He Most Disturbing and Often Disgusting Type of Modern Art Is Called Art
"Modern art is merely the means by which we terrorize ourselves."
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"I am for an fine art that is political-erotical-mystical, that does something other than sit on its ass in a museum."
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"Postmodernity is the simultaneity of the destruction of earlier values and their reconstruction. It is renovation within ruination."
"There are no hard distinctions betwixt what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or faux; it can exist both true and false."
"...is postmodernity the pastime of an old man who scrounges in the garbage-heap of certitude looking for leftovers, who brandishes unconsciousnesses, lapses, limits, confines, goulags, parataxes, non-senses, or paradoxes, and who turns this into the glory of his novelty, into his hope of modify?"
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"I am for fine art that is smoked, like a cigarette, smells, similar a pair of shoes. I am for an fine art that flaps like a flag, or helps blow noses, like a handkerchief. I am for an art that is put on and taken off, like a pair of pants, which develops holes, like socks, which is eaten, similar a slice of pie, or abased, with great antipathy, like a piece of shit."
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Summary of Postmodern Art
Postmodernism is best understood by defining the modernist ethos information technology replaced - that of the avant-garde who were active from 1860s to the 1950s. The various artists in the modern period were driven past a radical and frontwards thinking approach, ideas of technological positivity, and 1000 narratives of Western domination and progress. The arrival of Neo-Dada and Pop art in postal service-state of war America marked the beginning of a reaction against this mindset that came to be known as postmodernism. The reaction took on multiple artistic forms for the side by side 4 decades, including Conceptual fine art, Minimalism, Video art, Operation art, Institutional Critique, and Identity Fine art. These movements are diverse and disparate simply continued by certain characteristics: ironical and playful handling of a fragmented bailiwick, the breakup of high and low civilization hierarchies, undermining of concepts of authenticity and originality, and an emphasis on image and spectacle. Beyond these larger movements, many artists and less pronounced tendencies continue in the postmodern vein to this 24-hour interval.
Key Ideas & Accomplishments
- Postmodernism is distinguished by a questioning of the master narratives that were embraced during the modern flow, the most of import being the notion that all progress - especially technological - is positive. By rejecting such narratives, postmodernists reject the idea that knowledge or history can be encompassed in totalizing theories, embracing instead the local, the contingent, and the temporary. Other narratives rejected by postmodernists include the idea of artistic development as goal-oriented, the notion that merely men are creative geniuses, and the colonialist supposition that non-white races are inferior. Thus, Feminist fine art and minority art that challenged canonical ways of thinking are often included nether the rubric of postmodernism or seen as representations of information technology.
- Postmodernism overturned the idea that there was ane inherent significant to a work of fine art or that this significant was determined past the artist at the time of creation. Instead, the viewer became an important determiner of pregnant, even allowed by some artists to participate in the work as in the instance of some performance pieces. Other artists went further by creating works that required viewer intervention to create and/or complete the work.
- The Dada readymade had a marked influence on postmodernism in its questioning of authenticity and originality. Combined with the notion of cribbing, postmodernism frequently took the undermining of originality to the signal of copyright infringement, fifty-fifty in the use of photographs with picayune or no alteration to the original.
- The idea of breaking down distinctions between high and depression art, particularly with the incorporation of elements of popular culture, was also a key element of postmodernism that had its roots in the late-19thursday and early on-20th centuries in the work of Edgar Degas, for case, who painted on fans, and later in Cubism where Pablo Picasso oftentimes included the lyrics of pop songs on his canvases. This idea that all visual culture is not just as valid, only that it can too be appreciated and enjoyed without any aesthetic training, undermines notions of value and artistic worth, much like the use of readymades.
Overview of Postmodern Art
After the horrors of World War 2 set in, technology connected to abound and dominate, and the world became more interconnected. Artists and theorists drew a line in the sand - they adapted and a new, "post-ISM" artistic menses was divers. As the art historian Robert Hewison said "Postmodernism is modernism with the optimism taken out." Hither is how it adult and came to be understood.
Do Not Miss
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Conceptual art describes an influential move that first emerged in the mid-1960s and prized ideas over the formal or visual components of traditional works of art. The artists often challenged old concepts such as beauty and quality; they also questioned the conventional means by which the public consumed art; and they rejected the conventional fine art object in favor of diverse mediums, ranging from maps and diagrams to texts and videos.
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Beginning in the 1960s, artists of color, LGBTQ+ artists, and women have used their art to stage and brandish experiences of identity and community.
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Institutional Critique is the practice of systematic enquiry into the workings of art institutions and their connections to the development of art. Institutional Critique focuses on the relationships betwixt the viewer, language, process, the consumption of art.
The Important Artists and Works of Postmodern Art
Marilyn Diptych (1962)
This series of silkscreen prints of Marilyn Monroe was taken from her paradigm in the film, Niagara and reproduced showtime in color, and and then in black and white. They were made in the months after her death in 1962 by Warhol who was fascinated past both the cult of celebrity and by death itself; this series fused the creative person's interests. The color assorted against the monochrome that fades out to the right is suggestive of life and death, while the repetition of images echoes Marilyn'south ubiquitous presence in the media.
This work can exist conceived of equally postmodern in many senses: its overt reference to pop culture (and depression art) challenges the purity of the modernist aesthetic, its repetitive element is an homage to mass production, and its ironic play on the concept of actuality undermines the say-so of the artist. The apply of a diptych format, which was common in Christian altarpieces in the Renaissance period, draws attending to the American worship of both celebrities and images. All of these translate into an artwork that challenges traditional demarcations between high and low fine art and makes a argument well-nigh the importance of consumerism and spectacle in the 1960s.
Shuttlecocks (1994)
Oldenburg's explorations of banality and art began with soft sculptures such as Giant Hamburger (1962) and Soft Toilet (1966), where he recreated common objects using cushioned materials that belied their solid structures. His works are monumental simply placed directly on the floor, dispensing with the pedestal or plinth normally associated with sculpture in a way that literally places the work of fine art in the viewer's ain space. His work use the absurdity reminiscent of Dada's "readymades" to elevate a piece of everyday life to the status of art Shuttlecocks is a afterwards piece of work installed in front of the classical compages of the Kansas City museum. Through these objects he underscores the larger-than-life quality of pop or low civilisation - in this instance a simple game of badminton on an open lawn - in everyday life. Oldenburg'due south essay entitled, 'I Am for an Art,' (1961) succinctly expresses his belief that annihilation can and should be considered art.
Rhythm 0 / 7 Piece of cake Pieces (1974)
Marina Abramovic positioned herself passively in a gallery and invited her viewers to do what they liked to her without any response from her. They were offered a range of objects - each selected for either pleasure or pain, including knives and a loaded gun. After initially provoking a playful reaction, during the 6-60 minutes functioning she was subjected to an increasing level of aggression, resulting in trigger-happy and disturbing occurrences. This pioneering slice broke new grounds in the postmodern shift towards audience participation through its total relinquishing of authorship and command from the creative person to the audience, thus challenging the modernist notion of the unique and democratic artist figure. This piece was typical of Abramovic's trend to push herself and her body to concrete and mental extremes in her performance.
Useful Resources on Postmodern Art
Books
articles
video clips
More
Content compiled and written by Sarah Jenkins
Edited and published past The Fine art Story Contributors
"Postmodern Art Definition Overview and Analysis". [Net]. . TheArtStory.org
Content compiled and written past Sarah Jenkins
Edited and published by The Art Story Contributors
Bachelor from:
Start published on 25 Jan 2015. Updated and modified regularly
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Source: https://www.theartstory.org/definition/postmodernism/
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