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Twentieth-Century Sublimes The Turn from Modernism to Postmodernism: Barnett Newman, Agnes Martin, and Andy Warhol

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dc.contributor.advisor Boetzkes, Amanda
dc.contributor.author Simpson, Albert
dc.date.accessioned 2017-09-06T21:00:16Z
dc.date.available 2017-09-06T21:00:16Z
dc.date.copyright 2017-08
dc.date.created 2017-08-30
dc.date.issued 2017-09-06
dc.identifier.uri http://hdl.handle.net/10214/11550
dc.description.abstract This thesis is an investigation of historical notions of the sublime and their culmination in both the “modern sublime” (demonstrated in the work of Barnett Newman and Agnes Martin) and the “postmodern sublime” (particularly through the practices of Andy Warhol). It addresses the historical development of the concept of the sublime, and the redistributions of that concept among Newman, Martin and Warhol. It also considers the roles of gender and sexual identity within sublime aesthetics. The thesis works with Fredric Jameson’s theorization of the relationship between the postmodern and late capitalism, as well as Caroline Jones’ account of the modern “egotistical” sublime and the postmodern “performative technological sublime,” to argue that postmodern practice was a response to the rigidities of modernism and formalist criticism. Finally, it clarifies, through some elements of their personal histories, the connections of the three artists within the New York art world and with each other. en_US
dc.language.iso en en_US
dc.subject sublime en_US
dc.subject modernism en_US
dc.subject postmodernism en_US
dc.subject Barnett Newman en_US
dc.subject Agnes Martin en_US
dc.subject Andy Warhol en_US
dc.title Twentieth-Century Sublimes The Turn from Modernism to Postmodernism: Barnett Newman, Agnes Martin, and Andy Warhol en_US
dc.type Thesis en_US
dc.degree.programme Art History and Visual Culture en_US
dc.degree.name Master of Arts en_US
dc.degree.department School of Fine Art and Music en_US


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