Postmodern art is the body of an art movement that tries to challenge some aspects of modernism or some aspect that arises or develops thereafter. In general, movements such as intermedia, installation art, conceptual art and multimedia, especially those involving video are described as postmodern.
There are several characteristics that lend art to be postmodern; these include bricolage, the use of prominent words as a central artistic element, collage, simplification, appropriation, performing arts, recycling of styles and past themes in the context of modern times, as well as the breaking of barriers between the two. and high art and low art and popular culture.
Video Postmodern art
Use of the term
The main term for art produced since 1950 is "contemporary art". Not all the art that is attached as contemporary art is postmodern, and the broader term includes both artists who continue to work in late modernist and modernist traditions, as well as artists who reject postmodernism for other reasons. Arthur Danto argues that "contemporary" is a broader term, and postmodern objects represent the "sub-sector" of the contemporary movement. Some postmodern artists have made the gap more distinctive than modern art ideas and there is no consensus about what the "modern end" and what is "post-modern." Ideas rejected by modern aesthetics have been re-established. In painting, postmodernism reintroduces representation. Some critics argue much of the "postmodern" art of today, the latest avant-gardism, still have to classify as modern art.
As well as illustrating certain trends of contemporary art, postmodern has also been used to show the phases of modern art. Defenders of modernism, such as Clement Greenberg, as well as radical opponents of modernism, such as FÃÆ'  © lix Guattari, who called it "the last inhalation" of modernism, have adopted this position. The neo-conservative Hilton Kramer portrays postmodernism as "a creation of modernism at the end." Jean-Franç§ois Lyotard, in the analysis of Fredric Jameson, does not think there is a postmodern stage that is radically different from the period of high modernism; on the contrary, postmodern discontent with a high modernist style or this is part of the experiment of high modernism, gave rise to new modernism. In the context of aesthetics and art, Jean-FranÃÆ'§ois Lyotard is the main philosopher of postmodernism.
Many critics of postmodern art emerged from modern art. The suggested dates for the transition from modern to postmodern include 1914 in Europe, and 1962 or 1968 in America. James Elkins, commenting on the discussion of the exact date of the transition from modernism to postmodernism, comparing it to discussions in the 1960s about the exact range of Mannerism and whether it should begin immediately after the High Renaissance or later in the century. He makes this point of debate take place all the time in connection with the art movement and the period, which does not mean they are unimportant. The closure of the postmodern art period has been dated to the late 1980s, when the word postmodernism lost much of its critical resonance, and art practices began to overcome the effects of globalization and new media.
American Marxist philosopher Fredric Jameson argues that living conditions and production will be reflected in all activities, including the making of art.
Jean Baudrillard had a significant influence on postmodern-inspired art and emphasized the possibility of new forms of creativity. Artist Peter Halley describes the colors of his days as a "real color hyperrealization", and recognizes Baudrillard as an influence. Baudrillard himself, since 1984, is quite consistent in his view of contemporary art, and postmodern art in particular, was lower than that of the post-World War II period modernist art, while Jean-Franç§ois Lyotard praised the Contemporary paintings and commented on his evolution. of Modern art. Major Woman Artists of the Twentieth Century were associated with postmodern art because many of the theoretical articulations of their work emerged from French psychoanalysis and Feminist Theory closely associated with post modern philosophy.
Like all postmodern use terms, there is criticism of its application. Kirk Varnedoe, for example, states that there is no such thing as postmodernism, and that the possibilities of modernism have not been exhausted. Although the use of the term as a sort of shorthand for designating certain post-war "school" work using relatively special material and generic techniques has been conventional since the mid-1980s, the theoretical foundation of Postmodernism as epochal or epistemic division remains highly controversial.
Maps Postmodern art
Defining postmodern art
Postmodernism describes the movement that emerges from, and reacts to or rejects, the trends in modernism. Common citations for the special trends of modernism are formal purity, medium specificity, art by art, authenticity, universality, originality and revolutionary or reactionary tendencies, namely avant-garde. However, paradox is perhaps the most important modernist notion of postmodernism. The paradox is very important for the modernist company, which Manet introduced. Various representational art offenses Manet brings to exclusivity excellence from reality and representation, design and representation, abstraction and reality, and so on. Paradoxical merging is very stimulating from Manet to conceptualist.
The avant-garde status is controversial: many institutions argue that visionary, forward-looking, up-to-date, and progressive are essential to today's art mission, and therefore postmodern art goes against the value of "the art of our times." Postmodernism rejects the idea of ​​progress or progress in art per se, and thus aims to undo the "avant-garde myth". Rosalind Krauss is one of the most important announcers of the view that avant-gardism is over, and the new artistic era is post-liberal and post-progress. Griselda Pollock studies and confronts avant-garde and modern art in a series of innovative books, reviewing modern art at the same time by redefining postmodern art.
One feature of postmodern art is the merging of cultures high and low through the use of industrial materials and pop culture imagery. The use of low art forms is part of modernist experiments as well, as documented in the Kirk Varnedoe and Adam Gopnik events 1990-1999 High and Low: Popular Culture and Modern Art in the Modern Museum of New York Art, an exhibition that was universally composed at the time as the only event that could bring Douglas Crimp and Hilton Kramer together in a blend of derision. Postmodern art is notorious for it obscures the distinction between what is regarded as fine or high art and what is generally seen as low art or kitsch. While the concept of high artistic 'blurring' or 'fusing' art with low art has been tested during modernism, it has only been fully supported after the advent of the postmodern era. Postmodernism introduces an element of commercialism, kitsch and aesthetics of public camps in its artistic context; postmodernism takes on the style of the past, such as Gothicism, Renaissance and Baroque, and mixes it up so as to ignore their original use in an appropriate artistic movement. These elements are a common characteristic of what defines postmodern art.
Fredric Jameson suggests postmodern work rejects any claim for spontaneity and direct expression, taking advantage of pastiche and discontinuity. Against this definition, Art and Language Charles Harrison and Paul Wood maintain pastiche and discontinuity are endemic to modernist art, and deployed effectively by modern artists such as Manet and Picasso.
One concise definition is postmodernism rejecting the great narratives of the artistic direction, wiping out the boundaries between high and low art forms, and disrupting the genre conventions by collisions, collages, and fragmentation. Postmodern art holds all positions that are unstable and insincere, and therefore irony, parody, and humor are the only positions of criticism or revision can not be turned upside down. "Pluralism and diversity" are other defining features.
Avant-garde Precursors
Radical movements and trends that are considered influential and potentially as precursors to postmodernism emerged around World War I and especially afterwards. With the introduction of the use of industrial artifacts in art and techniques such as collages, avant-garde movements such as Cubism, Dada and Surrealism question the nature and value of art. New art forms, such as cinema and the rise of reproduction, influence these movements as a means of creating works of art. The ignition point for the definition of modernism, Clement Greenberg's essay, Avant-Garde and Kitsch, was first published in Partisan Review in 1939, defending avant-garde in the face of popular culture. Then, Peter BÃÆ'¼rger will make the distinction between historical avant-garde and modernism, and critics such as Krauss, Huyssen, and Douglas Crimp, follow the BÃÆ'¼rger, identifying the historical avant-garde as the predecessor of postmodernism. Krauss, for example, describes the use of Pablo Picasso's collage as an avant-garde practice that anticipates postmodern art with its emphasis on language at the expense of autobiography. Another point of view is that avant-garde and modernist artists use the same strategy and postmodernism to reject both.
Chest
At the beginning of the 20th century, Marcel Duchamp exhibited urinal as a statue. The point is that people see the urinal as if it is a work of art just because he says it is a work of art. He calls his work "Readymades". The
Dadaism can be seen as part of the modernist tendency to challenge established styles and forms, along with Surrealism, Futurism and Abstract Expressionism. From a chronological point of view, Dada lies firmly in modernism, but some critics argue that he anticipates postmodernism, while others, like Ihab Hassan and Steven Connor, consider it a possible point of change between modernism and postmodernism. For example, according to McEvilly, postmodernism begins by realizing that one no longer believes in the myth of progress, and Duchamp sensed this in 1914 when he changed from modernist practice to postmodernist, "abjuring aesthetics, transcendent ambitions, and dealing tour de force of formal dexterity which supports aesthetic ignorance, ordinary world recognition, and found or ready-made objects. "
Radical movement in modern art
In general, Pop Art and Minimalism began as a modernist movement: a paradigm shift and a philosophical separation between formalism and anti-formalism in the early 1970s led to the movements being viewed by some as transitional postmodern precursors or art. Other modern movements considered influential in postmodern art are conceptual art and the use of techniques such as collection, montage, bricolage, and appropriation.
Jackson Pollock and abstract expressionism
During the late 1940s and early 1950s, Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed. Pollock realizes that the journey to making artwork is as important as the art itself. Like Pablo Picasso's innovative reinvention of painting and sculpture near the turn of the century through cubism and statues built, Pollock redefined art during medieval times. Pollock's step from horses' painting and conventionality frees his contemporary artists and the following artists. They are aware of the Pollock process - working on the floor, the unfathomable raw canvas, from all four sides, using artist materials, industrial materials, imagery, non-imagery, throwing spindles of paint, dripping, drawing, staining, brushing - the art of somersault previous limits. Abstract expressionism extends and develops the definition and possibilities of artists available for the creation of new artworks. In a sense, Jackson Pollock's innovations, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt and others, opened the floodgates to the diversity and scope of the following artworks.
After abstract expressionism
In abstract paintings during the 1950s and 1960s, some new directions such as hard-edge painting and other abstract geometric forms such as Frank Stella's work appeared, in reaction to abstractisms of expressionism begun to appear in artist studios and in avant radicals. circle -garde. Clement Greenberg became the voice of post-painter abstraction; by curating new influential painting exhibitions at important art museums throughout the United States in 1964. Color painting, harsh edging and Lyrical Abstraction emerged as a radical new direction.
In the late 1960s, Postminimalism, Process Art and Arte Povera also emerged as revolutionary concepts and movements that included painting and sculpture, through Liris Abstraction and Postminimal movement, and in early Conceptual Art. The art process inspired by Pollock allows artists to experiment and use a variety of stylish encyclopedia, content, material, placement, time sense, and real and plastic 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, are some of the young artists who emerged in the era of late modernism that gave rise to the glory of art in the late 1960s.
Performing arts and events
During the late 1950s and 1960s, artists with diverse interests began to push the boundaries of contemporary art. Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City are performance-based performance pioneers. Groups like The Living Theater with Julian Beck and Judith Malina collaborate with sculptors and painters who create an environment; radically changing the relationship between viewers and players especially in their section Paradise Now . The Judson Dance Theater is located at Judson Memorial Church, New York, and Judson dancers, especially Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others collaborating with artist Robert Morris , Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy KlÃÆ'¼ver. The show is often designed to create new art forms, incorporating statues, dances, and music or sounds, often with audience participation. The reductive philosophy of minimalism, spontaneous improvisation, and the expressiveness of abstract expressionism characterizes his works.
During the same period - the late 1950s until the mid-1960s - various avant-garde artists created Happenings. About is a mysterious and often spontaneous and unwritten meeting of artists and their friends and relatives in certain locations. Often combines exercise in absurdity, physical exercise, costume, spontaneous nudity, and random and seemingly disconnected actions. Allan Kaprow, Joseph Beuys, Nam June Paik, Wolf Vostell, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman are among the famous creators of Happenings.
Art Assemblage
Associated with Abstract Expressionism is the emergence of a combination of manufactured goods - with artistic materials, moving away from previous painting conventions and sculptures. Robert Rauschenberg's work, which "merged" in the 1950s was the pioneer of Pop art and the Art of Installation, and utilized a large collection of physical objects, including stuffed animals, birds and commercial photography, exemplified by this artistic trend.
Leo Steinberg used the term postmodernism in 1969 to describe the image of Rauschenberg's flatbed airplane, which contains various cultural images and artifacts that are inconsistent with the field of pre-modernist and modernist paintings. Craig Owens goes further, identifying the importance of Rauschenberg's work not as a representation, in Steinberg's view, "a shift from nature to culture", but as a demonstration of the impossibility of accepting their opposition.
Steven Best and Douglas Kellner identified Rauschenberg and Jasper Johns as part of a transitional phase, influenced by Marcel Duchamp, between modernism and postmodernism. These artists use pictures of ordinary objects, or objects themselves, in their work, while retaining the abstractions and movements of painters of high modernism.
Anselm Kiefer also uses the elements of the collection in his work, and on one occasion, displaying the bow of a fishing boat in a painting.
Pop art
Lawrence Alloway uses the term "Pop art" to describe paintings celebrating consumerism from the post-World War II era. This movement rejects abstract expressionism and its focus on hermeneutic and psychological interiors, in support of the art depicted, and often celebrated, material consumer culture, advertising, and iconography of the mass production age. The early works of David Hockney and the works of Richard Hamilton, John McHale, and Eduardo Paolozzi are regarded as seminal examples in this movement. While later American examples include most of the careers of Andy Warhol and Roy Lichtenstein and their use from the Benday point, a technique used in commercial reproduction. There is a clear connection between the radical work of Duchamp, the rebel Dadais - with a sense of humor; and Pop Artists such as Claes Oldenburg, Andy Warhol, Roy Lichtenstein and others.
Thomas McEvilly, in agreement with Dave Hickey, said US postmodernism in visual arts began with Pop Art's first exhibition in 1962, "although it took some twenty years before postmodernism became the dominant attitude in the visual arts." Fredric Jameson also considers pop art as postmodern.
One way Pop art is postmodern is to break down what Andreas Huyssen calls the "Great Splits" between high art and popular culture. Postmodernism arises from "a generational denial of the categorical certainty of high modernism."
Fluxus
Fluxus was named and loosely organized in 1962 by George Maciunas (1931-78), an American artist born in Lithuania. Fluxus traces its beginnings to the 1957 to 1959 Experimental Composition of John Cage at New School for Social Research in New York City. Many of the students are artists working in other media with little or no background music. Cage students include founding members Fluxus Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins. In 1962 in Germany, Fluxus began with: FLUXUS Internationale Festspiele Neuester Music in Wiesbaden with, George Maciunas, Joseph Beuys, Wolf Vostell, Nam June Paik, and others. And in 1963 with: Festum Fluxorum Fluxus in DÃÆ'¼sseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
Fluxus encourages it to do its own aesthetic, and appreciates the simplicity of its complexity. Like Dada before, Fluxus includes a strong current of anti-commercialism and anti-art sensitivity, underestimating the conventional art-driven world of art for creative practice centered on artists. Fluxus artists prefer to work with whatever material is in hand, and create their own work or collaborate in the making process with their peers.
Fluxus can be seen as part of the first phase of postmodernism, along with Rauschenberg, Johns, Warhol and Situationist International. Andreas Huyssen criticized the attempt to claim Fluxus for postmodernism as, "either a master-code of postmodernism or an ultimately unrepresentable art movement - as such, sublime postmodernism." Instead he sees Fluxus as a major Neo-Dadaist phenomenon in the avant-garde tradition. This does not represent a major advance in the development of artistic strategy, although it states a rebellion against, "a culture maintained in the 1950s, where moderate, modernism within the household serves as ideological supporters for the Cold War."
Minimalist
In the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction through Malevich, Bauhaus and Mondrian) rejecting relational ideas, and subjective painting, the complexity of the abstract expressionist surface, and the emotional and polemical zeitgeist present in the arena of Action painting. Minimalists argue extreme simplicity can capture the art of lofty representation. Associated with painters such as Frank Stella, minimalist in paintings, as opposed to other fields, is a modernist movement and depending on the context can be interpreted as a precursor to the postmodern movement.
Hal Foster, in his essay Postminimalism
Robert Pincus-Witten coined the Post-minimalist term in 1977 to describe minimalist art that has content and contextual tones of minimalism rejected. Its use of the term covers the period from 1966 to 1976 and is applied to the work of Eva Hesse, Keith Sonnier, Richard Serra and new works by Robert Smithson's former minimalist Robert Morris, Sol LeWitt and Barry Le Va, and others. Art process and anti-form art are other terms that describe this work, the occupied space and the process it determines.
Rosalind Krauss argues by 1968 artists such as Morris, LeWitt, Smithson and Serra have "entered a situation of logical conditions that can no longer be described as modernists." The expansion of the sculpture category to include land and architecture, "brings change to postmodernism."
Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continue to produce their final modernist paintings and sculptures for the rest of their careers.
Movements in postmodern art
Conceptual art
Conceptual art is sometimes labeled as postmodern because it is explicitly involved in the deconstruction of what makes art, "art". Conceptual art, as it is often designed to confront, offend or attack the ideas held by many who see it, is considered with certain controversy.
Precursors for conceptual art include the work of Duchamp, John Cage's 4 '33 ", in which music is said to be" the sound of the environment that listeners listen to when done, "and Rauschenberg Erased De Kooning Drawing Many conceptual works take the position that art is created by viewers who see object or act as an art, not from the intrinsic quality of the work itself.So, because Fountain is on display, it is a statue. Installation art
A series of important movements in art that are consistently described as postmodern involved installation art and the creation of conceptual artifacts. One such example is the Jenny Holzer signs that use art tools to convey certain messages, such as "Protect Me From What I Want". The Art of Installation has become important in determining the spaces chosen for the museum of contemporary art in order to withstand major works comprising the enormous collage of manufactured and discovered objects. These installations and collages are often electrified, with moving parts and lights.
They are often designed to create environmental effects, such as Christo and Jeanne-Claude's Iron Curtain, Wall 240 Barrels of Oil, Blocking Rue Visconti, Paris, June 1962 which was a poetic response to the Berlin Wall built in 1961.
Lowbrow art
Lowbrow is a widespread populist art movement with its origins in the underground comix world, punk music, hot-rod street culture, and other California subcultures. He is also often known as pop surrealism. The art of lowbrow highlights the central theme in postmodernism that the distinction between "high" and "low" art is no longer recognized.
Performance art
Digital art
Digital art is a generic term for various works of art and practice that use digital technology as an essential part of the creative process and/or presentation. The impact of digital technology has changed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as visual art, digital installation art, and virtual reality, have become recognized artistic practices.
The leading 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
Another tendency in art associated with the postmodern term is the use of a number of different media collectively. Intermedia, a term coined by Dick Higgins and intended to deliver new artforms along the lines of Fluxus, Concrete Poetry, Discovered Objects, Performing Arts, and Computer arts. Higgins is the publisher of Something Else Press, a Concrete poet, married to artist Alison Knowles and admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the chaos of nature," in the list of characteristics of postmodern art. One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, called Video art. While the theory incorporates some art into one art long enough, and has been revived periodically, postmodern manifestations are often combined with the performing arts, where the dramatic subtext is removed, and what remains is the artist's specific statement in the conceptual question or statement of their actions. Higgin's conception of Intermedia is connected with the growth of multimedia digital practices such as immersive virtual reality, digital art, and computer art.
Art of Telematics
Telematic art is a description of an art project that uses computer-mediated telecommunication networks as the medium. The telematic art challenges the traditional relationship between the subject of active watching and passive art objects by creating interactive, behavioral contexts for distant aesthetic meetings. Roy Ascott looks at the art form of telematics as the transformation of viewers into an active participator creating works of art that remain in the process throughout its duration. Ascott has been at the forefront of the theory and practice of art of telematics since 1978 when he was online for the first time, organizing different collaborative online projects.
Art appropriation and neo-conceptual art
In his 1980 essay The Allegorical Impulse: Toward the Theory of Postmodernism, Craig Owens identified the re-emergence of allegorical urges as a feature of postmodern art. This impulse can be seen in the art of appropriation of artists such as Sherrie Levine and Robert Longo because, "Allegorical imaging is an appropriate parable." The art of appropriation of the modernist debunks of genius understanding and artistic originality and the more ambivalent and contradictory of modern art, simultaneously installing and subverting the ideology, "becomes critical and involved."
Neo-expressionism and painting
Its return to traditional art forms of painting and painting in the late 1970s and early 1980s seen in the works of Neo-expressionist artists such as Georg Baselitz and Julian Schnabel has been described as a postmodern tendency, and one of the first coherent movements to emerge in the postmodern era. His strong connection with the commercial art market has raised questions, however, both about his status as a postmodern movement and the definition of postmodernism itself. Hal Foster stated that neo-expressionism was involved with the conservative cultural politics of the Reagan-Bush era in the US. FÃÆ' Â © lix Guattari disregarded the "big promotional campaign dubbed 'neo-expressionism' in Germany," (an example of a "mode" that defends itself by way of publicity ") as too easy for him" to show that postmodernism is not another is only the last breath of modernism. "These neo-expressionism critiques reveal that money and community relations really sustain the credibility of the contemporary art world in America during the same period when conceptual artists, and the practices of women artists including feminist painters and theorists like Griselda Pollock, systematically reevaluating modern art Brian Massumi claims that Deleuze and Guattari open the new horizon of definitions of Beauty in postmodern art.For Jean-FranÃÆ'§ois Lyotard, paintings of artists Valerio Adami, Daniel Buren, Marcel Duchamp, Bracha Ettinger, and Barnett Newman that, after the avant-garde period and the paintings of Paul CÃÆ'Â © zanne and Wassily Kandinsky, are vehicles for noble new ideas in contemporary art.
Institutional Criticism
Critics of art institutions (especially museums and galleries) were made in the works of Michael Asher, Marcel Broodthaers, Daniel Buren and Hans Haacke.
See also
Source
- Victory of Modernism : World of Art, 1985-2005, Hilton Kramer, 2006, ISBN 978-0-15-666370-0
- No Images: Abstract Art since Pollock (A.W. Mellon Lectures in Fine Arts), Kirk Varnedoe, 2003
- The Art of the Postmodern Era : From the late 1960s to the early 1990s, Irving Sandler
- Postmodernism (Movement in Modern Art) Eleanor Heartney
- Statue in the Age of Doubt Thomas McEvilley 1999
References
External links
- Media related to postmodern art on Wikimedia Commons
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