Is the United States still the leader in innovative new art as it was in the latter half of the 20th Century?

If there is an avant-garde today, its very nature contradicts the assumptions implicit in the question. Why should we assume that the most important new art of a given era will be associated with a single nation? Is it actually the case that the United States was the “leader” in new art during the second half of the 20th century? Is “new art” necessarily innovative?
The idea that, at any given moment, one nation is going to be the home of the avant-garde is a translation into artistic terms of Hegel’s idea of the world-historical figure. In canonical art history, Italy carries the baton from the Renaissance until the 18th century, France is the leader from 1775 until 1945, and the United States has the historically important avant-garde from 1945 until recently. This is demonstrably wrong. What about Netherlandish art in the 17th century? German and English art in the late 18th and 19th centuries. South American, non-Western, and, yes, French art after 1945?
Specifically, I would argue that the dominance of U.S. art after 1945 is in large part a chauvinist illusion. After the triumph of Pop and Minimalism in the 1960s, U.S. art historians rewrote art history (in the 1970s) to eliminate pretty much all important art made elsewhere. Arguably, much of the most innovative art made between 1945 and 1970 was made in and around New York. But that doesn’t entitle us to ignore the rest. Nor does it entitle us to pretend that the dominance of New York lasted beyond this 25-year period. Certainly, in the 42 years since 1970, as much or more important art has been made elsewhere as has been made in New York.
Finally, we need to question the concepts “innovative” and “avant-garde.” They are rooted in the same Hegelian model, which assumes that the “essential” events in art history are formal innovations (Cubism, geometric abstraction, Abstract Expressionism, Minimalism) that supposedly follow a coherent logic of development, and that everything else is a sideshow. In an era when Marcel Duchamp is a much more important influence than Pablo Picasso, is there any credibility left to this position? There have been few–or no–significant formal innovations since 1970. Not in the US, not elsewhere. Some critics and scholars take this to mean that the history of art came to an end in 1970, and that everything since then is an epiphenomenon. That seems absurd. Much terrific art has been made since 1970. It is distinguished, not by formal innovation, but by the way it crystallizes and expresses important experiences of life in our contemporary world. From this perspective, much of the important art of our time is being made in the former “Third World,” and addresses the experience of post-colonialism, triumphant in China, catastrophic in much of Africa, and different in different countries. If this means that the avant-garde has departed U.S. shores, so be it.

Thursday, July 5 at 9:44pm

How do you define “innovational’? Is it possible to make-it-new, as avant-garde artists in the past had. Be this as it may, art has become truly global.

Friday, July 6 at 8:43am