Which of the Following Would Be an Accurate Statement About Postmodern Art?
"Modern art is but the means by which we terrorize ourselves."
one of 6
"I am for an art that is political-erotical-mystical, that does something other than sit down on its ass in a museum."
ii of 6
"Postmodernity is the simultaneity of the destruction of earlier values and their reconstruction. Information technology is renovation inside ruination."
"At that place are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is non necessarily either true or fake; it tin can be both truthful and false."
"...is postmodernity the pastime of an erstwhile human who scrounges in the garbage-heap of finality 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?"
5 of 6
"I am for art that is smoked, like a cigarette, smells, like a pair of shoes. I am for an fine art that flaps like a flag, or helps blow noses, similar a handkerchief. I am for an art that is put on and taken off, similar a pair of pants, which develops holes, similar socks, which is eaten, like a piece of pie, or abandoned, with great contempt, like a piece of shit."
6 of 6
Summary of Postmodern Art
Postmodernism is best understood by defining the modernist ethos it replaced - that of the advanced who were active from 1860s to the 1950s. The various artists in the modern period were driven past a radical and forward thinking arroyo, ideas of technological positivity, and grand narratives of Western domination and progress. The inflow of Neo-Dada and Pop art in post-war America marked the beginning of a reaction confronting this mindset that came to exist known as postmodernism. The reaction took on multiple creative forms for the next 4 decades, including Conceptual fine art, Minimalism, Video art, Performance fine art, Institutional Critique, and Identity Fine art. These movements are diverse and disparate only connected by certain characteristics: ironical and playful treatment of a fragmented subject, the breakup of loftier and depression civilization hierarchies, undermining of concepts of authenticity and originality, and an accent on image and spectacle. Beyond these larger movements, many artists and less pronounced tendencies continue in the postmodern vein to this day.
Fundamental Ideas & Accomplishments
- Postmodernism is distinguished past a questioning of the master narratives that were embraced during the modernistic flow, the most of import existence the notion that all progress - especially technological - is positive. Past rejecting such narratives, postmodernists reject the idea that noesis or history tin 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 assumption that non-white races are inferior. Thus, Feminist art and minority fine art that challenged canonical means of thinking are frequently included nether the rubric of postmodernism or seen as representations of it.
- Postmodernism overturned the idea that there was i inherent meaning to a work of art or that this meaning was adamant past the artist at the time of creation. Instead, the viewer became an important determiner of meaning, fifty-fifty allowed by some artists to participate in the piece of work every bit in the example of some functioning pieces. Other artists went further past creating works that required viewer intervention to create and/or consummate the work.
- The Dada readymade had a marked influence on postmodernism in its questioning of authenticity and originality. Combined with the notion of appropriation, postmodernism often took the undermining of originality to the signal of copyright infringement, even in the use of photographs with little or no alteration to the original.
- The idea of breaking down distinctions between high and low art, especially with the incorporation of elements of popular culture, was also a key chemical element of postmodernism that had its roots in the late-19thursday and early-20th centuries in the piece of work of Edgar Degas, for example, who painted on fans, and afterwards in Cubism where Pablo Picasso frequently included the lyrics of popular songs on his canvases. This idea that all visual culture is not but every bit valid, but that it can also exist appreciated and enjoyed without whatever aesthetic training, undermines notions of value and creative worth, much like the use of readymades.
Overview of Postmodern Art
After the horrors of Earth War 2 set in, applied science continued to abound and dominate, and the globe became more than interconnected. Artists and theorists drew a line in the sand - they adapted and a new, "post-ISM" creative period was defined. As the fine art historian Robert Hewison said "Postmodernism is modernism with the optimism taken out." Here is how it developed and came to be understood.
Practise Non Miss
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Conceptual art describes an influential movement that kickoff emerged in the mid-1960s and prized ideas over the formal or visual components of traditional works of fine art. The artists often challenged one-time concepts such as dazzler and quality; they also questioned the conventional means past which the public consumed art; and they rejected the conventional 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 take used their fine art to stage and display experiences of identity and community.
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Institutional Critique is the practice of systematic research into the workings of art institutions and their connections to the development of art. Institutional Critique focuses on the relationships between the viewer, linguistic communication, 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 prototype in the moving-picture show, Niagara and reproduced first in color, and then in black and white. They were made in the months later on her decease in 1962 by Warhol who was fascinated past both the cult of glory and by expiry itself; this serial fused the creative person's interests. The color contrasted confronting the monochrome that fades out to the correct is suggestive of life and decease, while the repetition of images echoes Marilyn'southward ubiquitous presence in the media.
This piece of work can exist conceived of as postmodern in many senses: its overt reference to popular culture (and low art) challenges the purity of the modernist aesthetic, its repetitive element is an homage to mass product, and its ironic play on the concept of authenticity undermines the dominance of the artist. The utilize of a diptych format, which was common in Christian altarpieces in the Renaissance period, draws attention to the American worship of both celebrities and images. All of these translate into an artwork that challenges traditional demarcations betwixt loftier and low fine art and makes a statement most the importance of consumerism and spectacle in the 1960s.
Shuttlecocks (1994)
Oldenburg's explorations of boiler and fine art began with soft sculptures such as Giant Hamburger (1962) and Soft Toilet (1966), where he recreated mutual objects using cushioned materials that belied their solid structures. His works are monumental but placed directly on the flooring, dispensing with the pedestal or plinth commonly associated with sculpture in a way that literally places the piece of work of art in the viewer's own space. His work apply the absurdity reminiscent of Dada's "readymades" to elevate a slice of everyday life to the status of art Shuttlecocks is a later piece of work installed in front of the classical architecture of the Kansas City museum. Through these objects he underscores the larger-than-life quality of popular or low culture - in this example a simple game of badminton on an open lawn - in everyday life. Oldenburg's essay entitled, 'I Am for an Fine art,' (1961) succinctly expresses his conventionalities that anything can and should be considered fine art.
Rhythm 0 / Seven Easy 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 six-hour operation she was subjected to an increasing level of aggression, resulting in trigger-happy and disturbing occurrences. This pioneering piece bankrupt new grounds in the postmodern shift towards audition 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 autonomous artist figure. This piece was typical of Abramovic's trend to push herself and her torso to physical and mental extremes in her performance.
Useful Resources on Postmodern Art
Books
articles
video clips
More than
Content compiled and written by Sarah Jenkins
Edited and published by The Art Story Contributors
"Postmodern Fine art Definition Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Sarah Jenkins
Edited and published by The Art Story Contributors
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Start published on 25 January 2015. Updated and modified regularly
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Source: https://www.theartstory.org/definition/postmodernism/
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