{"title":"修订经典:安迪-沃霍尔如何成为最重要的美国现代艺术家","authors":"David W. Galenson","doi":"10.1007/s10824-024-09519-9","DOIUrl":null,"url":null,"abstract":"<p>Quantitative analysis of narratives of art history published since 2000 reveals that scholars and critics now judge that Andy Warhol has surpassed Jackson Pollock and Jasper Johns as the most important modern American painter. Auction prices indicate that collectors share this opinion. Disaggregation by decade reveals that Warhol first gained clear critical recognition as the leading Pop artist in the 1990s, then as the most important American artist overall in the 2000s. This rise in Warhol’s status appears initially to have been a result of his influence on Jean-Michel Basquiat, Keith Haring, and others in the cohort that transformed the New York art world in the 1980s, and subsequently of his persisting influence on leading artists around the world who have emerged since the 1990s, including Damien Hirst, Takashi Murakami, and Ai Weiwei. Warhol’s many radical conceptual innovations that transformed both the appearance of art and the behavior of artists made him not only the most important American artist, but the most important Western artist overall of the second half of the twentieth century.</p>","PeriodicalId":47190,"journal":{"name":"Journal of Cultural Economics","volume":"102 1","pages":""},"PeriodicalIF":1.9000,"publicationDate":"2024-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Revising the canon: how Andy Warhol became the most important American modern artist\",\"authors\":\"David W. Galenson\",\"doi\":\"10.1007/s10824-024-09519-9\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>Quantitative analysis of narratives of art history published since 2000 reveals that scholars and critics now judge that Andy Warhol has surpassed Jackson Pollock and Jasper Johns as the most important modern American painter. Auction prices indicate that collectors share this opinion. Disaggregation by decade reveals that Warhol first gained clear critical recognition as the leading Pop artist in the 1990s, then as the most important American artist overall in the 2000s. This rise in Warhol’s status appears initially to have been a result of his influence on Jean-Michel Basquiat, Keith Haring, and others in the cohort that transformed the New York art world in the 1980s, and subsequently of his persisting influence on leading artists around the world who have emerged since the 1990s, including Damien Hirst, Takashi Murakami, and Ai Weiwei. Warhol’s many radical conceptual innovations that transformed both the appearance of art and the behavior of artists made him not only the most important American artist, but the most important Western artist overall of the second half of the twentieth century.</p>\",\"PeriodicalId\":47190,\"journal\":{\"name\":\"Journal of Cultural Economics\",\"volume\":\"102 1\",\"pages\":\"\"},\"PeriodicalIF\":1.9000,\"publicationDate\":\"2024-07-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Cultural Economics\",\"FirstCategoryId\":\"96\",\"ListUrlMain\":\"https://doi.org/10.1007/s10824-024-09519-9\",\"RegionNum\":2,\"RegionCategory\":\"经济学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"ECONOMICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Cultural Economics","FirstCategoryId":"96","ListUrlMain":"https://doi.org/10.1007/s10824-024-09519-9","RegionNum":2,"RegionCategory":"经济学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"ECONOMICS","Score":null,"Total":0}
Revising the canon: how Andy Warhol became the most important American modern artist
Quantitative analysis of narratives of art history published since 2000 reveals that scholars and critics now judge that Andy Warhol has surpassed Jackson Pollock and Jasper Johns as the most important modern American painter. Auction prices indicate that collectors share this opinion. Disaggregation by decade reveals that Warhol first gained clear critical recognition as the leading Pop artist in the 1990s, then as the most important American artist overall in the 2000s. This rise in Warhol’s status appears initially to have been a result of his influence on Jean-Michel Basquiat, Keith Haring, and others in the cohort that transformed the New York art world in the 1980s, and subsequently of his persisting influence on leading artists around the world who have emerged since the 1990s, including Damien Hirst, Takashi Murakami, and Ai Weiwei. Warhol’s many radical conceptual innovations that transformed both the appearance of art and the behavior of artists made him not only the most important American artist, but the most important Western artist overall of the second half of the twentieth century.
期刊介绍:
Cultural economics is the application of economic analysis to all of the creative and performing arts, the heritage and cultural industries, whether publicly or privately owned. It is concerned with the economic organization of the cultural sector and with the behavior of producers, consumers and governments in that sector. The subject includes a range of approaches, mainstream and radical, neoclassical, welfare economics, public policy and institutional economics. The editors and editorial board of the Journal of Cultural Economics seek to attract the attention of the economics profession to this branch of economics, as well as those in related disciplines and arts practitioners with an interest in economic issues. The Journal of Cultural Economics publishes original papers that deal with the theoretical development of cultural economics as a subject, the application of economic analysis and econometrics to the field of culture, and with the economic aspects of cultural policy. Besides full-length papers, short papers and book reviews are also published.Officially cited as: J Cult Econ