|History of art|
|Preceded by Modernism|
|Criticism of postmodernism|
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 that 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.
The status of the avant-garde is controversial: many institutions argue being visionary, forward-looking, cutting-edge, and progressive are crucial to the mission of art in the present, and therefore postmodern art contradicts the value of "art of our times". Postmodernism rejects the notion of advancement or progress in art per se, and thus aims to overturn the "myth of the avant-garde". Rosalind Krauss was one of the important enunciators of the view that avant-gardism was over, and the new artistic era is post-liberal and post-progress.  Griselda Pollock studied and confronted the avant-garde and modern art in a series of groundbreaking books, reviewing modern art at the same time as redefining postmodern art.   
One characteristic of postmodern art is its conflation of high and low culture through the use of industrial materials and pop culture imagery. The use of low forms of art were a part of modernist experimentation as well, as documented in Kirk Varnedoe and Adam Gopnik's 1990–91 show High and Low: Popular Culture and Modern Art at New York's Museum of Modern Art,  an exhibition that was universally panned at the time as the only event that could bring Douglas Crimp and Hilton Kramer together in a chorus of scorn.  Postmodern art is noted for the way in which it blurs the distinctions between what is perceived as fine or high art and what is generally seen as low or kitsch art.  While this concept of "blurring" or "fusing" high art with low art had been experimented during modernism, it only ever became fully endorsed after the advent of the postmodern era.  Postmodernism introduced elements of commercialism, kitsch and a general camp aesthetic within its artistic context; postmodernism takes styles from past periods, such as Gothicism, the Renaissance and the Baroque,  and mixes them so as to ignore their original use in their corresponding artistic movement. Such elements are common characteristics of what defines postmodern art.
Fredric Jameson suggests postmodern works abjure any claim to spontaneity and directness of expression, making use instead of pastiche and discontinuity. Against this definition, Art and Language's Charles Harrison and Paul Wood maintained pastiche and discontinuity are endemic to modernist art, and are deployed effectively by modern artists such as Manet and Picasso. 
One compact definition is postmodernism rejects modernism's grand narratives of artistic direction, eradicating the boundaries between high and low forms of art, and disrupting genre's conventions with collision, collage, and fragmentation. Postmodern art holds all stances are unstable and insincere, and therefore irony, parody, and humor are the only positions critique or revision cannot overturn. "Pluralism and diversity" are other defining features. 
Radical movements and trends regarded as influential and potentially as precursors to postmodernism emerged around World War I and particularly in its aftermath. With the introduction of the use of industrial artifacts in art and techniques such as collage, avant-garde movements such as Cubism, Dada and Surrealism questioned the nature and value of art. New artforms, such as cinema and the rise of reproduction, influenced these movements as a means of creating artworks. The ignition point for the definition of modernism, Clement Greenberg's essay, Avant-Garde and Kitsch , first published in Partisan Review in 1939, defends the avant-garde in the face of popular culture.  Later, Peter Bürger would make a distinction between the historical avant-garde and modernism, and critics such as Krauss, Huyssen, and Douglas Crimp, following Bürger, identified the historical avant-garde as a precursor to postmodernism. Krauss, for example, describes Pablo Picasso's use of collage as an avant-garde practice anticipating postmodern art with its emphasis on language at the expense of autobiography.  Another point of view is avant-garde and modernist artists used similar strategies and postmodernism repudiates both. 
In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. His point was to have people look at the urinal as if it were a work of art just because he said it was a work of art.    He referred to his work as "Readymades".  The Fountain was a urinal signed with the pseudonym R. Mutt, which shocked the art world in 1917.  This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art. Some critics question calling Duchamp—whose obsession with paradox is well known—postmodernist on the grounds he eschews any specific medium, since paradox is not medium-specific, although it arose first in Manet's paintings. 
Dadaism can be viewed as part of the modernist propensity to challenge established styles and forms, along with Surrealism, Futurism and Abstract Expressionism.  From a chronological point of view, Dada is located solidly within modernism, however a number of critics hold it anticipates postmodernism, while others, such as Ihab Hassan and Steven Connor, consider it a possible changeover point between modernism and postmodernism.  For example, according to McEvilly, postmodernism begins with realizing one no longer believes in the myth of progress, and Duchamp sensed this in 1914 when he changed from a modernist practice to a postmodernist one, "abjuring aesthetic delectation, transcendent ambition, and tour de force demonstrations of formal agility in favor of aesthetic indifference, acknowledgement of the ordinary world, and the found object or readymade." 
In general, Pop Art and Minimalism began as modernist movements: a paradigm shift and philosophical split between formalism and anti-formalism in the early 1970s caused those movements to be viewed by some as precursors or transitional postmodern art. Other modern movements cited as influential to postmodern art are conceptual art and the use of techniques such as assemblage, montage, bricolage, and appropriation.
During the late 1940s and early 1950s, Pollock's radical approach to painting revolutionized the potential for all Contemporary art following him. Pollock realized the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, Pollock redefined artmaking during the mid-century. Pollock's move from easel painting and conventionality liberated his contemporaneous artists and following artists. They realized Pollock's process — working on the floor, unstretched raw canvas, from all four sides, using artist materials, industrial materials, imagery, non-imagery, throwing linear skeins of paint, dripping, drawing, staining, brushing - blasted artmaking beyond prior boundaries. Abstract expressionism expanded and developed the definitions and possibilities artists had available for the creation of new works of art. In a sense, the innovations of Jackson Pollock, 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 following artworks. 
In abstract painting during the 1950s and 1960s several new directions like Hard-edge painting and other forms of Geometric abstraction like the work of Frank Stella popped up, as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting touring important art museums throughout the United States in 1964. Color field painting, Hard-edge painting and Lyrical Abstraction  emerged as radical new directions.
By the late 1960s, Postminimalism, Process Art and Arte Povera  also emerged as revolutionary concepts and movements encompassing painting and sculpture, via Lyrical Abstraction and the Postminimalist movement, and in early Conceptual Art.  Process art as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real 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, were some of the younger artists emerging during the era of late modernism spawning the heyday of the art of the late 1960s. 
During the late 1950s and 1960s, artists with a wide range of interests began pushing the boundaries of Contemporary art. Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City were pioneers of performance based works of art. Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments; radically changing the relationship between audience and performer especially in their piece Paradise Now.   The Judson Dance Theater located at the Judson Memorial Church, New York, and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others collaborated with artists Robert Morris, Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy Klüver.  These performances were often designed to be the creation of a new art form, combining sculpture, dance, and music or sound, often with audience participation. The reductive philosophies of minimalism, spontaneous improvisation, and expressivity of Abstract expressionism characterized the works. 
During the same period — the late 1950s through the mid-1960s - various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in varied specified locations. Often incorporating exercises in absurdity, physical exercise, costumes, spontaneous nudity, and various random and seemingly disconnected acts. Allan Kaprow, Joseph Beuys, Nam June Paik, Wolf Vostell, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman among others were notable creators of Happenings. 
Related to Abstract expressionism was the emergence of combined manufactured items — with artist materials, moving away from previous conventions of painting and sculpture. The work of Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Pop Art and Installation art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography, exemplified this art trend.[ citation needed ]
Leo Steinberg uses the term postmodernism in 1969 to describe Rauschenberg's "flatbed" picture plane, containing a range of cultural images and artifacts that had not been compatible with the pictorial field of premodernist and modernist painting.  Craig Owens goes further, identifying the significance of Rauschenberg's work not as a representation of, in Steinberg's view, "the shift from nature to culture", but as a demonstration of the impossibility of accepting their opposition. 
Steven Best and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced by Marcel Duchamp, between modernism and postmodernism. These artists used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism. 
Anselm Kiefer also uses elements of assemblage in his works, and on one occasion, featured the bow of a fishing boat in a painting.
Lawrence Alloway used the term "Pop art" to describe paintings celebrating consumerism of the post World War II era. This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which 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 were considered seminal examples in the movement. While later American examples include the bulk of the careers of Andy Warhol and Roy Lichtenstein and his use of Benday dots, a technique used in commercial reproduction. There is a clear connection between the radical works of Duchamp, the rebellious Dadaist — with a sense of humor; and Pop Artists like Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.
Thomas McEvilly, agreeing with Dave Hickey, says U.S postmodernism in the visual arts began with the first exhibitions of Pop art in 1962, "though it took about twenty years before postmodernism became a dominant attitude in the visual arts."  Fredric Jameson, too, considers pop art to be postmodern. 
One way Pop art is postmodern is it breaks down what Andreas Huyssen calls the "Great Divide" between high art and popular culture.  Postmodernism emerges from a "generational refusal of the categorical certainties of high modernism." 
Fluxus was named and loosely organized in 1962 by George Maciunas (1931–78), a Lithuanian-born American artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City. Many of his students were artists working in other media with little or no background in music. Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins. In 1962 in Germany Fluxus started with the: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with, George Maciunas, Joseph Beuys, Wolf Vostell, Nam June Paik and others. And in 1963 with the: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.[ citation needed ]
Fluxus encouraged a do it yourself aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues.
Fluxus can be viewed as part of the first phase of postmodernism, along with Rauschenberg, Johns, Warhol and the Situationist International.  Andreas Huyssen criticises attempts to claim Fluxus for postmodernism as, "either the master-code of postmodernism or the ultimately unrepresentable art movement – as it were, postmodernism's sublime." Instead he sees Fluxus as a major Neo-Dadaist phenomena within the avant-garde tradition. It did not represent a major advance in the development of artistic strategies, though it did express a rebellion against, "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War." 
By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting. Minimalism argued extreme simplicity could capture the sublime representation art requires. Associated with painters such as Frank Stella, minimalism in painting, as opposed to other areas, is a modernist movement and depending on the context can be construed as a precursor to the postmodern movement.
Hal Foster, in his essay The Crux of Minimalism, examines the extent to which Donald Judd and Robert Morris both acknowledge and exceed Greenbergian modernism in their published definitions of minimalism.  He argues minimalism is not a "dead end" of modernism, but a "paradigm shift toward postmodern practices that continue to be elaborated today." 
Robert Pincus-Witten coined the term Post-minimalism in 1977 to describe minimalist derived art which had content and contextual overtones minimalism rejected. His use of the term covered the period 1966 – 1976 and applied to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work by former minimalists Robert Smithson, Robert Morris, Sol LeWitt, and Barry Le Va, and others.  Process art and anti-form art are other terms describing this work, which the space it occupies and the process by which it is made determines. 
Rosalind Krauss argues by 1968 artists such as Morris, LeWitt, Smithson and Serra had "entered a situation the logical conditions of which can no longer be described as modernist."  The expansion of the category of sculpture to include land art and architecture, "brought about the shift into postmodernism." 
Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.
Conceptual art is sometimes labelled as postmodern because it is expressly involved in deconstruction of what makes a work of art, "art". Conceptual art, because it is often designed to confront, offend or attack notions held by many of the people who view it, is regarded with particular controversy.
Precursors to conceptual art include the work of Duchamp, John Cage's 4' 33", in which the music is said to be "the sounds of the environment that the listeners hear while it is performed," and Rauschenberg's Erased De Kooning Drawing . Many conceptual works take the position that art is created by the viewer viewing an object or act as art, not from the intrinsic qualities of the work itself. Thus, because Fountain was exhibited, it was a sculpture.
An important series of movements in art which have consistently been described as postmodern involved installation art and creation of artifacts that are conceptual in nature. One example being the signs of Jenny Holzer which use the devices of art to convey specific messages, such as "Protect Me From What I Want". Installation Art has been important in determining the spaces selected for museums of contemporary art in order to be able to hold the large works which are composed of vast collages of manufactured and found objects. These installations and collages are often electrified, with moving parts and lights.
They are often designed to create environmental effects, as Christo and Jeanne-Claude's Iron Curtain, Wall of 240 Oil Barrels, Blocking Rue Visconti, Paris, June 1962 which was a poetic response to the Berlin Wall built in 1961.
Lowbrow is a widespread populist art movement with origins in the underground comix world, punk music, hot-rod street culture, and other California subcultures. It is also often known by the name pop surrealism. Lowbrow art highlights a central theme in postmodernism in that the distinction between "high" and "low" art are no longer recognized.
Digital art is a general term for a range of artistic works and practices that use digital technology as an essential part of the creative and/or presentation process. The impact of digital technology has transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.
Leading art 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.
Another trend in art which has been associated with the term postmodern is the use of a number of different media together. Intermedia, a term coined by Dick Higgins and meant to convey new artforms along the lines of Fluxus, Concrete Poetry, Found objects, Performance art, and Computer art. Higgins was the publisher of the Something Else Press, a Concrete poet, married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art.  One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed Video art. While the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left is the specific statements of the artist in question or the conceptual statement of their action. Higgin's conception of Intermedia is connected to the growth of multimedia digital practice such as immersive virtual reality, digital art and computer art.
Telematic art is a descriptive of art projects using computer mediated telecommunications networks as their medium. Telematic art challenges the traditional relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote aesthetic encounters. Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration. Ascott has been at the forefront of the theory and practice of telematic art since 1978 when he went online for the first time, organizing different collaborative online projects.
In his 1980 essay The Allegorical Impulse: Toward a Theory of Postmodernism, Craig Owens identifies the re-emergence of an allegorical impulse as characteristic of postmodern art. This impulse can be seen in the appropriation art of artists such as Sherrie Levine and Robert Longo because, "Allegorical imagery is appropriated imagery."  Appropriation art debunks modernist notions of artistic genius and originality and is more ambivalent and contradictory than modern art, simultaneously installing and subverting ideologies, "being both critical and complicit." 
The return to the traditional art forms of sculpture and painting in the late 1970s and early 1980s seen in the work 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.  Its strong links with the commercial art market has raised questions, however, both about its status as a postmodern movement and the definition of postmodernism itself. Hal Foster states that neo-expressionism was complicit with the conservative cultural politics of the Reagan-Bush era in the U.S.  Félix Guattari disregards the "large promotional operations dubbed 'neo-expressionism' in Germany," (an example of a "fad that maintains itself by means of publicity") as a too easy way for him "to demonstrate that postmodernism is nothing but the last gasp of modernism."  These critiques of neo-expressionism reveal that money and public relations really sustained contemporary art world credibility in America during the same period that conceptual artists, and practices of women artists including painters and feminist theorists like Griselda Pollock,   were systematically reevaluating modern art.    Brian Massumi claims that Deleuze and Guattari open the horizon of new definitions of Beauty in postmodern art.  For Jean-François Lyotard, it was painting of the artists Valerio Adami, Daniel Buren, Marcel Duchamp, Bracha Ettinger, and Barnett Newman that, after the avant-garde's time and the painting of Paul Cézanne and Wassily Kandinsky, was the vehicle for new ideas of the sublime in contemporary art.  
Critiques on the institutions of art (principally museums and galleries) are made in the work of Michael Asher, Marcel Broodthaers, Daniel Buren and Hans Haacke.
Modernism is both a philosophical and arts movement that arose from broad transformations in Western society during the late 19th and early 20th centuries. The movement reflected a desire for the creation of new forms of art, philosophy, and social organization which reflected the newly emerging industrial world, including features such as urbanization, architecture, new technologies, and war. Artists attempted to depart from traditional forms of art, which they considered outdated or obsolete. The poet Ezra Pound's 1934 injunction to "Make it New" was the touchstone of the movement's approach.
In the arts and in literature, the term avant-garde identifies a genre of art, an experimental work of art, and the experimental artist who created the work of art, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus how the artists who created the anti-novel and Surrealism were ahead of their times.
Abstract expressionism is a post–World War II art movement in American painting, developed in New York City in the 1940s. It was the first specifically American movement to achieve international influence and put New York at the center of the Western art world, a role formerly filled by Paris.
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.
Clement Greenberg, occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician. He is best remembered for his association with the art movement abstract expressionism and the painter Jackson Pollock.
An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde movement. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new style which would encompass the fundamental changes taking place in technology, science and philosophy.
The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.
Postmodern dance is a 20th century concert dance form that came into popularity in the early 1960s. While the term "postmodern" took on a different meaning when used to describe dance, the dance form did take inspiration from the ideologies of the wider postmodern movement, which "sought to deflate what it saw as overly pretentious and ultimately self-serving modernist views of art and the artist" and was, more generally, a departure from modernist ideals. Lacking stylistic homogeny, Postmodern dance was discerned mainly by its anti-modern dance sentiments rather than by its dance style. The dance form was a reaction to the compositional and presentational constraints of the preceding generation of modern dance, hailing the use of everyday movement as valid performance art and advocating for unconventional methods of dance composition.
Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation. In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.
Harold Foss "Hal" Foster is an American art critic and historian. He was educated at Princeton University, Columbia University, and the City University of New York. He taught at Cornell University from 1991 to 1997 and has been on the faculty at Princeton since 1997. In 1998 he received a Guggenheim Fellowship.
Rosalind Epstein Krauss is an American art critic, art theorist and a professor at Columbia University in New York City. Krauss is known for her scholarship in 20th-century painting, sculpture and photography. As a critic and theorist she has published steadily since 1965 in Artforum,Art International and Art in America. She was associate editor of Artforum from 1971 to 1974 and has been editor of October, a journal of contemporary arts criticism and theory that she co-founded in 1976.
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre-World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.
Shigeko Kubota was a Japanese video artist, sculptor and avant-garde performance artist, who mostly lived in New York City. She was one of the first artists to adopt the portable video camera Sony Portapak in 1970, likening it to a "new paintbrush." Kubota is known for constructing sculptural installations with a strong DIY aesthetic, which include sculptures with embedded monitors playing her original videos. She was a key member and influence on Fluxus, the international group of avant-garde artists centered on George Maciunas, having been involved with the group since witnessing John Cage perform in Tokyo in 1962 and subsequently moving to New York in 1964. She was closely associated with George Brecht, Jackson Mac Low, John Cage, Joe Jones, Nam June Paik, and Ay-O, among other members of Fluxus. Kubota was deemed "Vice Chairman" of the Fluxus Organization by Maciunas.
Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century.
In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.
Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever-evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance or serve usefulness primarily through visual representations.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
New European Painting emerged in the 1980s and reached a critical point of major distinction and influence in the 1990s with painters like Gerhard Richter, Sigmar Polke, Georg Baselitz, Anselm Kiefer and Bracha Ettinger whose paintings have established and continue to create a new dialogue between the historical archive, American Abstraction and figuration. The major new European painters of this era show strong engagements with painful personal and general history, as well as shared history; its memory and its oblivion; and with life under the shadow of World War II, utilizing research in new and old materials, photography and oil painting.
Avant-garde art and American pop culture have had an intriguing relationship from the time of the art form's inception in America to the current day. The art form, which began in the early half of the nineteenth century in Europe, started to rise slowly in America under the guise of Dadaism in 1915. While originally formed under a group of artists in New York City who wanted to counter pop culture with their art, music, and literature the art form began to grow into prominence with American pop culture due to a variety of factors between the 1940s to the 1970s. However, from many factors that arose in the late 1970s, avant-garde began to both lessen in prominence and began to blend with the pop culture to the point in which most art critics considered the art form extinct.