American Culture Essay Example

and during the war contributed to this upsurge. The civil rights and protest movements of the 1960s further fueled an outpouring of talent, as cultural discrimination against marginalized groups such as blacks and women began to wane. Notably, support for the American arts is widespread and diverse, coming from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals.

It is often subjective as to what is deemed worthy of support, as it relies on definitions of quality and what is considered art. This can become complex when popular arts merge with fine arts and new art forms like performance art and conceptual art emerge. Consequently, the definition of art impacts what students are taught about historical traditions (such as Native American tent paintings, oral traditions, and slave narratives) and what will be created in the future. While practitioners like studio artists are more susceptible to these definitions due to their dependence on financial support to showcase their talents, others like poets and photographers face fewer immediate constraints.

In the world of artists, the role of those who theorize and critique their work has become increasingly significant. Audiences are guided by various intermediaries such as critics, schools, grant-offering foundations, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In performing arts, success is ultimately determined by popular audiences. However, in the fields of painting and sculpture, success heavily relies on critics and a select number of affluent art collectors. Meanwhile, writers rely on publishers and the public for their success.

In contrast to their predecessors, critics in the late 20th century focused more on popular tastes and considered previously ignored groups, valuing the

combination of popular and elite forms. These critics relied less on aesthetic judgments and instead emphasized social measures, placing artistic creations in their contemporary context and social conditions. While earlier critics aimed to establish a high art tradition in America, later critics used art as a means to empower and recognize nonelite groups who were previously excluded from the nation's artistic heritage. Until recently, culture and the arts were believed to be an unchanging legacy - the accumulated wisdom and highest levels of achievement from the past.

In the 20th century, artists fearlessly challenged established conventions in sculpture, painting, dance, music, and literature. These art forms have rapidly evolved with each new movement replacing the previous one.

Visual arts.

Traditionally, visual arts involve various forms of expression that visually engage viewers through painted surfaces or the use of carved or molded materials to create a sense of space. With time, photographs were included alongside paintings, drawings, and sculptures. In the 20th century, found objects were introduced to enhance visual arts even further.

During the late 19th and early 20th centuries, American art experienced a significant transformation, shifting from realistic representation to more imaginative and creative forms. Despite the presence of talented painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin in America, European art was often considered superior. It wasn't until the Great Depression in the 1930s that American art began to gain global recognition. Government programs like the New Deal provided support for artists and facilitated networking opportunities. The Public Works Administration, Federal Art Project, and Treasury Department-sponsored programs played a crucial role in fostering artist communities and promoting their work.

During the Depression

era, various forms of art like painting, photography, and mural work were predominantly centered on capturing the hardships faced by the American populace. These artists portrayed genuine individuals in challenging circumstances to convey the suffering experienced by ordinary people. Thomas Hart Benton and Ben Shahn exemplified this approach by depicting struggling farmers and workers, while Grant Wood and Benton focused on rural life. In contrast, other painters in the 1930s and 1940s aimed to depict the diverse urban life in America. Jacob Lawrence, for instance, recreated the history and experiences of African Americans. Additionally, Andrew Wyeth and Edward Hopper attempted to use human figures to convey emotional states like loneliness and despair.

Abstract Expressionism emerged in the 1950s and revolutionized American art after World War II. This movement, along with subsequent modern art movements and artists, gained global recognition and admiration. The abstract expressionists of the mid-20th century departed from the realist and figurative tradition established in the 1930s. Instead, they prioritized their association with international artistic perspectives rather than focusing on specific individuals or locations. It is important to note that while most abstract expressionists did not depict human figures in their work, artist Willem de Kooning did create portrayals of women.

The abstract expressionists' canvases were characterized by color, shape, and movement. In the 1950s, certain artists such as Jackson Pollock and Mark Rothko deviated from Western art conventions and embraced novel painting techniques. Pollock gained fame for dripping paint onto canvases, while Rothko utilized large patches of color that appeared to vibrate. These artists experienced a sense of alienation from society and used their artwork to challenge societal norms. Despite each artist having a

unique style, they all embraced the radical nature of artistic creativity. Their objective was to redefine the essence of art by pushing boundaries and liberating themselves from traditional artistic customs.

New York City became a prominent art center during the second half of the 20th century, thanks to the influence of the abstract expressionists known as the New York School. This group consisted of artists like Barnett Newman, Robert Motherwell, Franz Kline, Arshile Gorky, Rothko, and Pollock. They were characterized by their radical fervor and inventiveness. Gathering in Greenwich Village, they formed a united artistic movement with support from gallery owners and dealers. The members hailed from diverse backgrounds including the American Midwest and Northwest, Armenia, and Russia. As a result, their artistic visions had an international flavor.

The objective was to attract art audiences from all cultures and embrace the radical innovations introduced by European artists like Pablo Picasso and Marcel Duchamp in the early 20th century. Despite some of the artists being non-American, such as Hans Hofmann, Gorky, Rothko, and de Kooning, they all identified themselves as part of a global creative movement and a rebellion against established aesthetics. Boundaries and conventions were abandoned to allow for more expressiveness and innovation, paving the way for other groundbreaking styles in American art. In the 1930s, Joseph Cornell created numerous boxed assemblages using found objects that reflected specific themes and evoked contemplative or reverent atmospheres. Cornell's work showcased the contemporary fascination with individual vision and the combination of different art forms like painting and sculpture while repurposing everyday objects for new purposes. Another artist who explored this concept was Robert Rauschenberg; during the 1950s he combined unrelated

objects to create large sculptures called combines.

Jasper Johns, an artist who works in painting, sculpting, and printmaking, replicated numerous familiar items, particularly the American flag. The pop art movement, which emerged in the 1950s, became the most prominent American artistic style after abstract expressionism. Pop art aimed to bridge the gap between traditional art and popular culture by incorporating images from mass culture. Sculptor Claes Oldenburg took a different approach by using everyday objects like pillows and beds to create clever and soft sculptures that challenged viewers' preconceived notions about art. Roy Lichtenstein took this concept even further by transforming techniques from commercial art, specifically cartooning, into fine art that was deemed worthy of display in galleries and museums.

Lichtenstein's large, enlarged cartoons cover his canvases with grainy black dots and challenge the idea of a separate realm of high art. These artists aimed to make ordinary objects appear new and exciting, thus breaking down the previously established conventions of what counted as worthy artistic representation. Andy Warhol, perhaps the most famous pop artist and a leader in the movement, played a significant role in blurring the lines between the art world and popular culture with his depictions of a Campbell’s soup can and the actress Marilyn Monroe. Warhol also embraced his celebrity status and expanded his artistic pursuits into film as a director and producer, further erasing the boundaries between traditional and popular art.

Unlike the abstract expressionists, Andy Warhol's art and his own face were immediately identifiable, in contrast to the often confusing conceptual works of the abstract expressionists. Conceptual art, known as such in the 1960s, aimed to free itself from traditional artistic conventions,

similar to its predecessors. In conceptual art, exemplified by Sol LeWitt and Joseph Kosuth, the emphasis was on the concept rather than the physical object itself, provoking thought instead of adhering to traditional standards of beauty and craftsmanship that defined earlier artistic traditions. Modern artists revolutionized the meaning of traditional visual arts and introduced a fresh imaginative element into everyday experiences.

The perception of art has evolved from being limited to museums to being viewed as an ongoing creative process, influenced by the American belief in democracy. This shift emphasizes continuous change and everyday experiences, moving away from highlighting technical expertise and polished execution. Consequently, numerous contemporary artworks and experiences concentrate on expressing concepts rather than pursuing flawless final results.

Photography.

Photography is regarded as the most democratic form of modern art since it is readily accessible to a significant portion of Americans and widely embraced by them.

Photography has faced challenges in being recognized as fine art since the creation of the Kodak camera by George Eastman in 1888. To promote photography as an artistic medium, Alfred Stieglitz and Edward Steichen opened a gallery called 291 in New York City during the early 20th century. They also published Camera Work magazine to raise awareness about photographic art. However, artistic photography had to compete with commercial photography from news and fashion magazines in the United States.

During the 1950s, there were many remarkable works in photojournalism, using photos to convey news stories. An exceptional event was The Family of Man exhibition at the Museum of Modern Art in New York in 1955, displaying an extraordinary collection of such work. In the 20th century, most

professional photographers made money by taking portraits or documenting news events. However, Ansel Adams stood apart as a prominent figure with his breathtaking photographs showcasing the landscapes of Western America.

Adams used his artistic skills to raise awareness of social issues and support the conservation efforts of the Sierra Club. He co-founded the photography department at the Museum of Modern Art in 1940 and played a crucial role in establishing the photography department at the California School of Fine Arts in San Francisco (now known as the San Francisco Art Institute) six years later. Additionally, he organized yearly photography workshops at Yosemite National Park from 1955 to 1981 and wrote several influential books on photographic technique. Adams's stunning landscape photography was just a small part of the growing interest in photography as an art form. Lewis Hine, a former educator turned photographer, contributed to this movement by capturing genuine individuals, locations, and events, thus establishing a documentary tradition within early 20th-century photography.

Hine, Walker Evans, Dorothea Lange, and Arthur Rothstein were photographers who documented urban and rural conditions in America. Hine specifically focused on workers, including child laborers, with an underlying call for social reform in his photographs. In the 1930s and 1940s, photographers like Evans, Lange, and Rothstein collaborated with other depression-era artists supported by the federal government to create a photographic record of rural America. Their iconic portraits depicted the hardships of rural poverty and the distress experienced by Americans during the Great Depression and the dust storms of that time.

In 1959, Swiss-born photographer Robert Frank published The Americans, a groundbreaking work of documentary photography, after touring the United States for two years. His

photographs captured the everyday life in America, revealing a bleak and somber side of the country that coexisted with its prosperity and global influence. This publication served as a milestone in the field. Meanwhile, photographers persisted in their quest for fresh perspectives, exemplified by Diane Arbus. Arbus' unsettling photos of mental patients and her surrealist portrayals of Americans challenged the viewer's perception of photography.

Arbus focused on artistic isolation and compelled observers to confront unsettling images, reshaping the interpretation of commonplace reality usually depicted in photographs. American photography persists and diverse forms of art photography and socially conscious documentary photography are readily accessible in galleries, books, and magazines. While numerous other visual arts thrive, they are less intertwined with traditional fine arts compared to photography.

Decorative arts encompass a variety of mediums, such as art glass, furniture, jewelry, pottery, metalwork, and quilts. These artistic forms are commonly showcased in craft galleries and studios, and they prioritize the aesthetic values of shape and color, as well as skilled craftsmanship. Additionally, certain decorative arts have also been adapted for commercial purposes. They offer a diverse range of avenues for creative expression and enable Americans to engage with art by acquiring affordable pieces for their homes, which may be more attainable than works by contemporary fine artists.

Performing arts

In the 20th century, the performing arts in the United States began to blend traditional and popular art forms, as seen in other cultural spheres. Initially, the classical performing arts, including music, opera, dance, and theater, were not widely embraced in American culture. These art forms were mainly influenced by Europe and were primarily enjoyed by

the wealthy and well-educated individuals. Traditional art typically consisted of classical ballet, opera, orchestral or chamber music, and serious drama. The distinction between traditional and popular music was strongly emphasized in most areas.

During the 20th century, the American performing arts expanded to include a wider variety of people. The African American community played a significant role in this growth, producing talented musicians who gained recognition nationwide. Artists like Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday brought their jazz and blues music to both black and white audiences. Additionally, during the 1930s and 1940s, Benny Goodman, Tommy Dorsey, and Glenn Miller introduced swing music, which combined elements of jazz, becoming a distinct and widely popular American music genre. Furthermore, the American performing arts embraced Latin American influences during the 20th century.

During the 20th century in the United States, various Latin American dances including the tango from Argentina and the rumba from Cuba were introduced between 1900 and 1940. This fusion of Latin and jazz elements was initially influenced by Afro-Cuban mambo and later by Brazilian bossa nova in the 1940s. Additionally, throughout this period, esteemed classical institutions in the United States attracted talented performers from around the world. Notable choreographer George Balanchine, originally from Russia, established the American Ballet Company in the 1930s, followed by the creation of the New York City Ballet in the 1940s. The American Ballet Theatre, also established in the 1940s, welcomed non-American dancers. In the 1970s, the company became a home for Soviet defector Mikhail Baryshnikov, a renowned dancer who served as its artistic director during the 1980s.

In 1939, Igor Stravinsky, an influential Russian composer known for his innovative

musical styles in symphonies, relocated to the United States. Andre Previn, a German-born musician who initially gained recognition as a jazz pianist during the 1940s, later conducted several prestigious American symphony orchestras. Mstislav Rostropovich, a Soviet cellist, assumed the role of conductor for the National Symphony Orchestra in Washington, D.C.

In 1977, there were some innovative artists in the first half of the 20th century who successfully integrated new forms into classical traditions. Notable examples include composers George Gershwin and Aaron Copland, as well as dancer Isadora Duncan. Gershwin blended jazz and spiritual music with classical elements in well-known works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a distinct style influenced by jazz and American folk music. Meanwhile, early in the century, Duncan revolutionized dance by redefining it along more expressive and free-form lines.

Both composer John Cage and dancer and choreographer Merce Cunningham were highly experimental in their respective fields of music and dance. In the 1930s, Cage explored the use of electronically produced sounds and everyday objects like pots and pans. He also created a unique type of piano. Around the same time, avant-garde choreographer Cunningham started a collaborative partnership with Cage, leading to numerous joint projects.

The Broadway musical, a renowned American innovation and a popular movie staple, emerged in the 1920s. This unique form of entertainment combined music, dance, and dramatic performance, surpassing vaudeville shows and musical revues in its creativity but not being as intricate as European grand opera. Over time, this American musical tradition blossomed and produced remarkable works by esteemed musicians and lyricists including George and Ira Gershwin, Irving Berlin, Cole Porter,

Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. Coordinating music, drama, and dance in these productions required immense effort and made way for the development of a distinct American modern dance tradition. The accomplishments of this tradition were showcased through the works of renowned choreographers such as Jerome Robbins, Gene Kelly, and Bob Fosse. Furthermore, during the 1940s and 1950s, the dynamic nature of the American musical tradition attracted talented classically trained musicians like Leonard Bernstein.

Bernstein's composition for West Side Story, a modern adaptation of Romeo and Juliet in New York, gained instant fame in 1957. In 1958, he made history by becoming the first American conductor to lead the renowned New York Philharmonic orchestra. Bernstein's incredible talent propelled him to international stardom as he represented the American style of conducting across the globe. His groundbreaking television series, "Young People's Concerts," brought classical music to audiences worldwide.

Bernstein used the various aspects of the musical tradition to bring attention to American innovation and drive change in the music world. His influence was emblematic of the transformation occurring in American music during the 1960s, which was fueled by increased funding for the arts and greater accessibility for larger audiences. This artistic revolution was particularly evident in New York City, the hub of art performances, during this period. It saw the emergence of experimental off-Broadway theaters, the establishment of new ballet companies that combined modern and classical elements (with Martha Graham being a notable influence), and the development of an experimental music scene featuring composers like Philip Glass and performance groups like the Guarneri String Quartet.

Dramatic innovation continued to expand through the works of playwrights like

Edward Albee, Tony Kushner, and David Mamet. This expansion also led to a serious crossover between traditional and popular music forms. During the 1960s and 1970s, a wider range of traditional arts began to reach new audiences. Popular music and jazz were now being performed in formal venues like Carnegie Hall, which was previously limited to classical music. Additionally, the Brooklyn Academy of Music started hosting experimental music, ethnic dance performances, and traditional grand opera productions.

Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago, New York, Cleveland, Ohio, and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s.

The Broadway musical, America's most enduring music form, was influenced by the crossover in tastes. In the 1960s, rock music started to be incorporated into musical productions like Hair (1967). In the 1990s, rock music had an even stronger presence in musicals like Bring in Da Noise, Bring in Da Funk (1996), which incorporated African American music and dance traditions, and Rent (1996), a modern rock adaptation of the opera La Boheme. This modernization of

musicals attracted new ethnic audiences and younger audiences who grew up on rock music. Across the country, there has been an increase in the availability of performances due to the growth in the number of performance groups and advancements in transportation.

In the latter part of the 20th century, major American symphonies doubled in number, resident theaters increased fourfold, and dance companies increased tenfold. This growth was facilitated by the increased accessibility of air travel, allowing artists and companies to tour more frequently. This expansion broadened the audience for individual artists like Laurie Anderson and Jessye Norman, musical groups like the Juilliard Quartet, and dance troupes like the Alvin Ailey American Dance Theater. Productions that were originally presented on Broadway now reach cities across the United States. Thus, what was once a culturally limited country with a small European influence has transformed into a thriving hub for the performing arts.