1960 · France
Pierrick Sorin is a contemporary artist considered well established, who was born in France, like other celebrated artists such as Marroni-Ouanely, Keen Souhlal, Servane Mary, Eugène Atget, and Ann Ray. Pierrick Sorin was born in 1960.
Historical Context of France
France has been a significant country in the unfolding of modernism. During the 19th century, France established the foundations of what is currently known as the avant-garde, including movements such as Impressionism, Post-Impressionism and Art Nouveau, led by world renowned artists. In the first half of the twentieth century, Paris was an essential intellectual and cultural hub, originating cutting-edge movements such as Cubism, Fauvism, Dadaism and Surrealism, amongst others. These movements blossomed at the beginning of the century, in the period immediately preceding the Second World War. Major French artistic figures from the beginning of the century include Paul Cezanne, Pablo Picasso, Georges Braque (Spanish national who settled in France) Francis Picabia, Marcel Duchamp, Man Ray, and Le Corbusier amongst many of others.
Further Biographical Context for Pierrick Sorin
Pierrick Sorin was born in 1960, grew up during the 1970s and was inspired by the artistic atmosphere of the time. 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 characteristic of a strong desire to evolve and strengthen 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 outdoors, initiating early ideas 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 multicultural and refined 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 era. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, blossomed in Tokyo in the 1970s. Discarding conventional ideas of representation, the artists favoured a depiction 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 unchanged intact.