Thus, on the one hand fashionable art is healing and enlightening, for it teaches us to recognize and settle for the contradictions that abound in society and human beings, and to resolve them artistically, that is, sublimate them, because it had been, to a higher plane of perception and conception, working them by in a medium other than life. In current decades, artwork history and criticism have accepted the constraints and failures of Western aesthetics and its methodological offspring, formalism, to comprehend absolutely the importance of art. The key of art will stay: masterpieces shouldn’t have to result from a gigantic effort of thought nor the great artists have to be great philosophers.
Bruce Altshuler’s The Avant-Garde in Exhibition: New Art in the Twentieth Century (New York: Harry Abrams, 1994) is an extremely readable and interesting text on this subject; having small teams of students current on each of the exhibitions would quite almost communicate all the required data of this lecture with out the professor saying a word.
Regardless of their variations, all Constructivist art was made attainable by new, industrial varieties and materials, and that obligatory materialism led to geometric forms and an concept that the artist must also be an engineer, constructing a brand new and radical modern world.
There were, however, a lot of movements within the U.S. that embraced modernity in the arts, and the nation’s financial superiority in the aftermath of WWII (amongst other issues) led to New York City supplanting Paris because the unofficial capital of the Western art world in the postwar period.