Periods, Cultures, Styles > Modernisms
Modernisms
“Modern” is as much an idea as it is a time period. During the early 20th century, artists in Europe, Russia, the United States and elsewhere, continued the 19th-century rejection of traditional standards in art, and adopted instead novel and increasingly subjective strategies to respond to a society increasingly defined by rapid changes in industrial technology, science, transportation, and communication. Styles in art too were seen to be rapidly evolving, and often became increasing abstract. These trends (Expressionism, Futurism, Cubism, etc.), frequently adopted elements from historical traditions (often in colonized countries) that were understood as primitive but valued for their perceived authenticity. Art during the 20th century became increasingly focused on process and its meaning rather than representation.
Basics to get you started

The Case for Surrealism

Dada Collage

Surrealist Techniques: Subversive Realism

Marcel Duchamp and the Viewer

Egyptian Surrealism, an introduction

Surrealism: Imagining A New World

The Bauhaus, an Introduction

The Bauhaus: Marcel Breuer

The Bauhaus: Marianne Brandt

The Bauhaus and Bau

Neue Sachlichkeit (New Objectivity), an introduction

Mexican Muralism: Los Tres Grandes—David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco

International Style architecture in Mexico and Brazil

The origins of modern art in São Paulo, an introduction

Frida Kahlo, an introduction

Breaking the Frame – the Concrete Art Movement

Painting in an Industrial Age – the Concrete Art Movement

The Challenge of a Straight Line – the Concrete Art Movement

Geometric Abstraction in South America, an introduction

The Impact of Abstract Expressionism

The Painting Techniques of Ad Reinhardt

How Photographs of Poverty in the Americas Ignited an International Battle over Propaganda

New Topographics

An interview with Robert Frank

Describing what you see: Sculpture, Henry Moore’s Reclining Figure

Royal Chicano Air Force (RCAF)

Alternative art spaces in New York City

Lynda Benglis – ‘Form and Texture Create the Magic’

Senga Nengudi, Linda Goode Bryant and the Just Above Midtown Gallery

Self Help Graphics and Art

Dada Manifesto

Dada Pataphysics

Dada Performance

Dada Politics

Dada Readymades

Modern art and reality

Modern Architecture as Heritage

Primitivism and Modern Art

Ansel Adams: Visualizing a Photograph

Becoming modern in 19th-century Europe, an introduction

Black Mountain College

Cubism and multiple perspectives

Cubist Sculpture I

Cubist Sculpture II

De Stijl, Part I: Total Purity

De Stijl, Part II: Near-Abstraction and Pure Abstraction

De Stijl, Part III: The Total De Stijl Environment

Der Blaue Reiter

Expression and modern art

Fauve Landscapes and City Views

Fauvism, an introduction

Formalism I: Formal Harmony

Formalism II: Truth to Materials

A brief history of the representation of the body in Western painting

A brief history of the representation of the body in Western sculpture

Abstract art and Theosophy

Umberto Boccioni and the Futurist City

Surrealist Techniques: Automatism

Surrealist Techniques: Collage

Surrealism and Psychoanalysis

Surrealism and Women

Surrealism, an introduction

Surrealism: Origins and Precursors

Surrealist Exhibitions

Surrealist Photography

Simultanism: Robert Delaunay

Salon Cubism

Abstract Expressionism, an introduction

Constructivism, Part II

Scenes of the Alameda Central of Mexico City

Art in the Mao era and Cultural Revolution, an introduction

Inventing Cubism

Italian Futurism: An Introduction

Jewish history in the post-war period

Shōwa period, an introduction

Expressionism as Nordic?

Expressionism, an introduction

The Case for Minimalism

How did Lucian Freud present queer and marginalized bodies?

Kazimir Malevich and Cubo-Futurism

Kandinsky, Apocalypse, Abstraction

Franz Kline

Barnett Newman

Investigating Rothko’s Technique

How to paint like Yayoi Kusama

How to paint like Willem de Kooning

How to paint like Mark Rothko

How to paint like Jackson Pollock

How to paint like Franz Kline

How to paint like Barnett Newman

How to paint like Agnes Martin

How to paint like Ad Reinhardt

Josiah McElheny on Horace Pippin

Graciela Iturbide, Photographing Mexico

The Lost Cause and Confederate memory

An interview with Anselm Kiefer

An interview with Au Ho-nien

The Case for Yoko Ono

The story of Ernest Cole, a black photographer in South Africa during apartheid

The Case for Jackson Pollock

The Painting Techniques of Barnett Newman

Lee Ufan

Luchita Hurtado’s body of work

The Case for Andy Warhol

The Painting Techniques of Jackson Pollock

The Case for Mark Rothko

Mark Rothko (at MoMA)

Mickalene Thomas on Seydou Keïta

Performance art, an introduction

The Case for Performance Art

Contemporary art, an introduction

Futurist Free Word Painting

Running in sneakers, the Judson Dance Theater

Taishō period, an introduction

What is: Abstract Expressionism?

What is: Degenerate Art?

Russian Neo-Primitivism: Natalia Goncharova and Mikhail Larionov

Suprematism, Part I: Kazimir Malevich

Suprematism, Part II: El Lissitzky

Art Appreciation: Nature—comparisons and connections

What made art valuable, in the Middle Ages and Renaissance vs. now

Lang Jingshan and early Chinese photography

Latin American art, an introduction

Representation and abstraction: looking at Millais and Newman

The Ashcan School, an introduction

Synthetic Cubism, Part I

Synthetic Cubism, Part II

The Case for Conceptual Art

The Reception of African Art in the West

A brief history of the art museum

Chinese calligraphy, an introduction

Chinese landscape painting

Mountings of Chinese paintings: scrolls, fans, and leafs

Murals and Public Art in 1930s Rome

Franz Marc and the animalization of art

Mark Bradford on Clyfford Still

The Case for Land Art

Pablo Picasso’s Early Work

Wangechi Mutu on Egon Schiele

Orientalism

A Landmark Decision: Penn Station, Grand Central, and the architectural heritage of NYC

Mother, nation, icon: picturing territory and belonging in South Asia

The Case for Abstraction
Artists

El Anatsui, Old Man’s Cloth, 2011, bottle caps, material, material (The Metropolitan Museum of Art)