One of my responsibilities here at Artsy Editorial is to ponder the art-historical questions that are perhaps best answered either with a raised eyebrow or by saying, “because duh, that’s why.” Today’s entry in this series: What makes a work of Abstract Expressionist art good?
As in previous iterations (see: Why buy a painting when you can make your own?), the simplest of queries sometimes raises interesting and compelling ideas if one stares at it hard enough. In exploring subjective questions of quality and their relationship to the art-historical canon, one finds that a “good” AbEx work is one that is determined to be so by both the viewer and the critics and experts, as well as being the result of societal biases (more on that last part later).
Abstract Expressionism is perhaps one of the most recognized historical genres. Blame it on the impact of these typically large-scale, vibrant works, their permanent presence in the Art History 101 curriculum, or the skeptical cries of “My kid could do that!” The term originally rose to prominence in the mid-20th century to describe a group of artists working in New York following World War II. You know their names: Jackson Pollock, Mark Rothko, Franz Kline—the list goes on. Read More