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Which of the Following Is Not a Subcategory of Postmodern Art?

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Art motion

Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or adult in its backwash. In general, movements such as intermedia, installation art, conceptual art and multimedia, specially involving video are described equally postmodern.

There are several characteristics which lend art to being postmodern; these include bricolage, the use of text prominently as the fundamental artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-twenty-four hour period context, besides as the break-up of the barrier between fine and high arts and low art and popular culture.[1] [2]

Employ of the term [edit]

The predominant term for fine art produced since the 1950s is "gimmicky fine art". Non all art labeled as contemporary art is postmodern, and the broader term encompasses both artists who keep to piece of work in modernist and late modernist traditions, as well as artists who pass up postmodernism for other reasons. Arthur Danto argues "contemporary" is the broader terms, and postmodern objects stand for a "subsector" of the contemporary movement.[3] Some postmodern artists have made more distinctive breaks from the ideas of modern fine art and there is no consensus as to what is "late-modern" and what is "post-modern." Ideas rejected by the modern aesthetic have been re-established. In painting, postmodernism reintroduced representation.[4] Some critics argue much of the electric current "postmodern" fine art, the latest avant-gardism, should still classify as modern art.[v]

As well as describing certain tendencies of gimmicky art, postmodern has also been used to announce a phase of mod art. Defenders of modernism, such as Cloudless Greenberg,[6] likewise every bit radical opponents of modernism, such equally Félix Guattari, who calls information technology modernism'southward "final gasp,[7]" have adopted this position. The neo-conservative Hilton Kramer describes postmodernism equally "a cosmos of modernism at the end of its tether."[8] Jean-François Lyotard, in Fredric Jameson'southward analysis, does non hold there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that loftier modernist style is part of the experimentation of loftier modernism, giving birth to new modernisms.[9] In the context of aesthetics and art, Jean-François Lyotard is a major philosopher of postmodernism.

Many critics concord postmodern art emerges from mod art. Suggested dates for the shift from modern to postmodern include 1914 in Europe,[10] and 1962[11] or 1968[12] in America. James Elkins, commenting on discussions most the exact date of the transition from modernism to postmodernism, compares it to the discussion in the 1960s nearly the exact span of Mannerism and whether it should begin directly after the Loftier Renaissance or later in the century. He makes the point these debates go on all the fourth dimension with respect to art movements and periods, which is not to say they are not important.[xiii] The shut of the catamenia of postmodern fine art has been dated to the end of the 1980s, when the discussion postmodernism lost much of its critical resonance, and art practices began to address the impact of globalization and new media.[14]

Jean Baudrillard has had a significant influence on postmodern-inspired fine art and emphasised the possibilities of new forms of inventiveness.[fifteen] The creative person Peter Halley describes his mean solar day-glo colours as "hyperrealization of real color", and acknowledges Baudrillard as an influence.[16] Baudrillard himself, since 1984, was adequately consistent in his view contemporary fine art, and postmodern art in particular, was junior to the modernist art of the post World State of war II period,[16] while Jean-François Lyotard praised Gimmicky painting and remarked on its evolution from Modernistic fine art.[17] Major Women artists in the Twentieth Century are associated with postmodern art since much theoretical articulation of their work emerged from French psychoanalysis and Feminist Theory that is strongly related to mail modern philosophy.[18] [nineteen]

American Marxist philosopher Fredric Jameson argues the condition of life and product will be reflected in all activity, including the making of art.

As with all uses of the term postmodern there are critics of its application. Kirk Varnedoe, for instance, stated that there is no such thing every bit postmodernism, and that the possibilities of modernism have non yet been exhausted.[20] Though the usage of the term as a kind of shorthand to designate the work of certain Post-war "schools" employing relatively specific material and generic techniques has go conventional since the mid-1980s, the theoretical underpinnings of Postmodernism as an epochal or epistemic division are still very much in controversy.[21]

Defining postmodern art [edit]

The juxtaposition of one-time and new, peculiarly with regards to taking styles from past periods and re-fitting them into modern art exterior of their original context, is a common characteristic of postmodern art.

Postmodernism describes movements which both arise from, and react confronting or reject, trends in modernism.[22] General citations for specific trends of modernism are formal purity, medium specificity, fine art for art's sake, authenticity, universality, originality and revolutionary or reactionary trend, i.east. the avant-garde. All the same, paradox is probably the most important modernist idea against which postmodernism reacts. Paradox was fundamental to the modernist enterprise, which Manet introduced. Manet's various violations of representational art brought to prominence the supposed mutual exclusiveness of reality and representation, blueprint and representation, brainchild and reality, and so on. The incorporation of paradox was highly stimulating from Manet to the conceptualists.

The status of the avant-garde is controversial: many institutions fence beingness visionary, forrad-looking, cutting-edge, and progressive are crucial to the mission of art in the present, and therefore postmodern art contradicts the value of "art of our times". Postmodernism rejects the notion of advancement or progress in art per se, and thus aims to overturn the "myth of the avant-garde". Rosalind Krauss was i of the important enunciators of the view that avant-gardism was over, and the new creative era is post-liberal and post-progress.[23] Griselda Pollock studied and confronted the advanced and modernistic fine art in a serial of groundbreaking books, reviewing modern fine art at the same time as redefining postmodern art.[24] [25] [26]

I feature of postmodern art is its conflation of high and low culture through the use of industrial materials and pop culture imagery. The employ of low forms of art were a part of modernist experimentation as well, as documented in Kirk Varnedoe and Adam Gopnik's 1990–91 bear witness High and Low: Popular Culture and Modern Art at New York's Museum of Modern Art,[27] an exhibition that was universally panned at the time as the merely event that could bring Douglas Crimp and Hilton Kramer together in a chorus of contemptuousness.[28] Postmodern fine art is noted for the way in which it blurs the distinctions between what is perceived every bit fine or high art and what is generally seen every bit depression or kitsch fine art.[29] While this concept of "blurring" or "fusing" loftier art with depression art had been experimented during modernism, it merely e'er became fully endorsed afterward the appearance of the postmodern era.[29] Postmodernism introduced elements of commercialism, kitsch and a full general military camp aesthetic within its artistic context; postmodernism takes styles from past periods, such as Gothicism, the Renaissance and the Baroque,[29] and mixes them so as to ignore their original use in their respective artistic move. Such elements are common characteristics of what defines postmodern fine art.

Fredric Jameson suggests postmodern works abjure any claim to spontaneity and directness of expression, making use instead of pastiche and discontinuity. Against this definition, Fine art and Language'southward Charles Harrison and Paul Woods maintained pastiche and discontinuity are endemic to modernist fine art, and are deployed effectively by modern artists such as Manet and Picasso.[thirty]

One compact definition is postmodernism rejects modernism's grand narratives of creative management, eradicating the boundaries between high and low forms of art, and disrupting genre's conventions with collision, collage, and fragmentation. Postmodern art holds all stances are unstable and insincere, and therefore irony, parody, and humor are the but positions critique or revision cannot overturn. "Pluralism and diversity" are other defining features.[31]

Advanced precursors [edit]

Radical movements and trends regarded as influential and potentially as precursors to postmodernism emerged around World State of war I and particularly in its aftermath. With the introduction of the use of industrial artifacts in art and techniques such as collage, avant-garde movements such as Cubism, Dada and Surrealism questioned the nature and value of art. New artforms, such equally cinema and the ascent of reproduction, influenced these movements every bit a means of creating artworks. The ignition point for the definition of modernism, Clement Greenberg's essay, Advanced and Kitsch, offset published in Partisan Review in 1939, defends the avant-garde in the face up of popular culture.[32] After, Peter Bürger would make a distinction between the historical advanced and modernism, and critics such as Krauss, Huyssen, and Douglas Crimp, following Bürger, identified the historical avant-garde as a forerunner to postmodernism. Krauss, for instance, describes Pablo Picasso's use of collage as an avant-garde practice anticipating postmodern fine art with its emphasis on linguistic communication at the expense of autobiography.[33] Another point of view is advanced and modernist artists used like strategies and postmodernism repudiates both.[34]

Dada [edit]

Main article: Dada

In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. His betoken was to have people look at the urinal as if it were a piece of work of art but because he said it was a piece of work of art.[35] [36] [37] He referred to his work as "Readymades".[38] The Fountain was a urinal signed with the pseudonym R. Mutt, which shocked the fine art world in 1917.[39] This and Duchamp'southward other works are generally labelled as Dada. Duchamp can exist seen every bit a precursor to conceptual fine art. Some critics question calling Duchamp—whose obsession with paradox is well known—postmodernist on the grounds he eschews whatsoever specific medium, since paradox is non medium-specific, although it arose starting time in Manet's paintings.[forty]

Dadaism tin be viewed as office of the modernist propensity to challenge established styles and forms, along with Surrealism, Futurism and Abstract Expressionism.[41] From a chronological point of view, Dada is located solidly within modernism, however a number of critics hold it anticipates postmodernism, while others, such as Ihab Hassan and Steven Connor, consider it a possible changeover point betwixt modernism and postmodernism.[42] For instance, according to McEvilly, postmodernism begins with realizing ane no longer believes in the myth of progress, and Duchamp sensed this in 1914 when he inverse from a modernist exercise to a postmodernist one, "abjuring aesthetic contentment, transcendent ambition, and tour de force demonstrations of formal agility in favor of artful indifference, acknowledgement of the ordinary world, and the found object or readymade."[x]

Radical movements in modern art [edit]

In general, Pop Art and Minimalism began as modernist movements: a prototype shift and philosophical split between formalism and anti-formalism in the early 1970s caused those movements to be viewed past some every bit precursors or transitional postmodern art. Other mod movements cited as influential to postmodern fine art are conceptual fine art and the utilise of techniques such as assemblage, montage, bricolage, and cribbing.

Jackson Pollock and abstract expressionism [edit]

During the late 1940s and early 1950s, Pollock's radical approach to painting revolutionized the potential for all Contemporary art following him. Pollock realized the journeying toward making a work of art was equally important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, Pollock redefined artmaking during the mid-century. Pollock's move from easel painting and conventionality liberated his contemporaneous artists and post-obit artists. They realized Pollock's process — working on the flooring, unstretched raw canvas, from all four sides, using artist materials, industrial materials, imagery, not-imagery, throwing linear skeins of paint, dripping, drawing, staining, brushing - blasted artmaking beyond prior boundaries. Abstract expressionism expanded and developed the definitions and possibilities artists had available for the creation of new works of art. In a sense, the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Marking Rothko, Philip Guston, Hans Hofmann, Clyfford However, Barnett Newman, Advertizing Reinhardt and others, opened the floodgates to the variety and telescopic of following artworks.[43]

After abstract expressionism [edit]

In abstruse painting during the 1950s and 1960s several new directions like Hard-border painting and other forms of Geometric brainchild like the work of Frank Stella popped up, every bit a reaction against the subjectivism of Abstract expressionism began to announced in artist studios and in radical avant-garde circles. Cloudless Greenberg became the voice of Post-painterly abstraction; past curating an influential exhibition of new painting touring important fine art museums throughout the United states in 1964. Color field painting, Hard-edge painting and Lyrical Brainchild[44] emerged every bit radical new directions.

Past the tardily 1960s, Postminimalism, Procedure Art and Arte Povera[45] besides emerged as revolutionary concepts and movements encompassing painting and sculpture, via Lyrical Brainchild and the Postminimalist movement, and in early on Conceptual Art.[45] Process fine art as inspired past Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real space. Nancy Graves, Ronald Davis, Howard Hodgkin, Larry Poons, Jannis Kounellis, Brice Marden, Bruce Nauman, Richard Tuttle, Alan Saret, Walter Darby Bannard, Lynda Benglis, Dan Christensen, Larry Zox, Ronnie Landfield, Eva Hesse, Keith Sonnier, Richard Serra, Sam Gilliam, Mario Merz, Peter Reginato, Lee Lozano, were some of the younger artists emerging during the era of late modernism spawning the heyday of the art of the late 1960s.[46]

Performance art and happenings [edit]

During the late 1950s and 1960s, artists with a wide range of interests began pushing the boundaries of Contemporary art. Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City were pioneers of performance based works of fine art. Groups similar The Living Theater with Julian Brook and Judith Malina collaborated with sculptors and painters creating environments; radically irresolute the relationship betwixt audience and performer especially in their slice Paradise Now.[48] [49] The Judson Dance Theater located at the Judson Memorial Church building, New York, and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others collaborated with artists Robert Morris, Robert Whitman, John Muzzle, Robert Rauschenberg, and engineers like Baton Klüver.[50] These performances were often designed to exist the creation of a new art grade, combining sculpture, dance, and music or audio, oft with audition participation. The reductive philosophies of minimalism, spontaneous improvisation, and expressivity of Abstract expressionism characterized the works.[51]

During the same menses — the late 1950s through the mid-1960s - various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in varied specified locations. Often incorporating exercises in absurdity, physical exercise, costumes, spontaneous nudity, and various random and seemingly disconnected acts. Allan Kaprow, Joseph Beuys, Nam June Paik, Wolf Vostell, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman among others were notable creators of Happenings.[52]

Assemblage art [edit]

Related to Abstract expressionism was the emergence of combined manufactured items — with artist materials, moving abroad from previous conventions of painting and sculpture. The work of Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Popular Art and Installation fine art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography, exemplified this fine art trend.[ citation needed ]

Leo Steinberg uses the term postmodernism in 1969 to describe Rauschenberg's "flatbed" motion picture plane, containing a range of cultural images and artifacts that had not been compatible with the pictorial field of premodernist and modernist painting.[53] Craig Owens goes further, identifying the significance of Rauschenberg'due south work non as a representation of, in Steinberg's view, "the shift from nature to culture", but as a demonstration of the impossibility of accepting their opposition.[54]

Steven All-time and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced past Marcel Duchamp, betwixt modernism and postmodernism. These artists used images of ordinary objects, or the objects themselves, in their piece of work, while retaining the abstraction and painterly gestures of high modernism.[55]

Anselm Kiefer also uses elements of assemblage in his works, and on one occasion, featured the bow of a line-fishing gunkhole in a painting.

Pop art [edit]

Lawrence Alloway used the term "Pop art" to describe paintings jubilant consumerism of the post World War II era. This motility rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and oft celebrated, material consumer culture, advertising, and iconography of the mass product age. The early works of David Hockney and the works of Richard Hamilton, John McHale, and Eduardo Paolozzi were considered seminal examples in the motion. While later American examples include the bulk of the careers of Andy Warhol and Roy Lichtenstein and his utilize of Benday dots, a technique used in commercial reproduction. There is a clear connexion between the radical works of Duchamp, the rebellious Dadaist — with a sense of humour; and Pop Artists like Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.

Thomas McEvilly, agreeing with Dave Hickey, says U.Due south postmodernism in the visual arts began with the showtime exhibitions of Pop fine art in 1962, "though it took almost twenty years earlier postmodernism became a dominant attitude in the visual arts."[xi] Fredric Jameson, too, considers pop art to be postmodern.[56]

One mode Popular fine art is postmodern is it breaks downwards what Andreas Huyssen calls the "Dandy Divide" between high art and popular culture.[57] Postmodernism emerges from a "generational refusal of the categorical certainties of high modernism."[58]

Fluxus [edit]

Solo For Violin • Polishing equally performed by George Brecht, New York, 1964. Photo by 1000 Maciunas

Fluxus was named and loosely organized in 1962 by George Maciunas (1931–78), a Lithuanian-built-in American artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City. Many of his students were artists working in other media with piddling or no background in music. Muzzle's students included Fluxus founding members Jackson Mac Depression, Al Hansen, George Brecht and Dick Higgins. In 1962 in Germany Fluxus started with the: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with, George Maciunas, Joseph Beuys, Wolf Vostell, Nam June Paik and others. And in 1963 with the: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.[ citation needed ]

Fluxus encouraged a do information technology yourself artful, and valued simplicity over complexity. Like Dada before information technology, Fluxus included a strong electric current of anti-capitalism and an anti-art sensibility, disparaging the conventional marketplace-driven art world in favor of an artist-centered creative exercise. Fluxus artists preferred to piece of work with whatever materials were at hand, and either created their own work or collaborated in the creation procedure with their colleagues.

Fluxus can be viewed as function of the first phase of postmodernism, forth with Rauschenberg, Johns, Warhol and the Situationist International.[59] Andreas Huyssen criticises attempts to claim Fluxus for postmodernism as, "either the principal-code of postmodernism or the ultimately unrepresentable art movement – every bit it were, postmodernism'due south sublime." Instead he sees Fluxus as a major Neo-Dadaist phenomena inside the avant-garde tradition. It did not represent a major advance in the development of artistic strategies, though it did express a rebellion confronting, "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War."[60]

Minimalism [edit]

By the early 1960s Minimalism emerged as an abstract movement in fine art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics nowadays in the arena of Action painting. Minimalism argued farthermost simplicity could capture the sublime representation art requires. Associated with painters such as Frank Stella, minimalism in painting, as opposed to other areas, is a modernist move and depending on the context can be construed as a precursor to the postmodern motion.

Hal Foster, in his essay The Crux of Minimalism, examines the extent to which Donald Judd and Robert Morris both acknowledge and exceed Greenbergian modernism in their published definitions of minimalism.[61] He argues minimalism is not a "dead end" of modernism, but a "image shift toward postmodern practices that continue to be elaborated today."[62]

Postminimalism [edit]

Robert Pincus-Witten coined the term Post-minimalism in 1977 to describe minimalist derived art which had content and contextual overtones minimalism rejected. His utilize of the term covered the flow 1966 – 1976 and applied to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work past former minimalists Robert Smithson, Robert Morris, Sol LeWitt, and Barry Le Va, and others.[45] Process art and anti-form art are other terms describing this work, which the space information technology occupies and the process past which it is made determines.[63]

Rosalind Krauss argues by 1968 artists such as Morris, LeWitt, Smithson and Serra had "entered a situation the logical atmospheric condition of which tin no longer be described every bit modernist."[12] The expansion of the category of sculpture to include land art and architecture, "brought nearly the shift into postmodernism."[64]

Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.

Movements in postmodern art [edit]

Conceptual art [edit]

Lawrence Weiner, Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art Eye, Minneapolis, 2005.

Conceptual art is sometimes labelled every bit postmodern considering it is expressly involved in deconstruction of what makes a work of art, "art". Conceptual art, because it is often designed to face, offend or attack notions held by many of the people who view it, is regarded with particular controversy.

Precursors to conceptual art include the work of Duchamp, John Cage's 4' 33", in which the music is said to be "the sounds of the environment that the listeners' hear while information technology is performed," and Rauschenberg's Erased De Kooning Drawing. Many conceptual works take the position that fine art is created by the viewer viewing an object or deed every bit art, not from the intrinsic qualities of the piece of work itself. Thus, because Fountain was exhibited, it was a sculpture.

Installation art [edit]

An of import serial of movements in art which accept consistently been described as postmodern involved installation art and creation of artifacts that are conceptual in nature. One example being the signs of Jenny Holzer which use the devices of art to convey specific messages, such as "Protect Me From What I Want". Installation Art has been important in determining the spaces selected for museums of contemporary art in society to be able to hold the large works which are composed of vast collages of manufactured and found objects. These installations and collages are often electrified, with moving parts and lights.

They are oftentimes designed to create ecology effects, as Christo and Jeanne-Claude'south Iron Curtain, Wall of 240 Oil Barrels, Blocking Rue Visconti, Paris, June 1962 which was a poetic response to the Berlin Wall built in 1961.

Lowbrow art [edit]

Lowbrow is a widespread populist art motion with origins in the underground comix world, punk music, hot-rod street civilization, and other California subcultures. It is also oft known by the name popular surrealism. Lowbrow art highlights a central theme in postmodernism in that the distinction between "high" and "low" fine art are no longer recognized.

Performance fine art [edit]

Digital fine art [edit]

Joseph Nechvatal birth Of the viractual 2001 computer-robotic assisted acrylic on sail

Digital art is a full general term for a range of artistic works and practices that utilize digital technology as an essential part of the creative and/or presentation process. The touch of digital technology has transformed activities such every bit painting, drawing, sculpture and music/audio art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.

Leading fine art theorists and historians in this field include Christiane Paul, Frank Popper, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken.

Intermedia and multi-media [edit]

Some other trend in art which has been associated with the term postmodern is the use of a number of unlike media together. Intermedia, a term coined by Dick Higgins and meant to convey new artforms along the lines of Fluxus, Concrete Poetry, Constitute objects, Performance art, and Computer art. Higgins was the publisher of the Something Else Press, a Concrete poet, married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art.[65] One of the most mutual forms of "multi-media art" is the apply of video-tape and CRT monitors, termed Video art. While the theory of combining multiple arts into ane fine art is quite erstwhile, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left is the specific statements of the artist in question or the conceptual statement of their activeness. Higgin'south conception of Intermedia is connected to the growth of multimedia digital do such equally immersive virtual reality, digital fine art and calculator art.

Telematic Art [edit]

Telematic art is a descriptive of fine art projects using estimator mediated telecommunications networks as their medium. Telematic art challenges the traditional human relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote artful encounters. Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its elapsing. Ascott has been at the forefront of the theory and practise of telematic fine art since 1978 when he went online for the first time, organizing different collaborative online projects.

Appropriation art and neo-conceptual art [edit]

In his 1980 essay The Emblematic Impulse: Toward a Theory of Postmodernism, Craig Owens identifies the re-emergence of an allegorical impulse equally characteristic of postmodern art. This impulse tin can be seen in the appropriation art of artists such as Sherrie Levine and Robert Longo because, "Allegorical imagery is appropriated imagery."[66] Cribbing art debunks modernist notions of creative genius and originality and is more ambivalent and contradictory than mod fine art, simultaneously installing and subverting ideologies, "being both critical and complicit."[67]

Neo-expressionism and painting [edit]

The return to the traditional art forms of sculpture and painting in the late 1970s and early on 1980s seen in the work of Neo-expressionist artists such as Georg Baselitz and Julian Schnabel has been described equally a postmodern tendency,[68] and ane of the start coherent movements to sally in the postmodern era.[69] Its strong links with the commercial art market place has raised questions, all the same, both about its status as a postmodern movement and the definition of postmodernism itself. Hal Foster states that neo-expressionism was complicit with the bourgeois cultural politics of the Reagan-Bush era in the U.S.[62] Félix Guattari disregards the "large promotional operations dubbed 'neo-expressionism' in Frg," (an example of a "fad that maintains itself by means of publicity") every bit a also easy way for him "to demonstrate that postmodernism is cypher only the terminal gasp of modernism."[7] These critiques of neo-expressionism reveal that money and public relations really sustained gimmicky art earth credibility in America during the same period that conceptual artists, and practices of women artists including painters and feminist theorists like Griselda Pollock,[70] [71] were systematically reevaluating mod art.[72] [73] [74] Brian Massumi claims that Deleuze and Guattari open the horizon of new definitions of Dazzler in postmodern fine art.[75] For Jean-François Lyotard, it was painting of the artists Valerio Adami, Daniel Buren, Marcel Duchamp, Bracha Ettinger, and Barnett Newman that, after the advanced'southward time and the painting of Paul Cézanne and Wassily Kandinsky, was the vehicle for new ideas of the sublime in contemporary fine art.[76] [77]

Institutional critique [edit]

Critiques on the institutions of fine art (principally museums and galleries) are made in the piece of work of Michael Asher, Marcel Broodthaers, Daniel Buren and Hans Haacke.

See also [edit]

  • Anti-fine art
  • Anti-anti-art
  • Classificatory disputes about fine art
  • Cyborg art
  • Electronic art
  • Experiments in Art and Engineering science
  • Gaze
  • Late Modernism
  • Modernistic art
  • Modernist project
  • Neo-minimalism
  • Net.fine art
  • New European Painting
  • New Media art
  • Post-conceptual
  • Superflat
  • Superstroke
  • Remodernism
  • Irving Sandler
  • Virtual fine art

Sources [edit]

  • The Triumph of Modernism: The Fine art World, 1985–2005, Hilton Kramer, 2006, ISBN 978-0-15-666370-0
  • Pictures of Nothing: Abstruse Art since Pollock (A.Due west. Mellon Lectures in the Fine Arts), Kirk Varnedoe, 2003
  • Fine art of the Postmodern Era: From the Late 1960s to the Early on 1990s, Irving Sandler
  • Postmodernism (Movements in Modernistic Fine art) Eleanor Heartney
  • Sculpture in the Age of Doubt Thomas McEvilley 1999

References [edit]

  1. ^ Ideas Almost Art, Desmond, Kathleen K. [ane] John Wiley & Sons, 2011, p.148
  2. ^ International postmodernism: theory and literary practice, Bertens, Hans [two], Routledge, 1997, p.236
  3. ^ After the End of Art: Contemporary Fine art and the Pale of History Arthur C. Danto
  4. ^ Wendy Steiner, Venus in Exile: The Rejection of Beauty in 20th-Century Fine art, New York: The Free Press, 2001, ISBN 978-0-684-85781-7
  5. ^ Post-Modernism: The New Classicism in Art and Compages Charles Jencks
  6. ^ Clement Greenberg: Modernism and Postmodernism, 1979. Retrieved June 26, 2007.
  7. ^ a b Félix Guattari, the Postmodern Impasse in The Guattari Reader, Blackwell Publishing, 1996, pp109-113. ISBN 978-0-631-19708-9
  8. ^ Quoted in Oliver Bennett, Cultural Pessimism: Narratives of Decline in the Postmodern World, Edinburgh University Printing, 2001, p131. ISBN 978-0-7486-0936-9
  9. ^ Fredric Jameson, Foreword to Jean-François Lyotard, The Postmodern Status, Manchester University Press, 1997, pxvi. ISBN 978-0-7190-1450-5
  10. ^ a b Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, Dazzler Is Nowhere: Upstanding Issues in Art and Design, Routledge, 1998. p27. ISBN 978-xc-5701-311-9
  11. ^ a b Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, Beauty Is Nowhere: Upstanding Problems in Art and Design, Routledge, 1998. p29. ISBN 978-90-5701-311-9
  12. ^ a b The Originality of the Avant Garde and Other Modernist Myths Rosalind E. Krauss, Publisher: The MIT Press; Reprint edition (July 9, 1986), Sculpture in the Expanded Field pp.287
  13. ^ James Elkins, Stories of Art, Routledge, 2002, p16. ISBN 978-0-415-93942-3
  14. ^ Zoya Kocur and Simon Leung, Theory in Contemporary Fine art Since 1985, Blackwell Publishing, 2005, pp2-iii. ISBN 978-0-631-22867-7
  15. ^ Nicholas Zurbrugg, Jean Baudrillard, Jean Baudrillard: Art and Artefact, Sage Publications, 1997, p150. ISBN 978-0-7619-5580-ane
  16. ^ a b Gary Genosko, Baudrillard and Signs: Signification Ablaze, Routledge, 1994, p154. ISBN 978-0-415-11256-7
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External links [edit]

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Source: https://en.wikipedia.org/wiki/Postmodern_art

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