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Nichtsdestotrotz beschäftigten sich die siebzehn in Picturing America: Fotorealismus der 70er Jahre vertretenen Künstler – Robert Bechtle, Charles Bell, Tom Blackwell, Chuck Close, Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Franz Gertsch, Ralph Goings, Ron Kleemann, Richard McLean, Malcolm Morley, Stephen Posen, John Salt, Ben Schonzeit und Paul Staiger – in den späten 60er und 70er Jahren mit ähnlichen Fragestellungen, Verfahren und Themen. Dies führte dazu, dass Kuratoren ihre Arbeit als eine zusammenhängende Bewegung in der zeitgenössischen Kunst ausstellten, und Kritiker und Kunstgeschichtler als solche über sie schrieben.
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A number of terms were proposed in quick succession to describe this novel approach to painting, chief among them Super-Realism, Hyperrealism, and Photorealism. The artists identified as Photorealists neither formed a coherent group nor considered themselves to be part of a movement, and a number of them actively challenged their association with the label. Nevertheless, in the late 1960s and 1970s, the seventeen artists in Picturing America: Photorealism in the 1970s—Robert Bechtle, Charles Bell, Tom Blackwell, Chuck Close, Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Franz Gertsch, Ralph Goings, Ron Kleemann, Richard McLean, Malcolm Morley, Stephen Posen, John Salt, Ben Schonzeit, and Paul Staiger—were exploring a related set of issues, methods, and subjects that led critics, curators, and art historians to both exhibit and write about their work as a coherent trend in contemporary art. Picturing America focuses on this formative, defining period in the history of Photorealism.
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