United States

As recently as the 1980s, most surveys of American culture might not have thought photography of much importance. But at the turn of the century, photography began to lay a new claim to attention as a serious art form. For the bulk of the first part of the 20th century, the most remarkable American photographers had, on the whole, tried to make photography into a “fine art” by divorcing it from its ubiquitous presence as a recorder of moments and by splicing it onto older, painterly traditions. A clutch of gifted photographers, however, have, since the end of World War II, been able to transcend the distinction between media image and aesthetic object—between art and photojournalism—to make from a single, pregnant moment a complete and enduring image. Walker Evans, Margaret Bourke-White, and Robert Frank (the latter, like so many artists of the postwar period, an emigrant), for instance, rather than trying to make of photography something as calculated and considered as the traditional fine arts, found in the instantaneous vision of the camera something at once personal and permanent. Frank’s book The Americans (l956), the record of a tour of the United States that combined the sense of accident of a family slide show with a sense of the ominous worthy of the Italian painter Giorgio de Chirico, was the masterpiece of this vision; and no work of the postwar era was more influential in all fields of visual expression. Robert Mapplethorpe, Diane Arbus, and, above all, Richard Avedon and Irving Penn, who together dominated both fashion and portrait photography for almost half a century and straddled the lines between museum and magazine, high portraiture and low commercials, all came to seem, in their oscillations between glamour and gloom, exemplary of the predicaments facing the American artist. Adam Gopnik

The theatre

Perhaps more than any other art form, the American theatre suffered from the invention of the new technologies of mass reproduction. Where painting and writing could choose their distance from (or intimacy with) the new mass culture, many of the age-old materials of the theatre had by the 1980s been subsumed by movies and television. What the theatre could do that could not be done elsewhere was not always clear. As a consequence, the Broadway theatre—which in the 1920s had still seemed a vital area of American culture and, in the high period of the playwright Eugene O’Neill, a place of cultural renaissance—had by the end of the 1980s become very nearly defunct. A brief and largely false spring had taken place in the period just after World War II. Tennessee Williams and Arthur Miller, in particular, both wrote movingly and even courageously about the lives of the “left-out” Americans, demanding attention for the outcasts of a relentlessly commercial society. Viewing them from the 21st century, however, both seem more traditional and less profoundly innovative than their contemporaries in the other arts, more profoundly tied to the conventions of European naturalist theatre and less inclined or able to renew and rejuvenate the language of their form.