Which of the Following Are Characteristics of Postmodern Art?

Postmodernist Art
Postmodernism in 20th/21st Century Visual Arts.
Main A-Z Index

Important Examples

Dog (1994) by Jeff Koons.
Mirror-polished stainless stee
sculpture made to look like a
children's party balloon in the
shape of a dog.

Dancers at the Bar (2001)
Metropolitan Museum of Art, New York.
By Fernando Botero. I of the
artist's iconic 20th century paintings.

What is Postmodernist Fine art?

The term "postmodernist art" refers to a wide category of gimmicky fine art created from about 1970 onwards. The hallmark of "postmodernist art" is its rejection of the aesthetics upon which its predecessor - "modern art" (1870-1970) - was based. One of these rejected values is the idea that "fine art" is something "special" which should be "elevated from" popular taste. Congruent with a raft of new technological developments, postmodernism has led to almost 5 decades of artistic experimentation with new media and new fine art forms, including "Conceptual art", various types of "Performance fine art" and "Installation fine art", likewise as figurer-aided movements like Deconstructivism and Projection art. Using these new forms, postmodernist artists take stretched the definition of art to the point where almost "annihilation goes".

Unfortunately, most articles on postmodernism are full of complicated words like "modernity" (not the aforementioned as modernism), and "postal service-modernity" (unlike to postmodernism), "Metamodernism" (from, only not part of, postmodernism), and "Mail-postmodernism" (gimme a break). So instead of using jargon, let me give yous a simple dress-lawmaking example to aid you to understand "postmodernist fine art" and how it differs from "mod art" and its even earlier predecessor "academic fine art".

The first major style of art afterwards the Renaissance was bookish art, the classical stuff which was taught by professors in the Academies. Academic art is the artistic equivalent of the traditional "suit and tie". Next, about 1870, comes "modern art". This is the creative equivalent of the "shirt and pants" or "jacket and trousers". Side by side, about 1970, comes "postmodern art", which is the creative equivalent of the "jeans and T-shirt". In the same fashion that dress codes have become less formal and more "anything goes", and so today'southward artists are less impressed with the old ideas of what art should be, and more focused on creating something (anything) that gets noticed.

But informal clothes similar jeans and T-shirts have merely become popular because society itself has become less formal. In the same way, as we shall see, "postmodernist fine art" is role of a wider electric current of technological, political and social change in the West, which has introduced many new attitudes and new types of behaviour. The total impact of the Internet, for instance, on the sourcing and distribution of creative imagery, and on the creation of practical art and design, has yet to be felt. Just since information technology has already revolutionized the music industry, its result on the art world is not likely to be delayed for long.

Definition of Postmodernist Art

If you really need a one sentence definition of postmodernist fine art, here information technology is.

A fashion of post-1960s art which rejected the traditional values and politically conservative assumptions of its predecessors, in favour of a wider, more than entertaining concept of art, using new artistic forms enriched past video and estimator-based technology.

How it Differs from Gimmicky Art

What'south the divergence between postmodernist art and contemporary fine art? In exercise, these two terms are more or less interchangeable. However, technically speaking, "postmodern fine art" means "after modern" and refers to a fixed period (say 50 years in length) beginning almost 1970, whereas "contemporary fine art" refers to the moving 50-year period immediately before the present. At the moment these two periods coincide. But in 2050, for instance, "postmodern art" (1970-2020) volition take been superceded past another era, while "contemporary art" will at present encompass the period 2000-2050. So the 2 will have diverged.

How it Differs from Late Modernist Art

In visual art, the term "late modernism" refers to movements or trends which reject some aspect of "modern art", simply which otherwise remain within the modernist tradition. Styles like Abstract Expressionism (1948-65) were practised past a number of radical modern artists, including Jackson Pollock, inventor of all-over activeness painting - and Willem De Kooning, both of whom rejected many of the formal conventions of oil painting. And notwithstanding neither Pollock nor de Kooning would have produced something like Rauschenberg's Erased de Kooning Drawing (1953, San Francisco Museum of Mod Art), since both remained potent believers in modernist concepts of authenticity and meaning. Likewise, followers of postmodernist movements like Contemporary Realism (1970s onward) and Neo-Expressionism (1980s onward) besides included numerous painters who worked in a modernist rather than a postmodernist way. In dress lawmaking terms, late modernism is the artistic equivalent of "shirt and pants", but in a brilliant yellowish colour.

Groundwork

"Mod art" is usually associated with the century 1870-1970 - roughly from Impressionism to Popular-Art. Despite several global catastrophes - The Not bad War (1914-18), The Flu Pandemic (1918-xix), the Wall Street Crash and the Peachy Depression (late-1920s, 1930s) - which undermined many of the moral certainties of the era, modern artists more often than not retained a belief in the fundamental scientific laws of reason and rational thought. Broadly speaking, similar near Westerners of the period they believed that life had meaning; that the scientific progress was automatically good; that the Christian West was superior to the remainder of the world; that men were to a higher place women. Modernists likewise believed in the meaning, relevance and progression of art, especially fine art and architecture. Following in the footsteps of Leonardo and Michelangelo, they believed in "high art" - art which elevates and inspires the cultivated spectator - rather than "low art" which merely amuses or entertains the masses. They adopted a frontwards thinking approach, seeing art as something that should constantly progress, led by a leading group of avant-garde artists.

World War II and the Jewish Holocaust turned everything upside down. Paris was abruptly replaced by New York equally the upper-case letter of world art. In the wake of Auschwitz, all representational art - except Holocaust art - appeared suddenly irrelevant, so modernistic painters turned instead to abstract art (albeit packed with emotion, symbolism or animation) in lodge to express themselves. Amazingly, during the 1950s, the New York School - featuring Jackson Pollock's paintings as well as the calmer Colour Field painting of Marking Rothko - spearheaded a temporary recovery of art on both sides of the Atlantic. These avant-garde painters succeeded in redefining the envelope for abstract paintings, merely they remained within the confines of modernism. They believed in creating authentic, finished works of art with of import content.

But the "modernist" era was cartoon inexorably to a close. The widening revelations of the Shoah, the testing of Atomic bombs, the Cuban Missile Crunch (1962) and the Vietnam War (from 1964), caused people to get more and more than disillusioned almost life (and art). Already, in the mid-50s, Jasper Johns and Robert Rauschenberg had produced the get-go mail service-modernistic mode works of Neo-Dada and Popular. Soon, mainstream Pop-art would conductor in postmodernism proper, every bit American Television networks focused on the 1968 Tet Offensive and the chaotic Democratic Convention in Chicago.

NOTE: In 20th century architecture, the situation was slightly different. Modern edifice blueprint was influenced by a desire to create a brand new style for "modern homo". Modernist architects wanted to eliminate all historical references and create something entirely fresh. (So no Greek columns, Gothic mode arches, or any other reminders of 'past' styles.) This led to the International way of architecture (1920-70), a minimalist idiom of boring regularity, leavened with some truly awful Brutalism (concrete apartment blocks with tiny windows). Mercifully, from about 1970, postmodernist architects began to re-humanize 20th century architecture by designing structures with interesting features, taken from popular culture and from more traditional styles.

Characteristics of Postmodernism

"Postmodernism" is non a motility, it'south a full general attitude. So in that location is no agreed list of characteristics that define "postmodernist art". But we must start somewhere, so here are a few selected pointers.

General Ideology

Postmodernism reflects a widespread disillusionment with life, as well as the power of existing value-systems and/or technology to issue benign change. Every bit a consequence, authority, expertise, knowledge and eminence of achievement has become discredited. Artists are now far more wary almost "big ideas" (e.1000. all 'progress' is good). Nigh of import, "Modernist art" was seen not merely as elitist just also equally white, male-dominated and uninterested in minorities. Which is why postmodernism champions art by Third World, Feminist and Minority artists. However, critics say that - despite its supposed "rejection" of big ideas - the postmodern movement seems to have lots of large ideas of its own. Examples include: "all types of art are equally valid"; "fine art can be made out of anything"; "the democratization of art is a good thing" (how about the democratization of brain surgery?).

To paraphrase Andy Warhol, "anyone can be famous for 15 minutes". This idea, more than any other, sums upward the postmodernist age. Faced with a new nonsensical globe, the postmodernist response has been:

Okay, permit's play around with this nonsense. We take that life and art no longer have any obvious intrinsic meaning, but so what? Permit's experiment, make art more interesting, and see where it leads. Who knows, possibly we tin can be famous for 15 minutes!

Fine art Education

Postmodernism changed the educational priorities at numerous art colleges. During the 1970s, the art of painting (and to a lesser extent sculpture), was seen as worn out. Besides, the thought of working for four years to master the necessary skills of these traditional fine arts, was considered retrogressive. Fine art, it was believed, should exist liberated from the aristocracy and opened to the public, so art schools began to plough out a new type of graduate - someone familiar with instant postmodernist-manner forms, also as basic production techniques. In a nutshell, individual "creativity" was considered to be more important than the accumulation of craftsman-like skills.

Use of Engineering science

The era of "postmodernist fine art" has coincided with the inflow of several new epitome-based technologies (eg. television, video, screenprinting, computers, the Internet) and has benefited hugely from them. The new range of video and photographic imagery has reduced the importance of drawing skills, and by manipulating the new engineering science, artists (notably those involved in new media, similar installation, video and lens-based fine art) accept been able to brusk-cut the traditional processes involved in "making art," but still create something new. This is illustrated by the documentary photography of Diane Arbus, that focuses on members of minorities in New York City, and the video art of the Korean-American Nam June Paik (1932-2006).

Postmodernist Focus on Popular/Low culture

The term "loftier culture" is often used by art critics when trying to distinguish the "high culture" of painting and sculpture (and other fine arts), from the "low" popular civilization of magazines, television, pulp fiction and other mass-fabricated commodities. Modernists, along with their influential supporters like Clement Greenberg (1909-94), considered low civilisation to be inferior to high culture. By contrast, postmodernists - who favour a more than 'democratic' idea of art - see "high culture" as more than elitist. Thus Popular-art - the first postmodernist motility - made fine art out of ordinary consumer items (hamburgers, tins of soup, packets of soap powder, comic strips) that were instantly recognizable past Joe Public. Popular-artists and others went even farther in their attempts to democratize art, by printing their "art" on mugs, paper bags, and T-shirts: a method which incidentally exemplifies the postmodernist desire to undermine the originality and authenticity of art.

Mixing of Genres and Styles

Ever since Neo-Dada, postmodernists have enjoyed mixing things upwardly - or injecting novel elements into traditional forms - to create new combinations and pastiches. Fernando Botero creates primitive-fashion paintings of obese figures; Georg Baselitz paints upside-down figures. Gerhard Richter combined camera fine art and painting in his 'photograph-paintings' of the 1970s, while Jeff Koons combined consumerist imagery (balloon shapes) with highly finished sculptural techniques to create his Airship Dog pop-sculptures (1994-2000). Meanwhile Andreas Gursky combines photography with computer generated imagery to create works like Rhein Two (1999, MOMA, New York), while Jeff Wall uses digitally candy photomontage in his postmodernist pictorialist creations.

Postmodernist Multiple-Meanings

Postmodern artists have junked the idea that a work of art has only ane inherent pregnant. Instead, they believe that the spectator is an equally important judge of significant. Cindy Sherman'south surrealist photography, for case, highlights the idea that a work of art can be interpreted in a multifariousness of ways. Indeed, some artists - such as the performance artist Marina Abramovic (b.1946) - even permit spectators to participate in their 'art works', or fifty-fifty require intervention past spectators in social club to complete their work.

Meeting Consumer Needs

The growth of consumerism and instant gratification over the last few decades of the 20th century has also had a huge affect on visual art. Consumers now want novelty. They also want entertainment and spectacle. In response, many postmodernist artists, curators and other professionals have taken the opportunity to turn art into an "entertainment product". The introduction of new types of art, for instance - such as Operation, Happenings and Installations - along with new discipline-affair - including things like expressionless sharks, dying flies, huge water ice-sculptures, crowds of nude bodies, buildings that appear to be in move, a collection of 35,000 terracotta figures, islands wrapped in pink polypropylene cloth, painted bodies, spooky projected imagery on public buildings, and and then on - take provided spectators with a range of new (sometimes shocking) experiences. Whether these new so-called art forms really found "art" remains a hotly-contested upshot. The postmodern conceptualists say "Yes", the traditionists say "No".

Focus on Spectacle

In the absence of any real meaning to life - especially when we are bombarded twenty-four hour period and night by radio and Goggle box advertising while at the same time beingness forced to listen to politicians explain that two plus two equals iii - postmodernists take preferred to focus on fashion and spectacle, often using advertising materials and techniques for maximum impact. This arroyo is exemplified by the commercial printing methods, billboard-fashion imagery and chief colours of Pop-artists similar Roy Lichtenstein and James Rosenquist. This focus on surface is a reoccurring feature of postmodernist art, and sometimes goes over the top with melodramatic, dazzling, even shocking imagery. See, for instance, the fashion photography of Nick Knight and David LaChapelle. Since 1980, the utilise of computer and other technologies has revolutionized multimedia art (e.g. animation), and has created specific opportunities in areas like compages and project mapping.

The importance that postmodernism places on getting the attention of the audition is perfectly illustrated past the shock-tactics of a group of Goldsmiths Higher students - known as the Immature British Artists - in London during the late-1980s and 1990s. Made famous by iii exhibitions - Freeze (1988) and Modernistic Medicine (1990), both curated by an unknown student called Damien Hirst (b.1965), and Sensation (1997) - the YBAs were lambasted for their shocking bad taste, and yet several (Rachel Whiteread, Damien Hirst, Douglas Gordon, Gillian Wearing, Chris Ofili, Steve McQueen, Mark Wallinger) went on to become Turner Prize-winners, while others (Jake and Dinos Chapman, Tracey Emin, Marc Quinn and Jenny Saville) also achieved considerable fame and fortune.

Three Principles of "Postmodernist Art"

1. Instant Pregnant

No more faded oil paintings depicting obscure events from Greek mythology to raise a knowing smile from cultivated spectators. From its ancestry in the Popular-art movement, postmodernist painting and sculpture was bold, bright and instantly recognizable. Themes and images were borrowed mostly from high contour consumer goods, magazines, advert graphics, Telly, film, cartoons and comic books. For the first time, everyone understood the art on display. Although postmodernism has evolved since Popular-fine art, a key objective remains instant recognition.

All the same, some works of "postmodernist fine art" are more "instantly understood" than others. Take for instance Equivalent i (1966, Kunstmuseum, Basel) by Carl Andre (b.1935). It is one of those works of art that need to exist explained by an proficient before it tin be appreciated. It's a postmodernist minimalist sculpture consisting of 120 regular building bricks. The bricks are laid on top of each other on the floor in two layers of 60 bricks, set out in a precise rectangular configuration of three units by twenty units. At starting time glance, this masterpiece of contemporary art looks similar something you might see on a super-tidy building site. Fortunately, your art gallery catalogue tells yous that Andre took his radical decision to make fine art flat on the floor in 1965, when canoeing on a lake in New Hampshire, and that this royal pile of bricks exemplifies his artistic creed that "form = structure = place." As information technology happens, the original Equivalent 1 was "destroyed" in 1966 and "remade" in 1969. (Possibly they needed the bricks for something).

2. Art Tin be Made From Anything

Continuing in the traditions of Marcel Duchamp - whose urinal entitled "Fountain" (1917) was the starting time famous instance of an ordinary object being made into a work of art - postmodernists have made a point of creating art from the most unlikely materials and scraps of rubbish. Encounter: Junk Fine art. Sculptors, installationists and assemblage artists have made art out of industrial fleck iron, gas-masks, felt, human skulls, man blood, dead flies, neon-lighting, foam condom, soup cans, concrete, rubber, old clothes, elephant dung and more. The thought behind this is to democratize art and brand it more attainable.

3. The Idea Matters More than the Piece of work of Art Itself

Broadly speaking, up until the 1960s, artists (including Picasso, Pollock and Lichtenstein) believed that without a finished product, there was nix. So a huge corporeality of attention was lavished on the quality of the finished work of art, and the craftsmanship needed to produce it. Today, things are different. Postmodernists typically have a stronger belief in the concept behind the finished product, rather than the product itself. Which is why a lot of "postmodernist art" is known as "Conceptual Art" or "Conceptualism". This new approach is exemplified past the conceptual artwork (a list of instructions) by Martin Creed, entitled "227: The Lights Going On and Off" (2001), which won the Turner Prize in 2001. Other forms of no-product conceptualism include installations (which are purely temporary affairs, after all), performance art, happenings, projection fine art, and so on.

Peradventure the ultimate example of conceptual art was the exhibition held in March 2009, at the French National Museum of Contemporary Art in the Pompidou Centre in Paris. Entitled "The Specialisation of Sensibility in the Raw Textile State into Stabilised Pictorial Sensibility", it consisted of nine completely empty rooms, and naught else.

Collections of Postmodernist Fine art
For two excellent displays of postmodernist art, visit the Saatchi Gallery, in London, or the Guggenheim, New York.

Postmodern Art Movements

So far, there have been no neat international art movements during the postmodernist period. Instead, the era has witnessed the appearance of a number of narrow, localized movements, as well as several brand new types of fine art, like video and discussion painting. In improver, there take been dozens of artistic splinter groups, also as 1 or two anti-postmodernist schools whose members have endeavoured to produce the sort of fine art that Michelangelo or Picasso would have been proud of. Here is a brief list of the main post-modern movements and styles, including virtually of the new art forms.

• Pop Fine art (1960s onwards)
Championed by Andy Warhol (1928-87) who made art from bland, mass-produced imagery. For more, encounter Andy Warhol's Pop Art of the 60s and 70s, and sculpture by Claes Oldenburg (b.1929).

• Word Fine art (Text-based Painting) (1960s onwards)
A form of conceptualist painting or sculpture which uses word or text-based imagery. A proficient example of the postmodernist trick of injecting new elements into one-time media. Associated with popular artists Robert Indiana (b.1928) and Jasper Johns (b.1930), the Japanese artist On Kawara (1932-2014) noted for his "date paintings", Barbara Kruger (b.1945) famous for "I store therefore I am", and Christopher Wool (b.1955), whose discussion painting entitled Apocalypse Now (1988) sold in 2013 for $26.4 million.

• Conceptual Art (1960s onwards)
The definitive postmodernist idiom. Never mind the finished product, it's the underlying thought that counts. The first and (arguably) greatest conceptual artist was Yves Klein (1928-62), founder of Nouveau Realisme. For details, please see: Yves Klein'southward Postmodernist art (1956-62).

• Operation Fine art and Happenings (Early-1960s onwards)
Pioneered by artists like John Muzzle (1912-92) and Allan Kaprow (1927-2006), this genre became a new fashion to present art to the masses. See besides the "living sculptures" Gilbert & George (b.1943, 1942).

• Installation Art (1960s onwards)
A new way to draw spectators into the artwork or assemblage. A leading contributor to installation fine art is the German language artist Joseph Beuys (1921-86). See also the boggling installation-type fine art projects ("interventions") created past Christo & Jeanne-Claude (Christo Javacheff and Jeanne-Claude Denat).

• Fluxus (1960s)
A Dada-manner anti-art movement begun by George Maciunas (1931-78). It appeared beginning in Germany before spreading to New York. Heavily involved with Happenings and other street 'events.'

• Video Fine art (1960s onwards). See also: Animation art.
Video is one of the nigh versatile mediums available. A piece of video pic can be (1) the work of art itself; and/or (two) a record of how the work of art was made; and/or (3) one chemical element in an installation; and/or (4) part of a multiple-video arrangement. Whatever its precise role, video makes fine art more dynamic, more absorbing, more exciting. Since the late 1980s, both video and animation accept go dependent on the use of computer software to manipulate and control images.

• Minimalism (1960s onwards)
A refuge of intellectual painters and sculptors anxious about "purity" in art. Minimalists attempted to create art devoid of all exterior references, leaving only course. Clever possibly, but totally boring. Minimalist painters include Agnes Martin (b.1912), Advertizement Reinhardt (1913-67), Ellsworth Kelly (b.1923), Kenneth Noland (b.1924), Robert Ryman (b.1930), Robert Morris (b.1931), Robert Mangold (b.1937), Frank Stella (b.1936) and Brice Marden (b.1938). For Minimalist sculptors, see below.

• Photorealism (1960s, 1970s)
A hyperrealist grade of painting, typically based on photographs. Leading photorealists include Chuck Close (b.1940) and Richard Estes (b.1936). Photorealist sculptors include John De Andrea (b.1941), Duane Hanson (1925-96) and Carole Feuerman (b.1945).

• Country Art (mid-1960s)
No greedy commercial galleries involved (supposedly). Championed by the experimental creative person Robert Smithson (1938-73). See too the 'wrapping' interventions in nature, by Christo and Jeanne-Claude (both b.1935) and the environmental works of Andy Goldsworthy.

• Photography (1960s onwards)
The YBAs were simply i of several postmodernist groups to champion the utilize of photographic camera art. In fact, works past the greatest photographers soon passed the $1 meg mark at auction. For the best in postmodernist photography, delight run across photos past Helmut Newton (1920-2004), Robert Mapplethorpe (1946-89), Cindy Sherman (b.1954) and Nan Goldin (b.1953).

• Arte Povera (1966-71)
Self-styled "poor fine art" created by an anti-commercial avant-garde art group in Italy, consisting of Piero Manzoni, Michelangelo Pistoletto, Giuseppe Penone and others. Heavily focused on the concrete qualities of the materials used.

• Post-Minimalism (1970s)
In Post-Minimalist fine art - a term start coined by art critic Robert Pincus-Witten (b.1935) - the emphasis shifts from the purity of the idea, to how it is conveyed. Encounter works by the German language-American Eva Hesse (1936-1970).

• Feminist Art (1970s)
An fine art movement which dealt with specific female issues, such equally having a baby, violence confronting women, employment conditions for women and then on. Famous female artists involved, include Louise Bourgeois (1911-2010), and the Japanese-born performance artist Yoko Ono (b.1933). Other activists include Miriam Schapiro (1923-2015), Nancy Spero (1926-2009), Eleanor Antin (b.1935), Joan Jonas (b.1936), Judy Chicago (b.1939), Mary Kelly (b.1941), Barbara Kruger (b.1945), and the English artist Margaret Harrison (b.1940).

• Graffiti Art (1970s onwards)
Ultimate postmodernist motion: instant painting, instant fame. See the biography of graffiti terrorist and street creative person Banksy (b.1973-iv). For the two most successful street artists to become mainstream, run into: Jean-Michel Basquiat (1960-88), Keith Haring (1958-90) - who created the "Cleft is Wack" mural in Harlem - and David Wojnarowicz (1954-92), the AIDS activist and hugely talented street painter and collage artist.

• Postmodernist Sculpture (1970s onwards)
Important contributors to postmodernist plastic art include: the Surrealist Salvador Dali (1904-89), noted for his "Melted Ice Cream Van" (1970, Individual Collection); the French sculptor Cesar (1921-98), best known for his "compressions"; the Swiss kinetic creative person Jean Tinguely (1925-1991); the Nouveau Realiste Arman (1928-2005) known for his "accumulations"; the minimalists Donald Judd (1928-94), Sol LeWitt (1928-2007) and Richard Serra (b.1939); the monumentalists Anish Kapoor (b.1954) and Antony Gormley (b.1950); the American Bruce Naumann (b.1941), best known for his neon sculptures. 2 new types of sculpture which appeared during the 1980s, were Ice Sculpture - the World Water ice Art Championships have taken place annually in Fairbanks, Alaska since 1989 - and Sand Art - the World Title in Sand Sculpture was held in Harrison Hot Springs in Harrison, British Columbia, Canada, from 1989-2009.

• Neo-Expressionism (1980s onwards)
Characterized by typically big-format paintings featuring intense, oft violent subject matter, painted at speed. Materials were sometimes embedded in the surface of the painting. Leading neo-expressionists included Georg Baselitz (b.1938), Gerhard Richter (b.1932), Jorg Immendorff (b.1945), Anselm Kiefer (b.1945), Rainer Fetting (b.1949) and A.R.Penck [Ralf Winkler] (b.1939), Julian Schnabel (b.1951) and David Salle (b.1952).

• Deconstructivism (1980s-2000)
Postmodernist style of architecture, exemplified by the piece of work of Los Angeles architect Frank O. Gehry (b.1929), as well equally Daniel Libeskind, Peter Eisenman, Rem Koolhaas, Zaha Hadid, Bernard Tschumi and the Co-op Himmelblau group. Gravity-defying Deconstructivist architecture often involves computer-assisted designwork using high-tech software, likewise as the resources of cutting-edge firms of architects like Skidmore Owings and Merrill.

• Immature British Artists (Britart) (Tardily 1980s/1990s)
Combination of scenic business-savvy opportunism and shocking ideas. An explosion of extreme bad sense of taste dressed upwards as art. The public loved it. The virtually famous YBA is Damien Hirst (b.1965) while the group's main sponsor was the art collector Charles Saatchi (b.1943). For the nigh recent painters and sculptors in Republic of ireland, meet: Gimmicky Irish Artists (21st century), and besides
20th Century Irish Artists (1900-2000).

• Neo-Pop Fine art (late 1980s onwards)
Huge plastic sculptures of children's toys and lots more in the aforementioned vein, exemplified past the works of Jeff Koons (b.1955).

• Trunk Fine art (1990s)
A style of art which uses the body as the "sail". The most pop form is tattoos, followed by face painting of various kinds. Boom art is another newcomer. Body painting is illustrated by New Zealander Joanne Gair'due south illusionist painting of Demi Moore - photographed by Annie Leibovitz - which appeared on the front cover of Vanity Fair in Baronial 1992. The most extreme forms of body art are practised by artists like Marina Abramovic (b.1946) and Frank Uwe Laysiepen (aka Ulay) (b.1943).

• Postmodernist Painting
Important contributors to postmodern styles of painting not listed above, include: the inimitable Francis Bacon (1909-92); the contemporary realist Lucian Freud (1922-2011), the subject painter Jack Vettriano (b.1951), and the figure painter Jenny Saville (b.1970).

• Cynical Realism (1990s)
Chinese gimmicky fine art motility which appeared in the wake of the Tiananmen Foursquare crackdown (1989). Contemptuous Realists used a style of figurative painting with a mocking (sometimes self-mocking) narrative. Repetitive motifs used include clown-like figures, bald-headed men and photographic style portraits. The style satirized the political and social state of China and, since this was a new divergence for Chinese artists, was well received by western art collectors. Artists associated with the motion include Yue Minjun (b.1962), Fang Lijun (b.1963) and Zhang Xiaogang (b.1958), all of whom achieved multi-one thousand thousand dollar sales.

• Projection Mapping (Projection Art) (21st Century)
Ane of the latest forms of postmodernism, projection art involves the calculator-assisted mapping of video imagery onto buildings or other large surfaces.

• Reckoner Art (21st Century)
Too chosen Digital or Internet art, this is a general category which encompasses a diverse range of computer related art forms.

TO SEARCH FOR A Particular MOVEMENT,
BROWSE OUR A-Z of Fine art MOVEMENTS

• For more than about postmodernism in visual fine art, see: Homepage.

---

ENCYCLOPEDIA OF Art
© visual-arts-cork.com. All rights reserved.

richmondthattery.blogspot.com

Source: http://www.visual-arts-cork.com/postmodernism.htm

Share this post