Mel Odom is seen as an established artist. Mel Odom was born in 1950. Also born in 1950 and of this same generation are Hojer Eksport Wilton, Felix Keller, György Kollar, Walter Libuda, and Jörg Frank.
Further Biographical Context for Mel Odom
Born in 1950, Mel Odom was largely inspired by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the dominant art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all representative of a strong desire to progress and consolidate the art world, in response to the tensions of the previous decade. Process art branched out from Conceptualism, highlighting some of its most crucial aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early philosophies of environmentalism. In Germany, Expressive figure painting was given a second chance for the first time since the weakening of Abstract Expressionism almost twenty years ago, the genre reclaimed its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The majority of the critically acclaimed artists from the 1960s, who had gained success and fame, kept their status in the 1970s. Andy Warhol was a prominent figure of those two decades, and in the 1970s started to experiment with film and magazine publishing, thus engaging in a cross-platform activity that no other visual artist OF his standard had previously undertaken. By doing so, he secured his status as a celebrity. The cosmopolitan and sophisticated position that New York city held in the 1960s remained just as influential in the 1970s. With multiple global renowned artists gravitating the galleries and downtown scene, the city once again strengthened its reputation as the artistic heart of the generation. All over, numerous movements defined the 1970s. Amongst others, feminism and the new radical theories it occasioned strongly influenced the visual culture. Photorealism, which had emerged in the 1960s, also received critical and commercial success. The critical, prominent artistic figures of New York city started to embrace painters and sculptors from Latin America. Street art started to emerge as a true and accepted form of art towards the end of the 1970s. Jean-Michel Basquiat and Keith Haring were pioneers in proving that their artworks could subsist at the same time in art galleries and in urban settings. Driven by graffiti art, street art from its earliest days proved that it could endure in a constant flux of self-transformation, endlessly shifting the boundaries of modern art, becoming a truly ground-breaking artistic genre. The Arte Povera movement, which emerged in Italy, received international acknowledgement in the 1970s, and leading figures such as Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto were praised. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding conventional ideas of representation, the artists favoured an interpretation of the world through an engagement with materials and an examination of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly unaltered intact.