oil paint on canvas. Support: 145.4 x 200 cm. Tate.

FR Pompidou. UK Tate. INT Artsy.
en Britannica, Oxford DA, Oxford DMCA, Tate, Wikipedia. fr Larousse. it Treccani. es Akal. no SNL.

American Documentary Photography
1935
Farm Security Administration launched
1938
MoMA show of Evans		 Evans, Lange, Rothstein, Vachon, R Lee, Wolcott (US) photography

US LOC.
en Tate, Wikipedia.

Nuevo Realismo,
New Realism
1936
Berni		 Berni, Castagnino, Urruchúa, Policastro, Alonso (AR) painting, mural

AR MNBA.

Concrete Art
1944
Konkrete Kunst
1946
1ª Exposición de la Asociación Arte Concreto Invención
1951
Arte Astratta e Concreta in Italia
1952
Ruptura
1960
Concrete Art: Fifty Years of Development
1930
van Doesburg et al
1944-45
Abstrakt Konkret
1946
Inventionist Manifesto +
1946
Madí Manifesto
1952
Ruptura Manifesto
1957
Gerstner		 Bill (CH), van Doesburg (NL), Vasarely (HU-FR), Morellet (FR), Albers (DE-US), Graeser, Lohse (CH), Espinosa, Maldonado (AR), Arden Quin (UY-AR-FR), Kosice (SK-AR), Bloc (FR), Soldati, Munari (IT), Cordeiro (BR); groups: Concrete-Invention Art Association, Madí (AR), Movimento arte concreta (IT), Espace (FR), Ruptura (BR) painting, sculpture constr., abstraction

  • Theo van Doesburg, Arithmetic Composition, 1929-30. Oil on canvas. 101 x 101 cm.

  • Josef Albers, Ascension, 1942. Lithograph. Sheet: 60 × 48.3 cm. Met.

  • Max Bill, Kontinuität [Continuity], 1946-47. Displayed in a public park in Zurich. Plaster. 300 x 300 x 300 cm. Destroyed 1948. ETH Zürich.

FR Pompidou, + M. US Met. UK Tate. INT Artsy.
en CVAA, Grove, Oxford DA, Oxford DMCA, Tate, Tate inv., Wikipedia. es Akal, CVAA. fr Larousse. it Treccani. cr Šuvaković. no SNL.

Black Mountain College
1944
first summer arts program
2015
Leap Before You Look: Black Mountain College 1933-1957		 Josef Albers, Anni Albers, Schawinsky, Feininger, Gropius (DE-US), Cage, Cunningham, de Kooning, Motherwell, Kline; students: Chamberlain, Ray Johnson, Noland, Rauschenberg, Twombly, Vanderbeek (US) painting, performance, printmaking, drawing, weaving, textile, photography, design, architecture Bauhaus

  • Josef Albers, Fenced, 1944. Linoleum cut. Sheet: 25.4 × 31.1 cm. Met. Frost.

  • Anni Albers, Black-White-Gold I, 1950. Cotton, lurex, jute. 68.3 × 48.3 cm. Albers Foundation.

  • Robert Rauschenberg, Untitled (Merce III), 1953. Contact print. 5.7 x 5.7 cm. Rauschenberg Foundation.

INT Artsy.
en Grove, Monoskop, Oxford DA, Wikipedia. es Akal. cr Šuvaković.

Lettrism
1946
Première manifestation lettriste
1946
La Dictature lettriste
1950
Isou
1950-53
Ur
1952
Ion		 Isou (RO-FR), Pomerand, Roberdhay, Dufrêne, Lemaître, Wolman, Brau (FR) printmaking, film, painting, collage dada, surrealism, everyday life

  • Isidore Isou, plates 42-43 from Les journaux des dieux [Diaries of the Gods], 1950. 24 cm. Beinecke.

  • Gil J Wolman, still from L'Anticoncept [Anti-Concept], 1951. 35 mm film, 60 min. Video online. Reina Sofia.

  • Gabriel Pomerand, Le Prisonnier [The Prisoner], 1952. Oil on canvas. 73 x 60 cm. Reina Sofia.

FR Pompidou. INT UbuWeb.
en Monoskop, Tate, Wikipedia. it Treccani. cr Šuvaković. hu Artportal.

Abstract Expressionism,
New York School
1947
Possibilities
1948
de Kooning at MoMA
1946
Coates
1947
Possibilities
1952
Rosenberg
1970
Sandler
1994
Clark		 action painting: Pollock, de Kooning, Gorky, Kline (US), early colour field painting: Rothko, Newman, Still (US), other: Motherwell, Gottlieb, Guston, Frankenthaler (US) painting surrealism, automatism, expr., colour field

  • Barnett Newman, Onement, I, 1948. Oil on canvas and oil on masking tape on canvas. 69.2 x 41.2 cm. MoMA.

  • Willem de Kooning, Untitled, 1948-49. Oil and enamel on paper, mounted on composition board. 92.1 x 123.8 cm. Artic.

  • Mark Rothko, No. 3/No. 13, 1949. Oil on canvas. 216.5 x 164.8 cm. MoMA.

US Guggenheim, Met, Met a.p., NGA, MiA. UK Tate. FR Pompidou, + a.p.. INT Artsy, Artsy a.p., Artsy NY, Google AP.
en Britannica, Grove, Grove a.p., Met, MoMA a.p., Oxford DA, Oxford DMCA, Tate, Tate a.p., Wikipedia, Wikipedia a.p. fr Larousse a.p. it Treccani a.p. es Akal a.p. cr Šuvaković a.p., Šuvaković, Šuvaković (NYS). hu Artportal. sl Pojmovnik a.p. no SNL.

Lyrical Abstraction, Abstraction Lyrique
1947
L'Imaginaire
1947
Mathieu		 da Silva, de Staël, Soulages, Wou Ki (FR) painting art informel, abstract expr.

FR Pompidou. US Met.
en Wikipedia. fr Larousse. es Akal. cr Šuvaković. hu Artportal. no SNL. sl Pojmovnik.

Spatialism,
Spazialismo
1950
Arte spaziale
1946
Fontana et al
1947
Fontana et al		 Fontana (AR-IT), Crippa, Joppolo, Dova, Dangelo, Peverelli, Carozzi (IT) painting, installation

  • Ambiente spaziale a luce nera [Spatial Environment with Black Light], 1948-49/1976. Papier-mâché, phosphorescent pigment. Installation view, Musée d'Art Moderne de la Ville de Paris, 2014.

  • Gianni Dova, Pittura spaziale [Spatial Painting], 1952. Oil on canvas. 70 x 100 cm.

  • Lucio Fontana, Concetto spaziale [Spatial Conception], 1955. Oil and glass on canvas. 96.2 x 64.8 cm.

FR Pompidou. UK Tate. INT Artsy.
en Grove, Tate, Wikipedia. it Treccani. cr Šuvaković. hu Artportal.

Art Brut,
Outsider Art
1948
Compagnie de l'Art Brut formed
1949
L'art brut préféré aux arts culturels
1949
Dubuffet		 Aloïse (Corbaz) (CH), Forestier (FR), Gill (UK), Lesage (FR), Wölfli (CH), Maisonneuve, Parguey, Salingardes, Tripier (FR) painting, drawing, sculpture, carving, manuscript, embroidery Prinzhorn 1922

  • Adolf Wölfli, Saint Adolf mordu à la jambe par le serpent [Saint Adolph Bitten in the Leg by the Snake], 1921. Lead pencil and coloured pencil on paper. 68 x 51 cm. Art Brut Lausanne.

  • Augustin Lesage, Composition symbolique, amour pour l'humanité [Symbolic Composition, Love for Humanity], 1932. Oil on canvas. 97 x 70 cm. Art Brut Lausanne.

  • Madge Gill, sans titre [Untitled], n.d. Dress embroidered with mercerized cotton thread and wool enriched with cotton voile. Height 93 cm. Art Brut Lausanne.

CH Art Brut Lausanne. FR ABCD Paris, LAM Lille, Pompidou. DE Prinzhorn Heidelberg. JP NO-MA. US Guggenheim, Met. UK Musgrave Kinley London, Tate, Tate o.a. INT Artsy, Artsy o.a.
en Grove, Oxford DA, Tate, Tate o.a., Wikipedia. it Treccani. es Akal. hu Artportal.

CoBrA
1948
group founded
1949
Bregnerød congress
1949
International Experimental Art
1948
Dotremont et al		 Jorn (DK), Constant, Appel (NL), Dotremont, Alechinsky (BE), Jacobsen, Pedersen, Heerup (DK), Nieuwenhuys, Corneille (NL), Atlan (DZ-FR), Gilbert (UK-FR), Götz (DE) painting, mural, sculpture expr., surrealism, informel, Marxism

  • Constant, Fantastic Animals, 1947. Gouache. 39 x 40 cm.

  • Karel Appel, De vrijheidsschreeuw [Cry for Freedom], 1948. Oil on canvas. 100 x 80 cm.

  • Asger Jorn, Såret vilddyr 2 [Wounded Beast 2], 1951. Oil on hardboard.

NL Cobra Museum. DK Kunsten Aalborg, Birch. FR Pompidou. UK Tate. INT Artsy.
en Grove, Tate, Wikipedia. cr Šuvaković. no SNL.

Perceptismo
1949
First Exhibition of Perceptista Painting
1950-53
Perceptismo		 R Lozza, RD Lozza (AR) painting concrete art

  • Raúl Lozza, Relief No. 30, 1946. Phelps de Cisneros collection.

AR MNBA. ES Lafuente.
en CVAA, Tate. es CVAA, Wikipedia-ES.

Art Informel,
Art Autre,
Tachisme
1951
Véhémences confrontées
1952
Un art autre
1950
Tapié
1951
Guéguen
1951
Estienne
1952
Tapié
1962
Paulhan		 Dubuffet, Wols, Fautrier, Mathieu, Matta, Michaux, Poliakoff, Soulages, de Staël, Hartung (FR) painting abstract expr., automatism, existentialism, Kandinsky, Klee

  • Jean Fautrier, Tete d'otage, no. 20 [Head of a Hostage no. 20], 1944. Oil and plaster on paper pasted on canvas. 33 x 24 cm. Rumpf, Cologne.

  • Wols, L'oiseau [Bird], 1949. Oil, grattage, and tube marks on canvas. 92.1 x 65.1 cm. Menil, Houston.

  • Jean Dubuffet, Le Métafisyx, 1950. Oil on canvas. 116 x 89,5 cm. Pompidou.

FR Pompidou i., Pompidou t. US Guggenheim, Met. UK Tate. AR MNBA. INT Artsy, Google AP t.
en CVAA AR, Oxford DA, Oxford DA t., Tate, Tate t., Wikipedia, Wikipedia t. es Akal, CVAA AR. fr Larousse, Larousse t. it Treccani, Treccani t. cr Šuvaković. hu Artportal. sl Pojmovnik. no SNL.

Independent Group
1951
Growth and Form
1953
Parallel of Art and Life
1955
Man, Machine, and Motion
1956
This is Tomorrow		 Hamilton, Henderson, McHale, Paolozzi, Turnbull (UK) collage, sculpture, painting cinema, science fiction, advertising, pop music, pop art

  • Eduardo Paolozzi, Automobile Head, 1954-62. Screenprint on paper. 61.6 x 41.3 cm. Tate.

  • Nigel Henderson, Head of a Man, 1956. Photographs on paper on harcboard. Support: 159.7 x 121.6 cm. Tate.

  • John McHale, Telemath, 1958. Oil and collage on board. 91.5 x 122 cm.

UK Tate.
en Oxford DA, Tate, Wikipedia. cr Šuvaković.

Jikken Kobo,
Experimental Workshop
1951
collective founded
1953
5th Exhibition and Presentation
2009
Experimental Workshop: Japan 1950–1958
1953-54
Asahi Picture News		 Yamaguchi, Kitadai, Fukushima, Akiyama, Komai, Ōtsuji, composers: Takemitsu, Yuasa, Suzuki, Satō (JP) performance, environment, printmaking, film, photography

  • Katsuhiro Yamaguchi, Vitorīnu: Yoru no shinkō [Vitrine: Deep into the Night], 1954. Watercolor on paper, oil on wood, corrugated glass. 65.5 x 56.5 x 9 cm.

  • Mirai no ivu [The Future Eve], Mar 1955. Stage shot at Haiyuza Theater, Tokyo. Photo: Kiyoji Ōtsuji.

  • A still from Jinrin (Silver Wheel) / Bicycle in Dream, 1955. A collaboration between Toshio Matsumoto and Jikken Kobo. Video.

en Monoskop, Tate. jp Wikipedia-JA.

Gutai,
Gutai Bijutsu Kyokai
1954
group founded
1955
1st Gutai Art Exhibition
1958
Gutai Group Exhibition NY
1960
International Sky Festival
1955-65
Gutai
1956
Yoshihara		 Yoshihara, Shimamoto, Kanayama, Motonaga, Murakami, Shiraga, Sumi, Tanaka (JP) painting, performance, installation, environment, printmaking, film informel, abstract expr.

  • Jirō Yoshihara, Work (Colored Chickens), 1956.

  • Atsuko Tanaka wearing Denkifuku [Electric Dress] (1956) at 2nd Gutai Art Exhibition, Ohara Kaikan, Tokyo, October 1956. Pompidou.

  • Saburō Murakami, Sakuhin (Tsuka) [Passage], 1956. Performance at 2nd Gutai Art Exhibition, Ohara Hall, Tokyo, October 1956. 1994 video.

JP Osaka City Museum of Modern Art. FR Pompidou. UK Tate. INT Artsy.
en Monoskop, Wikipedia. fr Universalis. it Treccani. cr Šuvaković.

Fantastic Realism, Phantastischer Realismus
1959
Belvedere exhibition
1990
Die Phantasten
2008
Fantastic Realism
2016
Pražský fantastický realismus 1960–1967
1974
Muschik		 Fuchs, Brauer, Hausner, Hutter, Lehmden (AT), Dado (ME-SR-FR), Jedlička, Rachlík, Kotyza (CZ) painting surrealism

  • Ernst Fuchs, Kampf der verwandelten Götter [Battle of the Gods That Have Been Transformed], 1951-52. Watercolor on paper. 60 x 40 cm. Ernst Fuchs Privatstiftung, Vienna.

  • Rudolf Hausner, Gelber Narrenhut [Yellow Fool's Hat], 1955. Tempera and resin on fiberboard. 65 x 55.2 cm. Vienna M.

  • Mikuláš Rachlík, Dobříš, 1964. Oil on canvas. 80 x 100 cm.

en Tate, Wikipedia. cr Šuvaković. hu Artportal.

Kinetic Art, Kineticism
1955
Mouvement
1961
Rörelse i konsten
1964-66
Signals Gallery
1966
9 Evenings
1955
Vasarely
1964-66
Signals		 Tinguely (CH), Bury (BE-FR), Soto (VE-FR), Agam (IL-FR), Takis (GR-FR), Medalla (PH-UK), GRAV (FR), Dvizheniye (RU) sculpture Gabo 1919-20, Duchamp 1924, Calder 1932ff

  • Jean Tinguely, Méta-mécanique, 1955. Iron tripod, metal rods and wires, 9 variously coloured metal elements, electric motor. 89 x 82 x 65 cm. Museum Tinguely Basel.

  • Takis, Signal, 1955. Painted steel rods and iron.

  • Pol Bury, Ponctuation [Punctuation], 1959. Wood and electric motor. Diameter: 70 cm. Private collection, Brussels.

FR Pompidou. UK Tate. US Guggenheim. INT Artsy k.s., Google AP.
en Monoskop, Oxford DA, Tate, Wikipedia. fr Pompidou. it Treccani. es Akal. cr Šuvaković. hu Artportal. sl Pojmovnik.

Hard-Edge Painting
1959
Four Abstract Classicists
1966
Systemic Painting
1959
Langster		 Kelly, Newman, Noland, Reinhardt, Stella, Williams, Gilliam (US) painting

  • Ellsworth Kelly, Méditerranée, 1952. Oil paint on wood. 150 x 194.3 x 7 cm (support). Tate.

  • Barnett Newman, The Gate, 1954. Oil on canvas. 236 x 192 cm. Stedelijk.

  • Frank Stella, Hyena Stomp, 1962. Alkyd paint on canvas. 195.6 x 195.6 cm (support). Tate.

US Guggenheim. INT Artsy.
en Oxford DA, Tate, Wikipedia. cr Šuvaković. hu Artportal, Artportal. no SNL.

Neo-Dada
1958
Johns' show at Castelli
1957
Rosenblum
1962
Rose		 Johns, Rauschenberg, Rivers, Kaprow, Dine, Oldenburg (US), Neo-Dada Organizers (JP) collage, assemblage dada, nouveau réalisme, pop art

  • Larry Rivers, Washington Crossing the Delaware, 1953. Oil, graphite, and charcoal on linen. 212.4 x 283.5 cm. MoMA. Rivers Foundation.

  • Robert Rauschenberg, Bed, 1955. Oil and pencil on pillow, quilt, and sheet on wood supports. 191.1 x 80 x 20.3 cm. MoMA.

  • Jasper Johns, Target with Four Faces, 1955. Encaustic on newspaper and cloth over canvas surmounted by four tinted-plaster faces in wood box with hinged front. 85.3 x 66 x 7.6 cm (overall, with box open). MoMA.

US Guggenheim. UK Tate. FR Pompidou. INT Artsy.
en Oxford DA, Oxford DMCA, SSM, Tate, Walker, Wikipedia. it Treccani. cr Šuvaković. hu Artportal

Cybernetic Sculpture,
Robotic Art
1968
Cybernetic Serendipity
1997
Kac		 Schöffer (HU-FR), Paik (KO-US), Bonačić (CR), Ihnatowicz (PL-UK), Pask (UK), Dvizheniye (RU) sculpture cybernetics

  • Nicolas Schöffer, CYSP 1, 1956. Aluminium and mixed media (computer, traction motor, direction motor, 2 microphones, 2 photoelectric cells, 19 micromotors), height 2,6 meters. The first spatiodynamic sculpture, having total autonomy of movement (travel in all directions at two speeds as well as axial and eccentric rotation (setting in motion of its 16 pivoting polychromed plates).

  • Vladimir Bonačić, Dynamic Object GF.E (16,4), 1969-71. Computer-controlled dynamic object, aluminum, light bulbs, electric parts, 68 × 68 × 12 cm.

  • Edward Ihnatowicz, Senster, 1971. Artist.

Pop Art
1956
This is Tomorrow
1962
Green Gallery show
1962
The New Realists
1962
The Factory opens
1963
Six Painters and the Object
2010
Seductive Subversion: Women Pop Artists, 1958–1968
2015
International Pop
2015
World Goes Pop
1957
Hamilton
1958
Alloway
1962
Alloway		 Hamilton, Paolozzi, Blake, R Smith, Tilson, A Jones, Caulfield (UK), Warhol, Lichtenstein, Rivers, Rauschenberg, Johns, Rosenquist, Oldenburg, Wesselmann (US), Dich­gans, Klapheck, Roehr (DE), group: Scuola di Piazza del Popolo (IT), Shinohara (JP), Želibská (CZ-SK), Otašević (SR), Zieliński, Pinińska-Bereś (PL) printmaking, painting, collage, sculpture advertising, popular culture, mass media, machine-line production

  • Richard Hamilton, Just What Is It That Makes Today's Homes So Different, So Appealing?, 1956. Collage. 26 x 25 cm. Kunsthalle Tübingen.

  • James Rosenquist, President Elect, 1960-61. Oil on masonite. 228 x 366 cm. Pompidou.

  • Andy Warhol, Orange Car Crash Fourteen Times, 1963. Silkscreen ink on synthetic polymer paint on two canvases. 268.9 x 416.9 cm. MoMA.

US Guggenheim, Met, MiA. UK Tate b.p., V&A. FR Pompidou. AR MNBA. INT Ludwig, Artsy, Google AP.
en Grove, MoMA, Oxford DA, Pompidou, SSM, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. hu Artportal, Artportal. no SNL.

Zero
1957
First Evening Exhibition
1958
The Red Picture
1959
Motion in Vision–Vision in Motion
1960
The New Conception
1961
ZERO. Edition, Exposition, Demonstration
1962
Nul 62
2014
ZERO: Countdown to Tomorrow
1958-61
Zero
1964
Piene		 Piene, Mack, Uecker (DE), Klein (FR), Tinguely (CH), Fontana (AR-IT), Manzoni (IT), Bury (BE-FR), Soto (VE-FR), Spoerri (RO-CH), Nul group (NL) painting, sculpture, drawing, environment, performance kinetic art

  • Otto Piene, Rasterbild [Stencil Painting], 1957-58. Oil on canvas, 98.4 × 70.2 cm.

  • Heinz Mack, Dynamische Struktur schwarz-weiß [Dynamic Structure Black/White], 1957-58. Resin on nettle. 53 x 80 cm. Arndt.

  • Yves Klein, Untitled Fire Painting (F118), 1961. Charred cardboard mounted on board. 40.5 x 55.9 cm.

FR Pompidou. UK Tate. INT Artsy.
en Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković.

Situationists
1957
Situationiste Internationale founded
1989
On the Passage of a Few People Through a Brief Moment in Time
1958-69
Internationale situationniste
1967
Debord		 Debord, Constant, Viénet (FR), Jorn (DK), Gruppe SPUR (DE) printmaking, painting, architecture lettrism, Marxism, consumerism

  • Guy Debord, Guide psychogéographique de Paris, c1957. Lithography on paper. 59.5 x 73.5 cm. Published by Le Bauhaus Imaginiste. FRAC. Macba. Pompidou.

  • Guy Debord, Asger Jorn, two-page spread from Mémoires, [1958]. 28 cm. Published by L'Internationale situationniste.

  • Constant, Spatiovore (Concert Hall for Electronic Music), 1960. Metal, paint on perspex and wood. 65 x 90 x 65 cm. From the New Babylon project. Pompidou. Stedelijk. Gemeente. more.

FR Pompidou. UK Tate.
en Monoskop, Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković.

Zaria Art Society, Zaria Rebels
1958
group formed
1959-60
Okeke
1995
Onobrakpeya		 U Okeke, Nwoko, Onobrakpeya, Grillo, S Okeke, Osadebe, Odita, Nwagbara (NG) painting, sculpture

  • Uche Okeke, Fabled Brute, 1959. Lithograph. Sheet: 25.2 × 19 cm. MoMA. Harmon.

  • Demas Nwoko, Children on Cycles, 1961. Oil on board. Harmon.

  • Bruce Onobrakpeya, Eketete and Erbeybuye, c1961. Linocut. Harmon +.

en Tate.

Neoconcretism
1959
First Neo-Concrete Art Exhibition
1959
Manifesto Neoconcreto
1959
Gullar		 Clark, Oiticica, de Camargo, de Castro, Pape, Weissmann (BR) sculpture concrete art

  • Franz Weissmann, Coluna Neoconcreta I [Neo-Concrete Column], 1957. Painted iron. 280 x 110 x 75 cm. de Cisneros. Animated visualisation.

  • Hélio Oiticica, Relevo espacial (vermêlho) REL 036 [Spatial Relief (red) REL 036], 1959. Polyvinyl acetate resin on plywood. 625 x 1480 x 153 mm, 15 kg. Tate.

  • Lygia Clark, Bicho "Pancubismo", 1960. Aluminium. 30 x 30 x 40 cm. Seroussi.

UK Tate. INT Artsy.
en Monoskop.

Happening
1959
Kaprow's 18 Happenings in 6 Parts
1998
Out of Actions: Between Performance and the Object, 1949-1979
2012
Happenings: New York, 1958–1963
1958
Kaprow
1965
Kirby
1966
Sontag		 Kaprow, Oldenburg, Dine, Whitman (US), Forti (IT-US), Lebel (FR), Vostell (DE), Viennese Actionists (AT), Fahlström (SW), Kudo (JP-FR), Schneemann (US), Pommereulle (FR), Knížák (CZ), Kusama (JP-US), Kantor (PL) performance action painting, Cage

  • Installation view from Allan Kaprow, 18 Happenings in 6 Parts, Ruben Gallery, New York, 1959. Photo: Fred W. McDarrah.

  • Claes Oldenburg, Snapshot from the City, 1960. On photography with Patty Mucha (Pat Muschinski). Photo: Martha Holmes.

US Guggenheim. INT Artsy.
en Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković. hu Artportal

Nouveau Réalisme
1960
Les Nouveaux Réalistes
1961
First Festival of New Realism
1961
The Art of Assemblage
1963
Second Festival of New Realism
2010
New Realisms
1960
Restany
1961
Restany
1963
Restany
2013
Cabañas		 Arman, César, Dufrêne, Hains, Klein, Raysse (FR), Spoerri (RO-CH), Tinguely (CH), Villeglé (FR), Christo (BG-FR) collage, assemblage, painting Duchamp, neo-dada

  • François Dufrêne, 1/8ème du plafond pour la 1ère Biennale de Paris [1/8 of the Ceiling of the First Biennial of Paris], 1959. Lacerated posters on canvas. 146 x 114 cm. Pompidou. RMNGP.

  • César, Compression, 1960. Steel (compressed automobile parts). 151 x 61 x 43 cm. NG Australia. MoMA. Pompidou. NG Scotland. Tate. Daimler.

  • Daniel Spoerri, Kichka's Breakfast I, 1960. Wood chair hung on wall with board across seat, coffeepot, tumbler, china, eggcups, eggshells, cigarette butts, spoons, tin cans, and other materials. 36.6 x 69.5 x 65.4 cm. MoMA.

FR Pompidou. US Met. UK Tate. INT Artsy, Google AP.
en Guggenheim, Pompidou, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. hu Artportal

Environment
1962
Dylaby
1967-68
Environment, I-V
1958
Kaprow
1969
Wedewer
1972
Kepes		 Kaprow, Oldenburg, Dine, Kienholz, Segal (US), Soto (VE-FR), Alviani, Colombo, Castellani (IT) mixed-media construction, assemblage Schwitters' Merzbau

  • Allan Kaprow, Yard, 1961. Backyard of the Martha Jackson Gallery, New York. Photo: Ken Heyman. Hauser&Wirth. Artist.

  • Claes Oldenburg, interior of The Store, 107 East 2nd Street, New York, Dec 1961. MoMA.

  • Edward Kienholz, The Beanery, 1965. Stedelijk.

en Tate, Wikipedia i.a. it Treccani. hu Artportal

Fluxus
1961
AG Gallery events
1962
Kleines Sommerfest: après John Cage
2007
Fluxus East
1963
Maciunas
1963
Monte Young
1998
Friedman		 Maciunas, Flynt, G Brecht (US), Vautier (FR), Watts, Higgins, Knowles, Patterson, Paik, Williams, Hutchins (US), Ono (JP-US), Schmit, Beuys (DE), Filliou (FR), Tokyo Fluxus (JP) performance, sculpture, printmaking expanded arts

  • Nam June Paik performing La Monte Young's Composition 1960 #10 to Bob Morris at his Zen For Head, 1962. Wiesbaden, West Germany.

  • Robert Filliou, Galerie Légitime, c1962-63. Assemblage. 4 x 26.5 x 26.5 cm. Pompidou. Mumok. M HKA. MoMA.

  • Flux Year Box 2, assembled, designed, edited by George Maciunas, 1965-68. Wood box with screenprint, metal clasp and hinges, containing objects in various media. 23 x 23 x 8.6 cm. MoMA. Walker. Harvard. Pompidou. U Iowa. Du Doute. Bonotto. Log.

US Met, MiA. UK Tate. FR Pompidou. INT Artsy.
en Britannica, Grove, Monoskop, Oxford DA, Tate, Wikipedia. it Treccani. cr Šuvaković. hu Artportal.

Actionism,
Viennese Actionism
1962
Blutorgel
1963
Fest des Psycho–Physischen Naturalismus
1968
Kunst und Revolution
2016
Body, Psyche, and Taboo
1962
Nitsch, Mühl, Frohner		 G Brus, Muehl, Nitsch, Schwarzkogler, A Brus, Cibulka, Valie Export (AT) performance happening, Reich, Jung, Wiener 1954

  • Otto Mühl, Materialaktion 8: Stilleben – Aktion mit einem weiblichen Kopf und einem Schweinekopf, 1964. Photographs taken by Ludwig Hoffenreich. [10]

  • Günter Brus, Wiener Spaziergang, 1965/1989. B&W photograph taken by Ludwig Hoffenreich. 40 x 40 cm. Joanneum.

  • Valie Export, Peter Weibel, Aus der Mappe der Hundigkeit, 1968/2003. B&W photograph taken by Josef Tandl. 40.3 x 50.3 cm. Generali.

AT Mumok. UK Tate. FR Pompidou. INT Artsy, UbuWeb.
en Monoskop, Oxford DMCA, Tate, Wikipedia. fr Larousse. es Akal. cr Šuvaković. hu Artportal.

Body Art
1970-76
Avalanche
1998
Jones		 Acconci, Burden, Schneemann, Wilke, Ukeles, McCarthy, Nauman, Benglis, Rosler (US), Kusama, Ono, Kubota (JP-US), Mendieta (CU-US), Pane, Journiac, Orlan (FR), Valie Export (AT), Iveković, Abramović, Gotovac (YU), Mlčoch, Štembera (CZ), Bereś, KwieKulik (PL), Hajas (HU), Brătescu, Grigorescu (RO) performance, happening, painting, sculpture, photography, film, video happening, Fluxus, contemp. dance, actionism, destruction art

  • Yayoi Kusama, Sex Obsession Food Obsession Macaroni Infinity Nets & Kusama, 1962. Photo: Hal Reiff.

  • Carolee Schneemann, Eye Body: 36 Transformative Actions, 1963. Paint, glue, fur, feathers, garden snakes, glass, plastic with the studio installation Big Boards. Photographs by Erró, on 35 mm black and white film. Moderna Museet. Artist.

  • Jan Mlčoch, Zavěšení—Velký spánek [Suspension—The Great Sleep], 1974. Prague. Gelatin silver print. 27.5 × 37.2 cm. MU Olomouc.

US Met. FR Pompidou. UK Tate. INT Artsy.
en Hatje Cantz, Oxford DA, Oxford DMCA, Tate, Walker, Wikipedia. fr Larousse. it Treccani. es Akal. cr Šuvaković. hu Artportal. sl Pojmovnik.

Khartoum School,
Madrasat al Khartoum
2016
The Khartoum School: the Making of the Modern Art Movement in Sudan
1962
D Williams		 Salahi, Shibrain, Rabbah, Ishaq, Nour, Ahmed (SD-UK) painting, drawing, sculpture

  • Ibrahim El Salahi, Reborn Sounds of Childhood Dreams I, 1961-65. Enamel paint and oil paint on cotton. 258.8 x 260 cm. Tate.

  • Ahmed Shibrain, Untitled, 1965. Oil, ink and watercolour on board. 57 x 56 cm.

  • Amir Nour, Grazing at Shendi, 1969. Steel, 202 pieces. 302.3 x 408.9 cm. Artist. + +.

UK Tate.
en Tate.

Colour Field Painting, Post-Painterly Abstraction
1964
Post-Painterly Abstraction
1955
Greenberg
1970
Sandler		 Rothko, Newman, Still, Frankenthaler, M Louis, Noland, Alma Thomas, Gilliam (US), Denny, Hoyland, R Smith (UK) painting abstract expr.

  • Helen Frankenthaler, Mountains and Sea, 1952. Oil and charcoal on unsized, unprimed canvas. 219.4 x 297.8 cm. Frankenthaler Foundation.

  • Kenneth Noland, Whirl, 1960. Magna on canvas. 178.4 x 176.5 cm.

  • Morris Louis, Beta Lambda, 1961. Synthetic polymer paint on canvas. 262.6 x 407 cm. From the Unfurled Paintings series (nearly 150 works, 1960-61). MICA. MoMA.

US Guggenheim, Met. UK Tate p. FR Pompidou c., + p.p.. INT Artsy, Artsy p.p., Google AP.
en Britannica c., Grove US c., Oxford DMCA c., Tate c., Tate p., Wikipedia. cr Šuvaković p. hu Artportal p., Artportal p.

Capitalist Realism
1963
Leben mit Pop. Eine Demonstration für den kapitalistischen Realismus
2013
Living with Pop: A Reproduction of Capitalist Realism +		 Kuttner, Lueg, Polke, Richter (DE) happening, installation, painting consumerism, media, US pop art, Fluxus

  • Exhibition view of Leben mit Pop - Eine Demonstration für den kapitalistischen Realismus, 1963. Möbelhaus Berges, Düsseldorf.

  • Gerhard Richter, Party, 1963. 150 x 182 cm. Artist.

  • Sigmar Polke, Das Palmen-Bild [The Palm Painting], 1964. Acrylic on patterned fabric. 91.5 x 75.4 cm. Zwirner.

INT Artsy.
en Tate, Wikipedia. cr Šuvaković

Mail Art,
Correspondence Art,
Postal Art
1962-63
Yam Festival
1970
New York Correspondance School
1971
Mail Art (at Paris Biennale)
1973
Omaha Flow Systems
1986
Decentralized Worldwide Mail-art Congress
1971
Poinsot
1972
Albright
1974
Fischer
1980
Carrión		 Johnson (US), Filliou (FR), Spoerri (RO-CH), G Brecht (US), Vautier (FR), Anna Banana (CA), Cavellini (IT), Kozłowski, Partum (PL), Kocman (CZ) letter, postcard, drawing, object Fluxus

  • Ben Vautier, The Postman's Choice, 1965. Offset lithograph on paper. 9.2 x 14.1 cm. Walker. Harvard Art Museum. U Iowa.

  • Ray Johnson, Anna May Wong, 1971. Mixed media, cut postcard, and paper collage on board. 54.6 × 45.7 × 2.5 cm. Whitney.

  • Anna Banana, stamp sheet, 1984.

DK Lomholt. US U Buffalo, Gina Lotta. FR Pompidou. INT Artsy.
en Monoskop, Tate, Wikipedia. cr Šuvaković. hu Artportal.

Op Art
1965
The Responsive Eye
2007
Optic Nerve
1965
Albers
1970
Barrett		 Vasarely (HU-FR), Riley (UK), Soto, Cruz-Diez (VE-FR), Agam (IL-FR), Le Parc (AR-FR), Morellet (FR), Anuszkiewicz (US) painting, sculpture kinetic art, Albers

  • Victor Vasarely, Ondho, 1956-60. Oil on canvas. 220 x 180.4 cm. MoMA.

  • Julio Le Parc, Continuel-mobile, continuel-lumière [Continual Mobile, Continual Light], 1963. Painted wood, aluminium and nylon thread. 157.5 x 160 x 50.5 cm. Tate.

  • Bridget Riley, Fall, 1963. Polyvinyl acetate paint on hardboard. 141 x 140.3 cm. Tate.

FR Pompidou. US Met. UK Tate. INT Artsy, Google AP.
en Britannica, Grove, Tate, Wikipedia. it Treccani. cr Šuvaković. hu Artportal. no SNL.

Minimal Art,
Minimalism
1966
Primary Structures
1968
The Art of the Real
2014
Other Primary Structures
1965
Judd
1966
Morris
1967
Fried
1967
Aspen 5-6
1968
Battcock
1986
Foster		 Judd, Morris, Stella, Flavin, Andre, T Smith, LeWitt, Martin (US) sculpture

  • Donald Judd, Untitled (box with trough), 1963. Light cadmium-red oil on wood. 49.5 x 114.3 x 77.5 cm. Judd Foundation.

  • Robert Morris, (L-R) Untitled (Table), Untitled (Corner Beam), Untitled (Floor Beam), Untitled (Corner Piece), and Untitled (Cloud). Installation at the Green Gallery, New York, Dec 1964-Jan 1965.

  • Carl Andre, Equivalent VIII, 1966. Firebricks. 12.7 x 68.6 x 229.2 cm. Tate.

US Guggenheim, NGA, Met, MiA. FR Pompidou. UK Tate. INT Artsy, Google AP.
en Britannica, Grove, MoMA, Oxford DA, Oxford US, Tate, Wikipedia. fr Pompidou. it Treccani. cr Šuvaković. hu Artportal. sl Pojmovnik. no SNL.

Process Art
1966
Eccentric Abstraction
1969
Anti-Illusionism: Procedures/Materials
1969
9 in a Warehouse		 Morris, Serra (US), Hesse (DE-US), Le Va, Cohen, Nauman (US) sculpture minimal art, performance art

  • Eva Hesse, Hang Up, 1966. Acrylic on cloth over wood; acrylic on cord over steel tube. 182.9 x 213.4 x 198.1 cm. Artic. Hauser & Wirth. MoMA. Tate.

  • Robert Morris, Untitled (Tan Felt), 1968. Felt. Nine strips, each 304.8 x 20.3 cm.

  • Installation view of Richard Serra's Casting (front) and One Ton Prop (House of Cards) (back) at Anti-Illusion: Procedures/Materials, Whitney Museum, New York, 1969. Lead casting. c10.2 x 762 x 762 cm (destroyed). / Lead antimony. Four plates, each 122 x 122 cm.

US Guggenheim. UK Tate. FR Pompidou. INT Artsy.
en Oxford DA, Tate, Wikipedia. cr Šuvaković. hu Artportal

Post-Minimalism
1966
Eccentric Abstraction
1969
Anti-Illusionism: Procedures/Materials
1969
When Attitudes Become Form
1968
Morris
1971
Pincus-Witten
1973
Krauss
1977
Pincus-Witten		 Hesse (DE-US), Serra, Benglis, Le Va, LeWitt, Tuttle, Bochner, Sonnier, Vicconci, Nauman (US) sculpture, performance minimalism, process art, land art, conceptual art, body art, performance art

  • Eva Hesse, Sans II, 1968. Fiberglass and polyester resin. 96.5 x 218.4 cm x 15.6 cm. SFMOMA. Whitney. Hauser & Wirth.

  • Richard Serra, Prop, 1968. Lead antimony. 152.4 x 152.4 cm (sheet). Walker. Whitney. NGA Australia.

  • Lynda Benglis, Bounce I, 1969. Poured colored latex. Dimensions variable.

US Guggenheim. FR Pompidou. INT Artsy, Google AP.
en Grove US, Oxford DA, Wikipedia. cr Šuvaković.

Expanded Cinema
1965
New Cinema Festival I
1966
9 Evenings
1968
X-Screen
1974
Projected Images
1976
Festival of Expanded Cinema
1964
Mekas
1966
VanDerBeek
1970
Youngblood		 VanDerBeek, Schneemann, Jacobs, Conrad, Sharits, Whitman (US), Snow (CA), B+W Hein (DE), Valie Export, Weibel, Scheugl (AT), Lemaître (FR), Keen, T Hill, L Rhodes (UK), Filmaktion: Le Grice, Raban, A Nicolson, Eatherley (UK), McCall (UK-US), Oiticica (BR), KwieKulik (PL) film, video, performance, installation, media environment experimental film, video art, computer art

  • Stan VanDerBeek, Movie-Drome, c1963-65. Interior view. Artist.

  • Valie Export, Abstract Film No. 1, 1967-68. MoMA. Artist.

  • Michael Snow, Two Sides to Every Story, 1974. Installation view at Projected Images exhibition, Walker Art Center, Minneapolis. Synchronised film projectors on 2 sides of suspended screen, 16 mm colour, sound. 300 x 600 x 1250 cm. CCCA. Video.

en Monoskop, Tate. hu Artportal

Video Art
1966
9 Evenings
1968
The Machine as Seen at the End of the Mechanical Age
1969
TV as a Creative Medium
1970
Information
1971
The Kitchen opens
1972-77
April Meetings
The Video Show
1970-74
Radical Software
1970
Youngblood		 Paik (KO-DE-US), Vostell (DE), L Levine (IE-CA-US), Tambellini (IT-US), Nauman, Ant Farm, Sonnier, Acconci, Viola (US), Vasulkas (CZ-IS-US), Valie Export (AT), Rosenbach (DE), D Hall (UK), Dragans (SL), Bruszewski (PL), C Campbell (CA), Jonas, Benglis, G Hill (US), Iveković, Martinis (CR), Robakowski (PL), Mendieta (CU-US) video, installation, sculpture, performance, broadcast television, media, McLuhan

  • Bruce Nauman, Walk with Contrapposto, 1968. Video (60 min, b&w, sound). EAI. MoMA. LACMA. SAAM. Mumok. Macba. Ubu. [11]

  • Steina and Woody Vasulka, The Matrix, 1970-72. Video installation, video (28 min 50 sec). Installation view at Albright Knox Gallery, 1978. Langlois. EAI.

  • Charlotte Moorman performing Nam June Paik's Concerto for TV Cello and Videotapes (1971) at the Bonino Gallery, New York, 23 Nov 1971. Photo: Peter Moore. Object: video tubes, TV chassis, plexiglass boxes, electronics, wiring, wood base, fan, stool. Walker. KM Bochum. NSW Sydney (1976). EAI (video). Pompidou (video). Reina Sofia (video). Walker (photo). Mumok (photo).

US VDB. UK Tate. AT MUMOK. INT Artsy, UbuWeb.
en Britannica, Grove, Monoskop, Tate, Wikipedia. fr Larousse. it Treccani. cr Šuvaković. hu Artportal, Artportal. sl Pojmovnik.

New York Graphic Workshop
1964
founded
1966
New York Graphic Workshop Buenos Aires
2008
The New York Graphic Workshop, 1964-1970
1964
NYGW Manifesto		 Camnitzer (DE-UY-US), Porter (AR-US), Castillo (VE-US) printmaking

  • José Guillermo Castillo, Untitled (J), 1967. Etching and embossing. Sheet: 37 x 37.8 cm. From a series of ten. MoMA.

  • Liliana Porter, Plate VIII from Wrinkle, 1968. Book with ten photoengraved etchings, 33.8 x 40.6 cm (sheets). MoMA. MALBA. Daros. Tate. Artist. Log. PDF.

  • Luis Camnitzer, Living Room (Living-Comedor), Living Room: Model for an Environment, 1968. Book. Overall: 37.1 x 30.5 x 1.6 cm. MoMA.

UK Tate.
en Tate.

Casablanca School
1966
Rabat show
1969
Exposition Manifeste
2016
Casablanca School of Fine Arts
1966-72
Souffles
2015
Powers		 Belkahia, Melehi, Chabâa (MA) painting

  • Mohammed Chabâa, Untitled, 1967. Acrylic on canvas. 152 x 202 cm (each). Société Générale Maroc.

  • Mohammed Melehi, Flame, 1970. Cellulose paint on wood. 210 x 180 cm. Installed at Marakech Biennale 2016.

  • Farid Belkahia, Femme berbère [Berber Woman], c1970. Embossed copper and wood. 78.5 x 66 cm.

Arte Povera
1967
Arte povera – IM Spazio
1968
Arte Povera
1968
Arte Povera+Azioni Povere
1967
Celant
1969
Celant		 Anselmo, Boetti, Calzolari, Fabro, Gilardi, Mario Merz, Marisa Merz, Paolini, Pascali, Penone, Pistoletto, Prini, Zorio (IT), Kounellis (GR-IT) sculpture, installation, happening, performance conceptual art, Pasolini

  • Michelangelo Pistoletto, Venere degli stracci [Venus of the Rags], 1967. Concrete with mica and rags. 180 x 130 x 100 cm. Photo: Paolo Pellion. Rivoli. Macro. Tate.

  • Jannis Kounellis, 12 Cavalli [12 Horses], 1969. Installation at Galleria L'Attico, Rome.

  • Giuseppe Penone, Alberro di 8 metri [Eight Meter Tree], 1969. Wood. 80 x 15 x 27 cm.

FR Pompidou. UK Tate. INT Artsy, Google AP.
en Grove, Guggenheim, Tate, Wikipedia. fr Larousse, Pompidou. it Treccani. es Akal. cr Šuvaković. hu Artportal.

Performance Art
1998
Out of Actions: Between Performance and the Object, 1949-1979
1979
Goldberg
1998
Schimmel		 Acconci, Burden, Nauman, Oppenheim, Graham, Jonas, Monk, Piper, Carolee Schneemann, Ukeles, Laurie Anderson (US), Ono (JP-US), Horn, Beuys (DE), Hsieh (TW), Stelarc (CY-AU), Iveković, Abramović (YU), Mlčoch, Štembera (CZ), Kantor, Warpechowski, Borowski, Bereś (PL), Szentjóby (HU), Grigorescu (RO) performance happening, Fluxus, body art, actionism, contemp. dance

US MoMA, Guggenheim, Met, MFA Boston. UK Tate. FR FRAC Lorraine. INT Artsy.
en Britannica, Grove, Guggenheim, Oxford DA, Oxford Bib, Tate, Wikipedia. es CVAA. fr Pompidou. it Treccani. cr Šuvaković. hu Artportal. sl Pojmovnik.

Black Arts Movement
1968
Weusi at Stony Brook U
1970
AfriCOBRA 1: Ten in Search of a Nation
1971
Where We At: Black Women Artists
2010
AfriCOBRA
2015
The Freedom Principle
2018
Soul of a Nation
1970
Donaldson
2018
Morgan		 Andrews, Bellow, Brown, Calloway, Donaldson, J Jarrell, W Jarrell, Jones, Jones-Hogu, Lawrence, Mallory, McCannon, Olugebefola, Riddle, Saar, collectives: Weusi, AfriCOBRA, Where We At (US) printmaking, collage, painting, quilt Neal 1968, liberation, equality

  • Cleveland Bellow, Untitled, 1968. Screenprint on paper. Sheet: 49.5 x 38.7 cm. Brooklyn Museum.

  • Jeff Donaldson, Wives of Shango, 1969. Watercolor with mixed media on paper. Sheet: 76.2 x 55.9 cm. Brooklyn Museum.

  • Jae Jarrell, Urban Wall Suit, 1970. Multicolored silk quilted patchwork, women’s size 10, hand-painted graffiti, acrylic. 95.3 x 69.9 x 1.3 cm. Brooklyn Museum.

UK Tate c.a. INT Artsy.
en Smithsonian, Tate, Wikipedia.

Computer Art,
Computer Graphics
1968
Computer Graphic
1968
Cybernetic Serendipity
1968
Tendencies 4
1970
Software
1968-72
Bit International
1969ff
PAGE		 Laposky, Noll, Schwartz (US), Franke (AT), Alsleben, Nake, Nees, Mohr (DE), Zajec (IT), Molnar (HU-FR) screenprint, film

  • Frieder Nake, Hommage à Paul Klee, 13/9/65 Nr.2, 1965. Screenprint after a plotter drawing. V&A. Compart.

  • Manfred Mohr, P-021, 1970. Screenprint after a plotter drawing. V&A.

  • Lillian Schwartz and Ken Knowlton, photographic stills from the computer animation Pixillation, 1970. V&A.

INT Artsy early c.a.
en Grove, Monoskop, Oxford DMCA, Wikipedia. it Treccani. cr Šuvaković. hu Artportal. sl Pojmovnik.

Land Art, Earth Art, Environmental Art, Site-Specific Art
1968
Earth Works
1969
Earth Art
1969
When Attitudes Become Form
2012
Ends of the Earth
1966
Smithson
1968
Smithson
1970-76
Avalanche
1979
Krauss		 Smithson, Heizer, de Maria, Andre, Morris, Oppenheim (US), Christo & Jeanne Claude (BG/FR-US) conceptual art

  • Robert Smithson, Partially Buried Woodshed, 1970. Kent State University, Kent, Ohio. One woodshed and twenty truckloads of earth. Artist. NGA. Tate.

  • Walter De Maria, The Lightning Field, 1977. Long-term installation, western New Mexico. Dia.

  • Robert Morris, Observatory, 1971-77. Flevoland, the Netherlands. De Paviljoens.

US Guggenheim s./en., Met. UK Tate en. FR Pompidou l.. INT Artsy, Artsy s., Google AP.
en Monoskop, Oxford DA l., Tate l., Tate ea., Tate en., Tate s., Wikipedia. it Treccani l. cr Šuvaković en., Šuvaković ec., Šuvaković l. hu Artportal l., Artportal HU l., Artportal en. sl Pojmovnik ec., Pojmovnik l.

Mono-ha,
School of Things
1970
August 1970: Aspects of New Japanese Art
2015
Mono-ha - Premessa
1970
roundtable in Bijutsu techō 436
1970-71
Ufan		 Ufan (KO-JP), Sekine, Yoshida, Honda, Narita, Koshimizu, Suga, Enokura, Haraguchi (JP) earthwork, sculpture

  • Nobuo Sekine, Isō—Daichi [Phase—Mother Earth], 1968. Earth, cement. Cylinder: 220 x 270 (diameter) cm, hole: 220 x 270 (diameter) cm. Installation view, 1st Kobe Suma Rikyū Park Contemporary Sculpture Exhibition, Oct-Nov 1968. Photo: Osamu Murai. Artist.

  • Lee Ufan, Kankei-kō [Relatum], 1969. Formerly Genshō to chikaku B [Phenomena and Perception B]. Stone and glass plate. 30 cm x 180 cm x 240 cm. Detail view at Developments in Contemporary Art, Kyoto National Museum of Modern Art, Aug-Sep 1969.

  • Kishio Suga, Jokyoritsu [Law of Situation], 1971. Ube Open-Air Museum, Ube Japan. Photo: Kishio Suga.

INT Artsy.
en Monoskop, Tate, Wikipedia.

Photorealism,
Hyperrealism,
Superrealism
1970
Twenty-two Realists
1972
Documenta 5
1973
Photo-Realism 1973
1973
Hyperréalisme
1969
Meisel
1973
Brachot
1975
Battcock		 Close, Estes, Flack, Bechtle, Cottingham, McLean, Eddy, Goings, Hanson, De Andrea (US), Salt (UK), Gertsch (CH) painting, sculpture photography

  • Malcolm Morley, SS Amsterdam in front of Rotterdam, 1966. Acrylic on canvas. 157.5 x 213.5 cm. Saatchi.

  • Ralph Goings, Airstream, 1970. Oil on molino. 152.3 × 213.5 cm. Mumok. Artist.

  • Richard Estes, Double Self-Portrait, 1976. Oil on canvas. 60.8 x 91.5 cm. MoMA.

UK Tate h. FR Pompidou h. INT Artsy, Artsy h., Google AP, Google AP h.
en Grove p., Guggenheim p., Oxford DA h., Tate p., Tate h., Wikipedia, Wikipedia h. it Treccani h. cr Šuvaković h. hu Artportal. sl Pojmovnik p.

Conceptual Art
1969
January 1-31
1969
When Attitudes Become Form
1971 At Another Moment
1972
Documenta 5
1999
Global Conceptualism: Points of Origin 1950-1980s
1961
Flynt
1967
LeWitt
1969
Kosuth
1973
Lippard
1990
Buchloh		 Kosuth, LeWitt (US), Art&Language (UK), Darboven (DE), Bochner, Weiner, D Huebler (US), Broodthaers (BE), Buren (FR), Graham (US), Haacke (DE-US), Piper, Ruscha (US), Darboven (DE), Gorgona (CR), OHO (SL), KÔD, Đorđević (SR), Erdély, Szentjóby (HU), Borowski, Kozłowski (PL), Koller, Filko (SK), Kabakov, Komar & Melamid, Collective Actions (RU) sculpture, printmaking, performance, painting readymade, land art

  • Joseph Kosuth, One and Three Chairs, 1965. Wood folding chair, mounted photograph of a chair, and mounted photographic enlargement of the dictionary definition of "chair". Chair 82 x 37.8 x 53 cm, photographic panel 91.5 x 61.1 cm, text panel 61 x 76.2 cm. MoMA.

  • John Baldessari, This Is Not to Be Looked At, 1968. Acrylic and photoemulsion on canvas. 149.9 x 114.3 cm.

  • Adrian Piper, Catalysis III, 1970. Performance documentation. Silver gelatine print. 40.6 x 40.6 cm. Photo: Rosemary Mayer. Generali.

US Guggenheim, Met, MiA. UK Tate. FR Pompidou. AR MNBA. INT Artsy, Google AP.
en Britannica, Grove, Grove US, Met, MoMA, Monoskop, Oxford DA, Oxford DMCA, Stanford, Tate, Wikipedia. it Treccani. fr Larousse. es Akal, Butin. cr Šuvaković, Šuvaković. hu Artportal, Artportal. sl Pojmovnik.

AUTH
AAT.
Institutional Critique
1971
Guggenheim cancels Haacke's show
1971
Guggenheim censores Buren's work
1971
Buren
1977
Haacke
1990
Buchloh		 Haacke (DE-US), Broodthaers (BE), Buren (FR), Asher, Rosler, Guerrilla Girls, Fraser (US), Wodiczko (PL-US) sculpture, installation, performance conceptual art, Foucault

  • Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Photo-souvenir: Buren, Mosset, Parmentier, Toroni, Manifestation no. 3, travail in situ, Salle de spectacle du Musée des Arts Décoratifs, Paris le 2 Juin 1967, 1967. Artist.

  • Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (detail), 1971.

  • Marcel Broodthaers, installation view of the Musée d’Art Moderne, Département des Aigles, Section des Figures, Kunsthalle Düsseldorf, 1972.

INT Artsy.
en Grove, Oxford DA, Tate, Wikipedia. cr Šuvaković. sl Pojmovnik.

Systems Art
1970
Software
1967
Haacke
1968
Burnham
1968
Burnham
1970
Software		 Haacke (DE-US), L Levine (IE-CA-US), Flavin, Andre, Morris (US), CAyC group (AR) installation, sculpture Bertalanffy 1968, cybernetics

  • Hans Haacke, Grass Cube, 1967.

  • Les Levine takes a picture of his television sculpture Iris as it takes a picture of him, c1968.

  • Hans Haacke, Circulation, 1969.

en Monoskop, Tate, Wikipedia. cr Šuvaković.

Feminist Art
1969
Women Artists in Revolution protest
1971
26 Women Artists
1972
Womanhouse
1973
c. 7,500
1975
Magna Feminismus: Kunst und Kreativität
2007
WACK!: Art and the Feminist Revolution
1971
Nochlin
1971-73
West-East Bag newsletter
1972-77
Feminist Art Journal
1976
Lippard		 Bourgeois (FR-US), Hesse (DE-US), Kusama (JP), Schneemann, Chicago (US), Schapiro (CA-US), Mendieta (CU-US), Ringgold, Kruger, Rosler, Sherman, Holzer, Benglis, Guerrilla Girls (US), Valie Export (AT), Abakanowicz, Partum (PL), Iveković (YU) sculpture, painting, performance, installation

  • Louise Bourgeois, Femme Maison, 1946-47. Oil and ink on linen. 91.4 x 35.6 cm each. From the Femme Maison series.

  • Eva Hesse, Ringaround Arosie, 1965. Pencil, acetone, varnish, enamel paint, ink, and cloth covered electrical wire on papier-mâché and masonite. 67 x 41.9 x 11.4 cm. MoMA.

  • Judy Chicago, The Dinner Party, 1979. Ceramic, porcelain, textile. 1463 x 1463 cm. Brooklyn Museum. Artist.

INT Artsy.
en Tate, Walker, Wikipedia. cr Šuvaković. sl Pojmovnik.

Hurufiyya,
Arabic Letterism
1947
Omar's show in Washington DC
1971-
One Dimension shows
1997
Letter, Word, Art
1949
Omar
1971
Al Said
2006
Porter		 Omar (SY-IQ-US), Al Said (IQ-FR), Hamoudi (IQ), Waqialla (SD-UK), Adnan (LB-US), Akyavaş (TR), Tanavoli (IR-IT-US), Zenderoudi (IR-FR), el-Said (IQ), Moustafa (EG-UK), Massoudy (IQ-FR), Ahuja (IN-UK), Qotbi (MA-FR), Koraichi (DZ-FR), group: One Dimension (IQ) painting, drawing, printmaking, craft calligraphy

  • Madiha Omar, At the Concert, 1948. Ink on white scratch board. 23.8 x 32.5 cm. Collection Hala Kittani.

  • Shakir Hassan Al Said, Untitled, 1977. Ink on paper. 53.5 x 73 cm. Mathaf Doha.

  • Issam El-Said, Ayat al-Kursi, c1979. Oil on canvas. 91 x 91 cm.

en Tate.

Nsukka Group
1997
The Poetics of Line		 Okeke, Aniakor, O Udechukwu (NG), Anatsui (GH-NG), Adenaike (NG) painting, printmaking, sculpture uli, nsibidi, li calligraphy

  • Uche Okeke, The Crescent Moon, 1974. Linocut. 47 x 61 cm.

  • Obiora Udechukwu, Road to Abuja, 1983. Pen and ink on paper. 50.9 x 38 cm.

  • El Anatsui, Group Photo, 1987. Wood. Dimensions variable, tallest individual piece: 45.7 cm.

en Tate.

Sots Art
1972
Melamid & Komar's Sots Art series
2007
Sots Art
1988
Groys		 Bulatov (RU), Komar & Melamid, Kosolapov, Sokov (RU-US), Nest group, Bruskin (RU) painting, sculpture socialist realism, pop art

  • Komar & Melamid, Portrait of the Wife of Vitaly Komar with Son and a Portrait of the Wife of Alex Melamid, 1972. Diptych, from the series Sots Art. Artists.

  • Leonid Sokov, Irritator, 1974. Wood, iron, and oil paint with mechanism to move tongue. 31.5 x 20.5 x 9 cm. Dodge/Zimmerli.

  • Erik Bulatov, Krasikov Street, 1977. Oil on canvas. 150 x 198,5 cm. Dodge/Zimmerli.

en Oxford DA, Tate. cr Šuvaković. hu Artportal

Graffiti Art
1972
City College show
1983
Post-Graffiti
1975
Martinez
1982
Foster		 Basquiat, Haring, Rammellzee, McGee (US), Banksy (UK) mural, painting, drawing

  • Jean-Michel Basquiat, Obnoxious Liberals, 1982. Acrylic, oilstick, and spray paint on canvas. 172.7 × 259.1 cm.

  • Keith Haring, Untitled, 1984. Acrylic on muslin. 238.8 x 238.8 cm. Artist.

  • Banksy, [Kissing Policemen] (detail), 2004. Stencil graffiti in Brighton, UK.

UK Tate. INT Artsy.
en Grove, Grove US, Oxford DA, Tate. it Treccani. cr Šuvaković. hu Artportal. sl Pojmovnik.

Papunya Tula
1972
cooperative formed
1981
Australian Perspecta
1985
The Face of the Centre: Papunya Tula Paintings 1971–1984
2000
Papunya Tula: Genesis and Genius		 Possum, Kaapa, Stockman, Uta Uta, Anatjari, Leura, Tolson (AU) painting, mural dreaming

  • Uta Uta Tjangala, Ngurrapalangu, 1974. Acrylic paint on particle board. 61 cm x 76.5 cm. NMA Canberra.

  • Clifford Possum Tjapaltjarri, Warlugulong 1977. Synthetic polymer paint, oil and natural earth pigments on canvas synthetic polymer paint, oil and natural earth pigments on canvas. 202 x 337.5 cm. NGA Canberra.

  • Tim Leura Tjapaltjarri and Clifford Possum Tjapaltjarri, Spirit Dreaming Through Napperby Country, 1980. Synthetic polymer paint on canvas. 207.7 × 670.8 cm. NGV Melbourne.

AU Papunya Tula Artists, NGA Canberra, NMA Canberra + +, AG NSW Sydney, NGV Melbourne, Flinders U, Australian M Sydney, Knights, Wilkersons.

New Topographics
1975
New Topographics
1975
Jenkins		 Adams, Baltz, Gohlke, Nixon, Shore (US), Bechers (DE) photography man-altered landscape

  • Robert Adams, Tract House, Westminster, Colorado, 1974. Gelatin silver print. 15.2 x 19.6 cm. Eastman.

  • Lewis Baltz, West Wall, Semicoa, 333 McCormick, Costa Mesa, 1974. Gelatin silver print. 15.4 x 22.9 cm. Edition of 21. From series of 51 photographs, New Industrial Parks Near Irvine, California. MFAH.

  • Bernd & Hilla Becher, Spherical Gas Tanks, Typologies, 1983-92. Ferrotyped gelatin silver prints on Agfa paper. 60.7 x 51.5 cm each. Book.

INT Artsy.
en Grove, Grove US.

Tansaekhwa,
Dansaekhwa
1975
Five Korean Artists, Five Kinds of White
1975
École de Seoul
2014
Overcoming the Modern
1980
Yil		 Chong-hyun, Chang-sup, Sang-hwa, Ufan, Whan-ki, Young-woo, Seo-bo (KO) painting

  • Chung Sang-Hwa, Untitled 73-7, 1973, Acrylic on canvas. 165 × 115 cm.

  • Lee Ufan, From Point, 1974. Oil on canvas. 160 x 130 cm.

  • Kwon Young-Woo, Untitled, 1984. Gouache, chinese ink on paper. 224 x 170 cm.

en Tate.

Laboratoire Agit'Art
1974
group established
1977
Tenq project space starts
2004
Harney
2014
Deliss		 Samb, El Sy, Sèye, Traoré (SN) performance, installation, photography, film, painting, sculpture performance art, critique of Négritude

  • El Hadji Sy, No. 13 Esprit de l'univers, 1981. Oil on canvas.

en Tate.

Resistance Art
1977
A New Day
1982
Culture and Resistance Symposium & Art for Social Development
2011
Impressions from South Africa
1986
To All Organizations and Cultural Workers
1989
Williamson		 Mnyele, Tladi (ZA-BW), Martins, Magadlela, Clarke, Catherine, Rakgoathe, Muafangejo, Williamson, Kentridge, Bester (ZA), group: Medu Art Ensemble (BW-ZA) printmaking, painting Black Consciousness Movement, anti-apartheid

  • Thami Mnyele, Remember Me, 1974. Wax crayon, conte ink on paper. 122 x 96.4 cm.

  • Lefifi Tladi, c1979.

  • Medu Art Ensemble, You Have Struck a Rock, 1981. Screenprinted poster. 60 x 42 cm. Designer: Judy Seidman. [12]

ZA Ifa Lethu.
en Tate.

Pictures Generation
1977
Pictures
2009
Pictures Generation
1979
Crimp
1980
Owens, (2)		 Sherman, Levine, Prince, Kruger (US), Goldstein (CA-US) photography, film, video, performance, painting mass culture, appropriation, performance art, Barthes 1967

  • Jack Goldstein, Metro-Goldwyn-Mayer, 1975. 16mm color sound film, 2 min. Video.

  • Cindy Sherman, Untitled Film Still #6, 1977. Gelatin silver print. 24 x 16.5 cm. From series of 69. MoMA. Book.

  • Sherrie Levine, After Walker Evans: 4, Gelatin silver print. From series of 22. Met.

INT Artsy.
en Met, Tate.

Vancouver School of Photo-conceptualism
2005
Intertidal
2015
Traces That Resemble Us
2018
Modigliani		 Wallace (UK-CA), Wall, Graham, Lum, Douglas, Arden (CA) photography, installation conceptual art, cinema

  • Ian Wallace, Lookout (detail), 1979. Hand-coloured silver gelatin print, 1 of 12. 91.5 x 122 cm (each). VAG Vancouver.

  • Jeff Wall, Picture for Women, 1979. Cibachrome transparency mounted on a lightbox. 161,5 x 223,5 x 28,5 cm. Pompidou.

  • Stan Douglas, Onomatopoeia, 1985-86. Slide projection for 120 black-and-white slides, one music roll. Zwirner. [13]

en Wikipedia.

Neoism
1979
The Brain in the Mail
1980
APT '80
1979
Cantsin
1984-95
SMILE
1984
Cantsin
1987
Cantsin		 Ackerman (US), Zack (US-CA), Kantor (HU-CA), Tolson (US), Bonbon (CA), Zealot (DE), Horobin, Home (UK) Cramer (DE-NL), Cantsin, Eliot, Blissett (int) performance, printmaking, prank, film mail art, Fluxus, counterculture, plagiarism

  • Monty Cantsin, Neoism Manifesto, 1979. Author.

  • Istvan Kantor, Neoist Chair Action, 1980.

  • Stewart Home, cover of SMILE 1, 1984. Published in Woking, England.

en Monoskop, Wikipedia.

Sound Art,
Sound Installation
1980
Für Augen und Ohren
1987
Ars Electronica
1996
Sonambiente
1996–
Singuhr
2012
Sounding the Body Electric
2012
Sound Art: Sound as a Medium of Art
1975
Grayson
1985
Wishart
1990
Lander & Lexier		 Lucier, Neuhaus, Amacher, Leitner (AT), DeMarinis, B Fontana (US), R Julius, Kubisch (DE), Collins (US) installation, sculpture, performance Russolo, Satie, Cage, Murray-Schafer, Eno

  • Alvin Lucier, Music on a Long Thin Wire, 1979. Wire, wood, electro-magnet, electronics.

  • Max Neuhaus, Untitled [Sound Installation], [1979-89] 1992. Pencil on paper. 89.5 x 55 cm, 89.5 x 40 cm. MCA Chicago.

INT Artsy.
en Monoskop, Oxford DA, Tate. cr Šuvaković. sl Pojmovnik.

Stars Group,
Xingxing
1979
The Stars Exhibition		 AI Weiwei, HUANG Rui, LI Shuang, MA Desheng, WANG Keping (CN) painting, sculpture, drawing

  • The first Stars group exhibition, Beijing, 1979.

  • Wang Keping, Silence, 1978. Wood, stained.

  • Ma Desheng, Dancing Woman, 1983. Ink on paper.

INT Artsy.
en Tate.

Minjung Art,
People's Art
1980
Reality and Utterance
1988
Min Joong Art
1994
Fifteen Years of Minjung Art		 Yoon, Song-dam, Chul-Soo, Bong-Chun, Hyeonsil gwa Bareon group (KO) printmaking, drawing anti-capitalism

  • Hong Sung Dam, May 27-Daedong Sesang, 1984. Woodcut.

  • Oh Yoon, General Green Pea, 1985. Colored woodcut. 35 x 26 cm.

  • Lee Chul-Soo, In the Streets, c1988. Woodcut.

en Tate.

Neo-Expressionism,
Neue Wilden,
Figuration libre,
Heftige Malerei
1980
Venice Biennial
1982
Zeitgeist
1982
documenta 7		 Baselitz, Penck, Immendorff, Kiefer, Lüpertz (DE), Schnabel (US), Le Brun (UK), Combas, Blanchard, Boisrond, de Rosa (FR) painting expr.

  • Anselm Kiefer, Interior, 1981. Oil, acrylic and paper on canvas. 287.5 x 311 cm. Stedelijk

  • Georg Baselitz, Orangenesser [Orange Eater], 1982. Oil on canvas. 146 x 114 cm.

  • A.R. Penck, Die Zukunft des Emigranten [The Future of Emigrants], 1983. Ace resin on canvas. 260 x 350 cm. NNG Berlin +.

FR Pompidou f.l.. US Guggenheim, Met. AR MNBA. INT Artsy, Artsy n.f., Google AP.
en Oxford DA, Oxford DMCA, Tate, Tate n.w., Wikipedia, Wikipedia f.l. it Treccani. cr Šuvaković, Šuvaković. hu Artportal, Artportal. no SNL.

Transavanguardia
1979
Le Stanze
1979
Oliva
1980
Oliva		 Chia, Clemente, Cucchi, Paladino (IT) painting neo-expr.

  • Francesco Clemente, Fourteen Stations n.III, 1981-82. Oil on canvas. 198 x 236 cm.

  • Sandro Chia, Hand Game, 1981. Olio su tela, 199 x 153 x 4,5 cm.

  • Enzo Cucchi, A terra d'uomo, 1980. Pencil on lined paper. 180 x 210 cm.

FR Pompidou. INT Artsy.
en Tate. it Treccani. cr Šuvaković. hu Artportal. no SNL.

New British Sculpture
1981
Objects and Sculpture		 Cox, Cragg, Flanagan, Gormley, Deacon, Houshiary, Kapoor, Wilding, Woodrow (UK) sculpture

  • Tony Cragg, Stack, 1975. Wood, concrete, brick, metal, plastic, textile, cardboard and paper. 200 x 200 x 200 cm. Tate.

  • Bill Woodrow, Car Door, Ironing Board and Twin-Tub with North American Indian Head-Dress, 1981. Washing machine, ironing board and car door. 186.5 x 283 x 157 cm. Tate.

  • Alison Wilding, Locust, 1983. Copper, oak and lead. 208 x 70 x 42 cm. Tate.

UK Tate. INT Artsy.
en Oxford DA, Tate. cr Šuvaković.

Düsseldorf School of Photography Bechers, Ruff, Gursky, Höfer, Hütte, Struth (DE) photography Neue Sachlichkeit, new topogr.

  • Thomas Ruff, Porträt (Pia Stadtbäumer), 1988. Chromogenic colour print laminated with diasec face. 210 x 165 cm. Edition of 3. From Porträts series. MMK, Harn, Henry.

  • Thomas Struth, Art Institute of Chicago II, 1990. Chromogenic print. 180 x 215 cm. From series Museum Photographs. Artist.

  • Andreas Gursky, Rhine II, 1999. Chromogenic color print. 156.4 x 308.3 cm. Edition of 6. Tate. MoMA.

UK Tate. US Met. INT Artsy.
en Met, Tate.

Neue Slowenische Kunst
1984
NSK established		 Irwin, Laibach, New Collectivism (SL) performance, sculpture retro-avant-garde

  • Laibach, 1983. Photo by Dušan Gerlica.

  • IRWIN, Malevič med dvema vojnama [Malevich Between Two Wars], 1984.

  • NSK Passport, 1993. Artists.

en Tate. cr Šuvaković. sl Pojmovnik.

Postcolonial Art
1984
'Primitivism' in 20th Century Art [15]
1989
Magiciens de la terre
2014
Magiciens de la terre. Retour sur une exposition légendaire		 Durham, Hammons (US), Ofili (UK-TT), Orozco (MX-FR-US), Walker (US) sculpture, performance, installation Fanon 1961, Said 1978: Orientalism

  • David Hammons, Bliz-aard Ball Sale, 1983. Twenty color slides. Performance in front of Cooper Union, NYC.

  • Jimmie Durham, Often Durham Employs..., 1988. Mixed media, wood, squirrel skin, paint, plastic. 30.5 x 40.6 x 12.7 cm.

  • Gabriel Orozco, Home Run, 1993. Installation in apartment building, view from the Museum of Modern Art, NYC.

UK Tate.
en Tate.

British Black Arts Movement
1984
Into the Open
1987
The Image Employed
1989
The Other Story		 Araeen, Bailey, Black Audio Film Collective, Boyce, Chambers, Dedi, Forrester, Himid, C Johnson, Kapo, Palmer, K Piper, Rodney, Sealy, M Smith, Sulter (UK) painting, sculpture, photography Stuart Hall

  • Sonia Boyce, From Tarzan to Rambo: English Born ‘Native’ Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction, 1987. Photographs, black and white, on paper, photocopies on paper, acrylic paint , ballpoint pen, crayon and felt-tip pen. Support: 124 x 359 cm. Tate.

  • Keith Piper, Go West Young Man, 1987. 14 photographs, gelatin silver print on paper mounted onto board. In 14 parts, each: 84 x 56 cm. Tate.

  • Rasheed Araeen, Bismullah, 1988. 5 photographs, colour, on paper, acrylic paint and gold paint on 4 canvases. Displayed: 154.4 x 230 cm. Tate.

en Tate.

Xiamen Dada
1983
Cultural Palace
1986
Burning Event
1986
Huang		 HUANG Yongping, LIN Jiahua, JIAO Yaoming, YU Xiaogang, XU Chengdou (CN) assemblage, painting, sculpture dada, Chan Buddhism

  • Xiamen Dada, photograph of the burning of art works in front of the Xiamen New Art Gallery on 24 Nov 1986.

en ECCC, Tate.

Rational Painting,
Lixing huihua
1986
Gao		 WANG Guangyi, SHU Qun, REN Jian, LIU Yan, ZHANG Peili, GENG Jianyi, WANG Qiang (CN) painting

  • Wang Guangyi, Red Rationality: Revision of the Idols, 1987. Oil on canvas. 200 × 160 cm.

  • Zhang Peili, X? Series, 1987. Oil on canvas. 99 x 79.5 cm.

  • Geng Jianyi, The Second Situation, 1987. Oil on canvas, set of four. Each: 170 × 130 cm.

en Tate.

85 New Wave,
bawu meishu xinchao
1985
shows in Zhejiang, Jiangsu, Beijing, Shanghai, Yunnan, Shenzhen, Shanxi
1986
Gao
2011
Gao		 painting rational painting, xiamen dada

  • Shen Qin, Shitu duihua [Dialogue Between the Teacher and Disciple], 1985.

  • Zhang Qun and Meng Luding, In the New Era: Revelations of Adam and Eve, 1985. Oil on canvas. 196 x 164 cm.

  • Xu Bing, Tiānshū [A Book from the Sky], 1987-91. Hand-printed books and scrolls printed from blocks inscribed with false characters. Artist.

INT Artsy.
en ECCC, Tate.

Neo-Geo,
Simulationism,
Neo-Conceptualism
1986
Endgame
1996
Foster
2014
Brandt		 Halley, Bickerton, Goldstein, Welling, Koons (US), Lavier (FR) painting, assemblage, sculpture abstraction, appropriation art, Baudrillard 1981: simulation

  • Peter Halley, Prison and Cell with Smokestack and Conduit, 1985. Acrylic, roll-a-tex/canvas.

  • Jeff Koons, Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off), 1985. Glass, steel, pneumatic feet, 3 rubber basketballs and water. 153.6 x 123.8 x 33.6 cm. Tate

  • Ashley Bickerton, Commercial Piece #1, 1989. Anodized aluminum, wood, leather, acrylic paint, rubber. 177.8 x 259.1 x 50.8 cm.

FR Pompidou s., + n.. INT Artsy, Artsy n.c.
en Guggenheim n.c., Oxford DA, Tate. cr Šuvaković, Šuvaković n.c., Šuvaković s.

Young British Artists (YBA)
1988
Freeze
1995
Brilliant!
1997
Sensation
1992
Corris
1999
Stallabrass		 Hirst, Lucas, Fairhurst, Landy, Emin, Dean (UK) sculpture, installation

  • Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991. Tiger shark, glass, steel and formaldehyde solution. 213 x 518 x 213 cm.

  • Sarah Lucas, Au Naturel, 1994. Mattress, water bucket, melons, oranges and cucumber. 84 x 168 x 145 cm.

INT Artsy, Google AP.
en Grove, Oxford DA, Tate. cr Šuvaković.

Cynical Realism
1992
Li		 YUE Minjun, FANG Lijun, ZHANG Xiaogang, WANG Jinsong, YANG Shaobin, SONG Yonghong (CN) painting socialist realism, political pop

  • Zhang Xiaogang, Bloodline — Big Family: Three Comrades, 1994. Oil on canvas. 150 x 180 cm.

  • Yue Minjun, Execution, 1995. Oil on canvas. 150 x 300 cm.

  • Yang Shaobin, Untitled, 2001.

INT Artsy.
en ECCC, Tate. cr Šuvaković.

Political Pop
1992
Li		 WANG Guangyi, YU Youhan, WANG Ziwei, FENG Mengbo, ZHANG Peili, WEI Guangqing, QIU Zhijie (CN) painting 85 new wave, pop art

  • Zhang Peili, Water – The Standard Pronunciation of 1989, 1990, Oil on canvas. Set of 3: 100 x 80cm (each).

  • Yu Youhan, Mao in a Colourful Lounge Chair, 1992. Acrylic on canvas. 118 x 98 cm.

  • Wang Guangyi, Great Criticism: Andy Warhol, 2002. Oil on canvas. 200 x 300 cm

INT Artsy.
en ECCC.

Relational Art,
Relational Aesthetics
1993
Backstage
1996
Traffic
2002
Touch
2008
theanyspacewhatever
1998
Bourriaud
2004
Bishop		 Parreno, Huyghe (FR), Gillick (UK-US), Tiravanija (TH-US), Beecroft (IT-US), Cattelan (IT), Höller (BE), Gordon (UK) performance, installation, sculpture

  • Rirkrit Tiravanija, Untitled (pad thai), 1990. Mixed media. Dimensions variable.

  • Philippe Pareno, Snow Dancing, 1995. Book, public event, exhibition. + +.

  • Vanessa Beecroft, VB16 Piano Americano-Beige, 1996. Exhibition.

FR Pompidou. INT Artsy.
en Grove, Tate. cr Šuvaković.

New Genre Public Art
1993
Culture in Action
1995
Lacy
2002
Kwon		 Lacy, Dion (US), Bruguera (CU-US)

  • Suzanne Lacy and a coalition of Chicago Women, Full Circle, 1992-93. Artist.

  • Mark Dion and the Chicago Urban Ecology Action Group, Chicago Urban Ecology Action Group, 1993.

UK Tate.
en Tate.

Abject Art
1993
Abject Art
1994
October
1996
Foster		 Sherman, Kelley, McCarthy, Bourgeois, Schneemann, Gober, K Smith (US), Chadwick, Gilbert&George, Lucas, Chapman bros (UK) sculpture, performance, installation Kristeva 1980, Bataille, feminist art

  • Kiki Smith, Blood Pool, 1992. Wax, gauze, and pigment. 106.7 x 61 x 40.6 cm. Artic.

  • Jake Chapman, Dinos Chapman, from Exquisite Corpse series, 2000. Etching on paper. 22.8 x 7.8 cm. Tate.

UK Tate. INT Artsy.
en Tate, Wikipedia.

Archival Art,
Archival Aesthetics
2004
Foster		 Gonzalez-Torres (CU-US), Tiravanija (TH-US), Gillick (UK-US), Hirschhorn (CH-FR), Orozco (MX-FR-US), Gordon (UK), Huyghe, Parreno, Gonzalez-Foerster (FR), Green, Dion, Durant (US), Dean (UK) installation, performance

  • Liam Gillick, McNamara, 1994. Brionvega Algol TVC 11R, 35mm film transferred onto appropriate format, Florence Knoll table (optional), copies of various drafts of the film McNamara. Dimensions variable. Artist.

  • Thomas Hirschhorn, Raymond Carver Altar, 1998-99. Mixed-media installation at The Galleries at Moore, Philadelphia.

  • Tacita Dean, Bubble House (Exterior), 1999. R-type photograph. 148 x 173 cm.

Tactical Media
1993
Next 5 Minutes
1992
N5M Zapbook
1994
CAE		 Critical Art Ensemble, The Yes Men, Electronic Disturbance Theater, ®TMark (US), Bureau of Inverse Technology, Ubermorgen (int), Raqs Media Collective (IN), Garcia (NL-UK) performance, software, installation situationists, de Certeau 1980: strategy vs tactics

  • Critical Art Ensemble, By Any Media Necessary, 2000. Poster.

  • The Yes Men, Dow, 2004. Artists.

  • Julian Oliver, Daniil Vasiliev, Newstweek, 2011. Artists.

en Tate.

Net Art,
Internet Art
1993
jodi.org
1994
irational.org
1997
Hybrid Workspace
1998
Beyond Interface
2000
Digital Is Not Analog
1996
Blank
1999
ReadMe!		 Jodi (BE/NL), Ćosić (SL), Bunting & irational.org (UK/int), Shulgin, Lialina (RU), Bookchin (US), 0100101110101101.org (IT) software Nettime, net culture

  • Jodi, wwwwwwwww.jodi.org, 1995. The sub-domain wwwwwwwww was installed in 2001 and contains works from 1995 to 1998. Website. Online.

  • Alexei Shulgin, Form Art, 1997. Website. Online.

  • 0100101110101101.org, Life Sharing, 2000-2003. Website. Documentation.

US Turbulence. INT Artsy.
en Grove, Guggenheim, Tate. it Treccani. cr Šuvaković. sl Pojmovnik.

Afrofuturism
2013
The Shadows Took Shape
2015
Unveiling Visions
1994
Dery
1998
Eshun		 Akomfrah (GH-UK), Kia Henda (AO), Otolith Group (UK), Mutu (KE-US), De Middel (ES-UK) mythology, race, technology

  • The Otolith Group and Richard Couzins, Otolith I, 2003. Video, 22m25s, Colour, Sound. Artists.

  • Kiluanji Kia Hendi, Icarus 13, The First Journey to the Sun, 2007. 8 photographs, model.

  • Cristina De Middel, Untitled (from The Afronauts series), 2012. The Afronauts. Artist. Book.

INT Artsy.
en Tate.

Software Art
2002
Readme
2002
CODeDOC
2003
Ars Electronica: Code
2006
Goriunova
2008
Mansoux & de Valk		 Mansoux (FR-NL), I/O/D, Mongrel, McLean, Ward, Yuill (UK), Levin, Napier, Radical Software Group (US), 0100101110101101.org (IT), Moddr, Netochka Nezvanova (int) software net art, game art

  • I/O/D (Matthew Fuller, Colin Green, Simon Pope), I/O/D 4: The Web Stalker, 1997. Software. Online.

  • Jodi, Wrong Browser, 1998-2000. Software. Online.

  • Mark Napier, Shredder, 1998. Software. Online.

  • Alex McLean, forkbomb.pl, 2001. Software. Online.

  • Perpetual Self Dis/Infecting Machine, custom made computer infected with Biennale.py by 0100101110101101.org and Epidemic, 2001. Online.

  • Adrian Ward, Auto-Illustrator, 2002. Software. Online.

en Monoskop, Tate.

Game Art
1998
Synreal: The Unreal Modification
2001
Game Show
2003
Games: Computer Games by Artists
2002
Holmes		 Jodi (BE/NL), Mongrel (UK), Bookchin (US), Eastwood (SR), Diosi (SK-CZ), Molleindustria (IT), J Oliver (NZ-DE), Jahrmann (AT) software, installation

  • Jodi, SOD, 1999. Macintosh/PC computer game. 12 screen shots. Online.

  • Natalie Bookchin, The Intruder, 1999. Web-based game. Artist.

  • Marloes de Valk, Aymeric Mansoux, Dave Griffiths, Naked on Pluto, 2010-2015. Online (archive)

Bio Art
2000
Ars Electronica: Next Sex		 Kac (US), Stelarc (CY-AU), Critical Art Ensemble (US), Jeremijenko (AU-US), SymbioticA (AU), Quinn (UK), De Menezes (PT), Dewey-Hagborg (US) genetics

  • Natalie Jeremijenko, OneTree(s), 1999-2000. 1,000 fast-growing fruitless walnut trees cloned from one tree's tissue and planted around the San Francisco Bay Area. Artist.

  • Eduardo Kac, GFP Bunny, 2000. Green fluorescent rabbit ("Alba"). Artist.

  • Stelarc, Ear on Arm, 2007. Photograph by Nina Sellars. Artist.

en Grove.

Post-Internet Art
2011
Grouped Show
2011
The Greater Cloud
2014
Art Post-Internet
2016
The Present in Drag
2008
Olson
2010
Vierkant
2011
Pool
2011
McGugh
2014
Kholeif		 Laric (AT-DE), Domanović (SR-SL-AT-DE), Novitskova (EE-NL), Rafman (CA), Si-Qin (DE), Arcangel, Olson, Cortright, Vierkant (US) sculpture, digital print, software, video surf clubs, VVORK, DIS, new aesthetic

  • Oliver Laric, Versions (Missile Variations), 2010. Airbrush on dibond. 70 x 100 cm. From series of c10. Artist. Tanya Leighton.

  • Katja Novitskova, Curiosity and Opportunity: Next Best Thing To Being There, 2012. Online panorama app for mobile and desktop browsers, dimensions variable. Artist.

  • Aleksandra Domanović, Portrait (Soft-Touch), 2013. Polyurethane base and soft-touch coating. 44 x 22 x 38 cm each. Exhibition. Tanya Leighton.

INT Artsy.
en Monoskop, Wikipedia.

Decolonial Aesthetics
2009-
SAVVY Contemporary
2012-2018
BE.BOP
2011
manifesto
2013
Decolonial aestheSis		 Ehlers, Lasch, Povinelli, Wilson installation, performance, sculpture, video, intervention

More[edit]

This list extends the table above to include terms that are not widely used. Some may be added later.[8]

Notes[edit]

  1. ↑ Schapiro (1953) argued that "style is an essential object of investigation [to the historian of art]" (287) and defined it as "the constant form--and sometimes the constant elements, qualities, and ex­pression--in the art of an individual or a group" (287), while "the description of a style refers to three aspects of art: form elements or motives, form relationships, and qualities (including an all-over quality which we may call the 'expression'). [...] Technique, subject matter, and material may be characteristic of certain groups of works and will sometimes be included in definitions; but more often these features are not so peculiar to the art of a period as the formal and qualitative ones" (289). Kubler (1967), on the other hand, criticised the definition of style as constant form: "The idea of style is best adapted to static situation, in crosscut or synchronous section. It is an idea unsuited to duration." More recently, Elsner (2003) summarised the bias of style in art history as follows: "The key assumption is that what matters about a work of art and what stylistic analysis may reveal is its origin and its moment of creation. Style rarely has any truck with the afterlife of objects, their messy history in the real world as they are bashed about, adapted, reused, and altered." For other aspects of the art historical debate on style, see Wölfflin (1950), Gombrich (1968), Goodman (1975), Alpers (1979), and Kubler (1979).
  2. ↑ Elkins 1998.
  3. ↑ Some collection catalogues combine it with or imply in the notion of movement. The Tate's collection can be navigated by the category Style or '-ism' , Met by Art Movement / Style, the collection aggregator Artsy by Style and Movement, while Pompidou has entitled the field Mouvement, Guggenheim Movements, and NGA and Hermitage stick with Styles.
  4. ↑ This applies not only to museums, but also to collection aggregators such as Artsy, Google Art Project and Artwiki.
  5. ↑ While the narrative text allows the fine distinctions between, say, Dadaist and Surrealist works by Max Ernst to be explained using art historical tropes, the database subordinates this tradition to the logic of normalised data. It assumes a binary relationship between a work by Ernst and the category "Dada", and between a work by Ernst and the category "Surrealism". It can be linked to both, but there is no place in the structure for conditionals. Here, styles are simply tags, and narrative text is secondary to the database structure. Similarly, if Marcel Duchamp can be treated in an essay as an early Conceptualist, the database will resist the introduction of the category early Conceptualism, as this would be unsystematic, unless a more nuanced categorisation is introduced for other included styles as well.
  6. ↑ Non-Western movements that have recently received belated recognition through retrospective exhibitions include Jikken Kobo (2009), Resistance Art (2011), Tansaekhwa (2014), Mono-ha (2015), Casablanca School (2016) and Khartoum School (2016).
  7. ↑ In recent decades, many isms were subjected to major reexaminations through retrospective exhibitions which acknowledged the legacy of women and non-Caucasian artists and extended the geographic radius beyond the West. Examples include Futurism & Futurisms (1986), Out of Actions: Between Performance and the Object, 1949-1979 (reassessing performance art, happening and process art, 1998), Global Conceptualism: Points of Origin 1950-1980s (1999), Fluxus East (2007), Seductive Subversion: Women Pop Artists, 1958–1968 (2010), Other Primary Structures (reassessing Minimalism, 2014), Storm Women (reassessing Expressionism, 2015), International Pop (2015), World Goes Pop (2015). Another phenomenon are reprises, restagings and returns to style-defining exhibitions such as Second Spring Exhibition of Obmokhu at Tretyakov Gallery (defining Constructivism, opened 2006), Living with Pop: A Reproduction of Capitalist Realism (2013) and Magiciens de la terre (2014).
  8. ↑ The list can be further extended to include more recent concepts created by artists to describe their practice: Arte de Conducta ("Behavior art", Bruguera), Arte Útil ("Useful art", "Art as a tool", Bruguera), Tools (Superflex, 2003), Connected Aesthetics (mxhz.org, 2004), Critical Engineering (Oliver, Savičić, Vasiliev, 2011), etc.

References[edit]

  • Akal Diccionario Akal de Arte del Siglo XX, ed. Gerard Durozoi, trans. Flavia Puppo, Madrid: Akal, 1997; 2007, Google (preview). Trans. of Dictionnaire de l'art moderne et contemporain, Paris: Hazan, 1992; 1993. (Spanish)
  • Artportal Artportal: "Fogalmi szócikkek", HTML. (Hungarian)
  • Britannica Encyclopaedia Britannica Online, subscription access. (English)
  • Grove Oxford Art Online, ed. Jane Turner, et al., Oxford University Press, 1998ff, subscription access, HTML (partial). (English)
  • Grove US The Oxford Dictionary of American Art and Artists, ed. Ann Lee Morgan, Oxford University Press, 2007, xiv+537 pp, Google (preview). (English)
  • Guggenheim Guggenheim Collection Online: "Movements", HTML. (English)
  • Hartmann, Das große Kunstlexikon, ed. Peter W. Hartmann, 2003ff, HTML. (German)
  • Larousse. Dictionnaire de la peinture, Larousse, 2003, HTML. (French)
  • Oxford DMCA Ian Chilvers, John Glaves-Smith, A Dictionary of Modern and Contemporary Art, Oxford University Press, 2009, Google (preview); online ed., subscription access. (English)
  • Oxford DA The Oxford Dictionary of Art and Artists, 4th ed., ed. Ian Chilvers, Oxford University Press, 2009, xxv+694 pp, subscription access; 5th ed., OUP, 2015, subscription access. (English)
  • Pojmovnik Pojmovnik slovenske umetnosti 1945-2005, HTML. (Slovenian)
  • SNL Store Norsk Lexikon, 2009ff, HTML. (Norwegian)
  • SSM, SSM2 Amy Dempsey, Art in the Modern Era: A Guide to Styles, Schools & Movements, 1860 to the Present, New York: Harry N. Abrams, 2002, TOC; UK ed. as Styles, Schools And Movements: The Essential Encyclopaedic Guide to Modern Art, London: Thames & Hudson, 2002; new ed., exp., 2010, 312 pp, TOC. [20] (English)
  • Šuvaković Miško Šuvaković, Pojmovnik suvremene umjetnosti, Zagreb: Horetzky, 2005, IA. (Croatian)
  • Tate Tate: "Glossary of Art Terms", HTML. (English)
  • Treccani Treccani Enciclopedie on line, Rome: Istituto della Enciclopedia Italiana (Treccani), HTML. (Italian)

More reference works.

Bibliography[edit]

On the concept of style in art history
  • Heinrich Wölfflin, "Introduction", in Wölffin, Principles of Art History [1915], trans. M.D. Hottinger, New York: Dover, 1950, pp 1-17, IA.
  • Meyer Schapiro, "Style", in Anthropology Today: An Encyclopedic Inventory, ed. A.L. Kroeber, University of Chicago Press, 1953, pp 287-312, PDF; repr. in Aesthetics Today, ed. Morris H. Philipson, Cleveland: World, 1961.
  • James S. Ackerman, "A Theory of Style", The Journal of Aesthetics and Art Criticism 20:3 (Spring 1962), pp 227-237, PDF.
  • George Kubler, "Style and the Representation of Historical Time", Annals of the New York Academy of Sciences 138 (Feb 1967), pp 849-855, PDF.
  • Ernst Gombrich, "Style", in International Encyclopedia of the Social Sciences, vol. 15, ed. D. L. Sills, New York, 1968, pp 352-361; repr. in The Art of Art History: A Critical Anthology, 2nd ed., ed. Donald Preziosi, 2009, pp 129-140, PDF.
  • Nelson Goodman, "The Status of Style", Critical Inquiry 1:4 (Jun 1975), pp 799-811, PDF.
  • Svetlana Alpers, "Style is What You Make It", in The Concept of Style, eds. Leonard B. Meyer and Berel Lang, University of Pennsylvania Press, 1979, pp 95-117, PDF; rev. in The Concept of Style, rev. & exp.ed., ed. Berel Lang, Cornell University Press, 1987, pp 137-162, PDF.
  • George Kubler, "Toward a Reductive Theory of Visual Style", in The Concept of Style, eds. Leonard B. Meyer and Berel Lang, University of Pennsylvania Press, 1979, pp 119-127; rev. in The Concept of Style, rev. & exp.ed., ed. Berel Lang, Cornell University Press, 1987, pp 163-173, PDF.
  • James Elkins, "Style", in Grove Art Online, 1998. [21]
  • Jas Elsner, "Style", in Critical Terms for Art History, 2nd ed., eds. Robert S. Nelson and Richard Shiff, University of Chicago Press, 2003, pp 98-109, PDF, PDF, ARG.

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