Postmodern art

Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern. Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern. There are several characteristics which lend art to being postmodern; these include bricolage, the use of text prominently as the central artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular culture. The predominant term for art produced since the 1950s is 'contemporary art'. Not all art labeled as contemporary art is postmodern, and the broader term encompasses both artists who continue to work in modernist and late modernist traditions, as well as artists who reject postmodernism for other reasons. Arthur Danto argues 'contemporary' is the broader term, and postmodern objects represent a 'subsector' of the contemporary movement. Some postmodern artists have made more distinctive breaks from the ideas of modern 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. Some critics argue much of the current 'postmodern' art, the latest avant-gardism, should still classify as modern art. As well as describing certain tendencies of contemporary art, postmodern has also been used to denote a phase of modern art. Defenders of modernism, such as Clement Greenberg, as well as radical opponents of modernism, such as Félix Guattari, who calls it modernism's 'last gasp,' have adopted this position. The neo-conservative Hilton Kramer describes postmodernism as 'a creation of modernism at the end of its tether.' Jean-François Lyotard, in Fredric Jameson's analysis, does not hold there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms. In the context of aesthetics and art, Jean-François Lyotard is a major philosopher of postmodernism. Many critics hold postmodern art emerges from modern art. Suggested dates for the shift from modern to postmodern include 1914 in Europe, and 1962 or 1968 in America. James Elkins, commenting on discussions about the exact date of the transition from modernism to postmodernism, compares it to the discussion in the 1960s about the exact span of Mannerism and whether it should begin directly after the High Renaissance or later in the century. He makes the point these debates go on all the time with respect to art movements and periods, which is not to say they are not important. The close of the period of postmodern art has been dated to the end of the 1980s, when the word postmodernism lost much of its critical resonance, and art practices began to address the impact of globalization and new media. Jean Baudrillard has had a significant influence on postmodern-inspired art and emphasised the possibilities of new forms of creativity. The artist Peter Halley describes his day-glo colours as 'hyperrealization of real color', and acknowledges Baudrillard as an influence. Baudrillard himself, since 1984, was fairly consistent in his view contemporary art, and postmodern art in particular, was inferior to the modernist art of the post World War II period, while Jean-François Lyotard praised Contemporary painting and remarked on its evolution from Modern art. 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 post modern philosophy. American Marxist philosopher Fredric Jameson argues the condition of life and production 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 as postmodernism, and that the possibilities of modernism have not yet been exhausted. 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 become conventional since the mid-1980s, the theoretical underpinnings of Postmodernism as an epochal or epistemic division are still very much in controversy. Postmodernism describes movements which both arise from, and react against or reject, trends in modernism. General citations for specific trends of modernism are formal purity, medium specificity, art for art's sake, authenticity, universality, originality and revolutionary or reactionary tendency, i.e. the avant-garde. However, paradox is probably the most important modernist idea against which postmodernism reacts. Paradox was central 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, design and representation, abstraction and reality, and so on. The incorporation of paradox was highly stimulating from Manet to the conceptualists.