During the 1920s-1930s, American artists traveled to Europe for inspiration. However, during WWII many European artists migrated to New York City, which became a center for art. This led to the development of the "New York School" style of abstract expressionism. Key movements within the New York School included action painting by Jackson Pollock and color field painting which used large fields of color. In the 1960s, new movements like pop art, conceptual art, and op art emerged, focusing on popular culture, ideas over objects, and optical illusions.

2. THE NEW YORK SCHOOL
•DURING THE 1920S TO 1930S, ASPIRING ARTISTS FROM AMERICA TRAVELED TO EUROPE TO
WIDEN THEIR HORIZONS.
•HOWEVER, IN THE DARK DAYS OF WORLD WAR II, THERE WAS A REVERSE MIGRATION OF
EUROPEAN SCIENTISTS, ARCHITECTS AND ARTISTS TO AMERICA PARTICULARLY IN NEW YORK
WHICH BECAME A HAVEN OF NEWLY ARRIVED ARTISTS AND COUNTERPARTS OF AMERICA.
•AS A RESULT, THE “NEW YORK SCHOOL” CAME INTO EXISTENCE AS OPPOSED TO “THE SCHOOL OF
PARIS”. THESE ARTISTS SUCCEEDED IN MAKING THEIR OWN ARTISTIC STYLE AND THEIR
SYNTHESIS OF EUROPE’S CUBIST AND SURREALIST. THEIR STYLE WAS KNOWN AS ABSTRACT
EXPRESSIONISM.

3. ACTION PAINTING
•JACKSON POLLOCK
•POLLOCK PAINTED ON A HUGE CANVAS ON THE FLOOR. INSTEAD OF THE
TRADITIONAL CAREFUL APPLICATION OF COLOR WITH PAINT BRUSH, HE
WORKED BY SPLATTERING, SQUIRTING AND DRIBBLING THE PAINT.
•THE PROCESS WAS UNPLANNED. AS AN EFFECT, POLLOCK CREATED A
VERY CREATIVE AND UNIQUE PLAYFUL MOVEMENTS OF COLORS AS IF IT
WAS SHOWING AN “ENERGY MADE VISIBLE”.

5. COLOR FIELD PAINTING
•IT WAS EMERGED IN CONTRAST OF THE ACTION PAINTING STYLE.
COLOR FIELD PAINTERS USED DIFFERENT COLOR SATURATIONS.
•THEY AIMED TO SHOW PURITY, VIVIDNESS AND INTENSITY TO
CREATE THE DESIRED EFFECTS. SOME OF THEIR WORKS WERE
HUGE FIELDS OF VIBRANT COLOR LIKE THE WORKS OF MARKO
ROTHKO.

7. • ADOLPH GOTTLIEB AND LEE KRASNER MADE A DIFFERENT APPROACH. THEY TOOK MORE INTIMATE
“PICTOGRAPH” STYLE. THEY FILLED THE CANVAS WITH REPEATING PICTURE FRAGMENTS OR SYMBOLS.

8. AFTER “THE NEW YORK
SCHOOL”
•DURING THE 1960S, THE NEW YORK SCHOOL
SLOWLY DIMINISHED. NEW GROUP OF ARTISTS
EMERGED USING LIGHTER TREATMENT AND FLASHES
OF HUMOR.

9. NEW ART MOVEMENTS
•NEODADAISM AND POP ART
•CONCEPTUAL ART
•OP ART
•THE NEW REALISM

10. NEODADAISM
•THE SAME AS THE DADAIST MOVEMENT THAT AROSE DURING THE WW-II
WAS THE NEODADAISM OF 1960S WHICH AIMED TO MAKE REFORMS IN
TRADITIONAL VALUES.
•IT USED COMMON PLACE, TRIVIAL, AND NONESSENTIAL FIGURES. HOWEVER,
IT DID NOT FOLLOW THE ANGRY, SERIOUS TONE OF THE ORIGINAL DADAISTS.
•THEY SEEMED TO ENJOY NONSENSE FOR ITS OWN SAKE AND SIMPLY AIMED
TO LAUGH AT THE WORLD.

11. POP ART
•POPULAR ART
•ART WORKS OF THIS STYLE RANGED FROM PAINTINGS, POSTERS, TO COLLAGES AND 3D
ASSEMBLAGES AND INSTALLATION.
•THEY USED EASILY RECOGNIZABLE OBJECTS AND IMAGES FROM THE CONSUMER SOCIETY LIKE
THE WORKS OF ANDY WARHOL. HIS INSPIRATION WERE CELEBRITIES, COMMERCIALS,
BILLBOARDS, AND COMIC STRIPS THAT WERE BECOMING COMMONPLACE AT THE TIME.
•ROY LICHTENSTEIN IS AN EXAMPLE OF AMERICAN POP ARTIST. ASIDE FROM LICHTENSTEIN,
AMONG THE LEADING ARTISTS IN TERMS OF POP ART IN 1960S WERE JASPER JOHNS AND
JAMES ROSENQUIST.

14. CONCEPTUAL ART
•THE TERM IMPLIES WHAT IT MEANS- CONCEPTUAL ART.
•CONCEPTUAL ARTISTS WERE NOT THE TRADITIONAL ARTIST WHO USED CANVAS,
COLORS AND PAINT BRUSH. THESE ARTISTS QUESTIONED THE IDEA OF ARTS AS
OBJECTS TO BE BOUGHT AND SOLD. THEY BROUGHT THEIR IDEAS TO LIFE USING
UNUSUAL MATERIALS LIKE BLOCKS OF ICE, FOOD, AND EVEN PLAIN DIRT.
• WHAT MAKES CONCEPTUAL ART UNIQUE IS THAT IT REQUIRES LITTLE OR NO
PHYSICAL CRAFTSMANSHIP. EXAMPLE OF THIS ART CAN BE SEEN IN KOSUTH’S
WORK

16. OP ART
•OPTICAL ART
•EMERGED AS ANOTHER ART MOVEMENT IN THE 1960S IN WHICH LINES, SPACES AND
COLORS WERE PRECISELY PLANNED AND POSITIONED TO GIVE THE ILLUSION OF
MOVEMENT.
•AS THE EYE LOOKS OVER DIFFERENT ANGLES AND SEGMENTS, IT APPEARS TO SHIFT
BACK AND FORTH; SOMETIMES FAST, SOMETIMES SLOW DEPENDING ON THE
VIEWER’S BRAIN OR HOW HE RESPONDS TO THE DATA. THUS, VIEWERS EXPERIENCE
SENSATION OF DISCOMFORT TO DISORIENTATION TO GIDDINESS.