In the years between 1945 and 1960, the ideal of a universal visual language was advocated by artists, designers, and critics who believed that a modernist style was a means of achieving that goal. At the same time, as we’ve seen, artists were expected to achieve that universality through the expression of their authentic selves.
How did issues of personal identity—that is sex, race or
sexual orientation—impact artists’ ability to reach that goal? Was the ‘universality’ of modernism implicitly defined in gendered
or racial terms?
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