1970 · United States
Molly Herman is a mid-career contemporary visual artist, who was born in the United States. Molly Herman was born in 1970. Some of the artist's contemporaries that are born around the same year and in the same country include Kara Walker, Jason Rhoades, Ellen Gallagher, Andrea Zittel, Elizabeth Peyton, Rob Pruitt and Jean Michel Basquiat.
Historical Context of United States
The United States, especially New York city, remains as a focal point that has played a significant role in developing modern and contemporary art in the twentieth century. The idea of New York as a new multinational and highly powerful art centre came to be in the post war era, and the city succeeded in affirming its supremacy over Paris, which used to be regarded as the most powerful international art capital.
The authority of the political and economic institutions of the United States in the modern era has granted the country with a powerful influence on the visual culture of the world. Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, Neo-Expressionism, Graffiti and Street Art, are influential art movements that emerged in the United States. These very movements also echoed into a myriad of variations, such as alternative forms of Abstract Expressionism, as well as East and West Coast adaptations of Pop Art, among others. Some internationally distinguished U.S artists of the modern age include Jackson Pollock, Mark Rothko, Jasper Johns, Robert Rauschenberg, Cy Twombly, Andy Warhol, Roy Lichtenstein, Frank Stella, Donald Judd, Cindy Sherman, Barbara Kruger, Julian Schnabel, Jean-Michel Basquiat and Keith Haring.
Further Biographical Context for Molly Herman
Molly Herman was born in 1970 and was largely inspired by the 1990s. Art in the 1990s was defined at the beginning of the decade by a group of artists in the United Kingdom that came to be known as the YBAs, or Young British Artists. They were a diverse group of creatives, affiliated loosely by their age, nationality, and their association with Goldsmiths and the Royal College of Art in London, as well as being favoured by super collector of the time Charles Saatchi. The most successful artist of the group is Damien Hirst, who was also an early organiser of group activities. Other members included Chris Ofili, Tracey Emin, Marc Quinn, Gavin Turk, Sarah Lucas and Sam Taylor-Wood. Much of their work became noted for shock tactics and the sensationalism of both material and message. They also became famed for their use of throwaway materials, wild-living, and an attitude that was simultaneously counter-culture rebellion but also entrepreneurial. They gained considerable amount of media coverage and dominated British art during the decade. Their international shows in the mid-1990s included the now legendary ‘Sensation'.
Also gaining prominence at this time was an emergent trend in Japan related to the huge boom in advertising and consumerism that took place during the economic dominance of the 1980s. The indigenous comic book culture of manga, allied to trends in advertising, graphic design and packaging, saw a young artist called Takashi Murakami develop his theories which he coined ’Superflat’. Influenced by his experiences in New York City in the mid-1990s, Murakami formed an influential group called Kaikaikiki, which became internationally renowned as an artistic group.
Conceptual photography led by German ideas and artists came to prominence. Artists such as Andreas Gursky, Thomas Struth, and Wolfgang Tillmans gained international recognition, and inspired other artists such as the Canadian Jeff Wall, who experimented with the kind of cinematic expansiveness associated with the German artists’ work. Painters like Albert Oehlen and Martin Kippenberger exercised a strong influence on younger artists.
A proliferation of trends characterised the decade, including the highly derisive sculpture of Maurizio Cattelan, and highly sensitive advancements of conceptualism as evidenced by the work of artists like Felix Gonzalez-Torres.
Relational Aesthetics became a key idea. It was a term coined by curator Nicholas Bourriaud in the 1990s to describe the tendency to make art based on, or inspired by, human relations and their social context. Works by artists such as Douglas Gordon, Gillian Wearing, Philippe Parenno and Liam Gillick were described as significant artists who worked to this outline.