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Topic: Postmodernist art

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Postmodernist art may be seen as a reaction to the reductionism and abstraction of Modernism.
Andy Warhol is an early example of postmodern art in action, with his appropriation of common popular symbols and "ready-made" cultural artefacts, bringing the previously mundane or trivial onto the previously hallowed ground of 'high art'.
These critics claim that, inasmuch as many postmodernist arguments rely on charges of racism and ethnocentrism in traditional Western science, it is little more than an attempt to impose their own political agenda on the sciences.
www.nebulasearch.com /encyclopedia/article/Postmodernism.html   (3351 words)

 TRANS Nr. 14: Victoria Lipina-Berezkina: Is Subject Dead in Contemporary Literature?
Postmodernist poetics of subjectivity shifts its centre, focusing not on characters – there are no characters in the meaning of their full psychological presence in the text – but on the human situation as the state of humanity, which is beyond personal.
Postmodernist literature at the end of the 20 th century can be viewed not as the art of the destroyed subject, but as the art that substituted the old episteme, which can be called character thinking, by a new one – open mentality, and it is equal to the discovery of a new subject.
Postmodernist art is already integrated into the world literary process as its classic (Barth, Don Barthelme, Coover, Gass, Pynchon, et al), and the vision of Postmodernism as the chaos and destruction of the human subject reveals that literary criticism lags substantially behind the life of letters.
www.inst.at /trans/14Nr/lipina14.htm   (9686 words)

 The Order of Words
Postmodernist theory seems to depend so heavily on this over-extended, wooly-minded notion of self-reference that it has become virtually indispensable to the very definition of postmodernist art in general.
One of the hallmarks of postmodernist art is the degree to which the element of complicity on the part of the spectator is involved in the meaning and structure of the work.
In spite of the vast and complex apparatus that surrounds postmodernist art that includes such things as discursiveness and the transformation of viewer into reader there are a number of instances (works) which and of themselves, can be seen as important extensions of the formal language of contemporary art.
www.ccca.ca /c/writing/k/klepac/klep001t.html   (9715 words)

 Contemporary Art - Absence and Presence   (Site not responding. Last check: 2007-10-23)
Art practice was no longer to be defined as an artisanal activity, a process of crafting fine objects in a given medium, it was rather to be seen as a set of operations performed in a field of signifying practices, perhaps centred on medium but certainly not bounded by it.’
According to Greenberg, the 'confusion of the arts' resulted in a lack of purity, and consequently, he sees abstraction to be the purest art of all.
Art was no longer bound to being displayed on the walls, in the long-established manner that had gone before.
www.saatchi-gallery.co.uk /contemporary-art/absence-and-presence.htm   (6697 words)

This "program" was still effective in postmodernist art in post war time, weighting as a whole the purity of each school of art and the autonomy of culture.
This surrealist revolt returned in postmodernist art - though it was ousted by postmodernism - relaunching criticism of the forms of representation.
Dealing with a work of art which is not only a physical entity but first and foremost runs in time, intervening with its surroundings in a radical way, taking a view of the scope of its influence, duration, and "effectiveness" is hard.
www.superflex.net /text/articles/art_and_biogas.shtml   (1371 words)

 Designing Visuals - Readings   (Site not responding. Last check: 2007-10-23)
Art's commodity status as a luxury for the most privileged, reinforced by the unequal educational opportunities that mark all the academic disciplines, contributes to the near-invisibility of non-dominant racial, ethnic and class identities in the art world, which remains far less diverse than the broader culture.
Where, at the opening of the eighties, the art world espoused a postmodernism defined in opposition to the identity-based practices associated with feminism, by the end of the decade, the development and articulation of identity was central to this kind of postmodern artistic practice.
Postmodernist language play is evident in the name of the Guerrilla Girls - a collective whose acerbic posters documenting racism and sexism in the art; world began appearing on New York streets in 1985 and soon spread to other American cities - the women involved preserve their anonymity by wearing gorilla masks at public appearances.
www.itecksu.org /courses/desvisweb/pages/identity.htm   (7615 words)

 Duke Alumni Magazine-Jul,Aug 2001-Books
Postmodernists have also looked at how the art market and cultural institutions choose, present, classify, and document artworks in various forms, and how such handling determines their meaning and value to the public at large.
Postmodernists regard the world with a knowingly ironic wink that says: “Of course, we all know we’re all being manipulated by the mass media, hoodwinked by media-savvy politicians, and rendered passive by a confluence of forces that seems to reduce all human experience to some sort of spectacle.” But this is old news.
Meanwhile, perhaps one of postmodernism’s most notable effects, at least among many art and design students today, is that it has helped nurture a strong desire for authenticity—that is, for a sense of some absolute aesthetic values or technical standards on which to hang their professional-artists’ hats.
www.dukemagazine.duke.edu /dukemag/issues/070801/depbks.html   (2126 words)

 Abstraction Not Easy
Kramer points out that abstract painting has "an inevitably symbiotic relation to representational art" and that the larger question is "the fate of painting itself." He goes on to give examples of the complete absence of abstract painting in current high-level survey exhibitions.
That's why the Museum of Modern Art, with exaggerated enthusiasm and more than just a suggestion that it is, after all, in favor of painting, puts on a major exhibit for Gerhard Richter, whose paintings are as chilling and lifeless and as heartlessly academic as any postmodernist pile of detritus anywhere.
Bannard characterizes as "repressive postmodernist academicism," I very much doubt that any intellectually competent historian will ever compare its eventual demise to "the fall of Soviet Communism." Postmodernism is certainly not a disaster of comparable magnitude, and to suggest otherwise is to trivialize one of the greatest disasters in human history.
newcrit.art.wmich.edu /plain/DBkramer.html   (946 words)

 [Projekat Rastko] Sreten Ugricic: STARS
As the history of art is a corresponding representative of the art of history, so is the past of art the corresponding representative of the art of the past.
On the other hand, the art of the past is the art which surpasses history and is characteristic of the creative works outside history – the works which originate before, after and beyond history, and which as such have their final issue within themselves and not without.
We could illustrate this as follows: if the history of art was until the end of the modernist period adequately exemplified by gastronomy (the science of particular "devouring"), then the constellation of postmodernist art is adequately illustrated by astronomy (the science of the particular "distribution of stars").
www.rastko.org.yu /likovne/xx_vek/sreten_ugricic_e.html   (5744 words)

 JAST 10 - Lipina
The correlation between art and life as the key problem of art is the center of both texts.
This problematic of non-ending art is new for postmodernist literature.
Postmodernist literature at the end of the century is very much in tune with the deep roots of humanistic and personal involvement characteristic of the classical tradition.
www.bilkent.edu.tr /~jast/Number10/Lipina.html   (3750 words)

 A R T M a r g i n s
The former kind of art is defined as “uncritical postmodernism” and the latter as “politicized postmodernism”.
In Kabakov’s art, the modernist drama of the unsatisfactory substitution of a dead God is being performed over and over again at the stage of the communal apartment: “Now that God, the intimate and all-seeing observer, is dead, only the communal remains as an observer interested in our intimate sphere” (75).
This article entitled “Art as a Political Machine: Fragments of the Late Socialist and Postsocialist Art of Mitteleurope and the Balkans,” sketches a broad historical panorama of the non-official art of the region, “from the politically ironic to the politically nostalgic” (91).
www.artmargins.com /content/review/leiderman.html   (2554 words)

 Dr. doCarmo's Notes on Postmodernism
Postmodernist philosophers believe all "truth" is socially and historically constructed, not fixed, eternal, or written in the stars.
Postmodernist artists love to defy your expectations and do things they're not "supposed" to do, maybe because they want to remind us that rational categorizations never work as well or as perfectly as we like to think they do.
In fact, postmodernist art is often very "pop." It draws its subject matter from the realm of popular culture; it often employs pop-culture forms and genres....
www.bucks.edu /~docarmos/PMnotes.html   (1996 words)

 glbtq >> arts >> Contemporary Art
At the core of postmodernist criticism was the rejection of modernism's assumptions concerning subject, style, and media, and its domination by male artists.
In the meantime, postmodernist art of the early 1980s was manifested in a series of revival styles that appropriated the high styles of modernism for personal and ironic commentary: neo-expressionism, neo-Pop (graffiti and cartoon art), neo-Surrealism, and neo-abstraction.
Reviving the Pop Art styles of Andy Warhol and Robert Indiana, these materials, especially their typography and layout, became immediately associated with gay activism, public declarations of gay identity, and proactive campaigns to gain access to political power.
www.glbtq.com /arts/contemp_art,3.html   (763 words)

 Johanna Drucker, Sweet Dreams. Comptemporary Art and Complicity. by Jan Baetens
In short, Drucker charges modernist and postmodernist art theory (one of the most interesting aspects of this thesis is that it stresses the ideological and aesthetic continuity between both periods, at least if one focuses on their major theoreticians) with dogmatism as well as with unworldliness.
Unworldliness, since the plea for negativity is credited automatically with a political surplus value that its very sociological conditions (art as negativity flourishes best in academic circles and the subsidized art circuits that live in symbiosis with academia) prevent it from doing what it is supposed to do, namely to foster societal change.
of the art that no longer obeyed the rules of modernist and postmodernist negativity, but the way this material is presented remains too impressionistic.
www.imageandnarrative.be /surrealism/drucker.htm   (701 words)

 Openings - som snapshots from Esmanns shows
Modern contemporary art is no longer modernist art, but postmodernist art, and as such a renewed interest in the almost lost craft of figurative painting, that modernism killed off, is only natural.
Modern art contemporary art modern artwork art painting contemporary artist, kunst new artist modern artist contemporary painting contemporary oil painting contemporary fine art.
Kunst og kultur, contemporary art painting modern contemporary art contemporary canvas art.
www.janesmann.com /Openings.htm   (1626 words)

 ipedia.com: Postmodernism Article   (Site not responding. Last check: 2007-10-23)
Post-modern buildings are usually not so grand and imposing as modern skyscrapers; they are more playful, and, often through the use of mirrored glass that reflects the sky and surrounding buildings, call attention to their environment rather than to themselves.
The buildings along this strip of road reflect innumerable art periods as well as cultural referances all in a very playful collage.
Deconstruction was a tool of postmodernism that was itself constructed by the philosopher and textual artist Jacques Derrida.
www.ipedia.com /postmodernism.html   (3415 words)

However, as a popular movement, it started in art and literature, where is was important in the 1960s and 1970s.
In the arts and literature postmodernism is a style that appropriates, and also parodies, all that has gone before.
An influential essay by Michael Newbury suggesting that postmodernists are the Osama Bin Laden's of modern culture.
www.toronto-h.schools.nsw.edu.au /postmodernism.htm   (1062 words)

 Postmodernism - Questionz.net , answers to all your questions   (Site not responding. Last check: 2007-10-23)
Postmodernism in art Postmodernist art may be seen as a reaction to the reductionism and abstraction of Modernism.
Postmodernism in economics In economics, Postmodernism refers to multinationalist, consumer-based capitalism, as opposed to the monopoly capitalism associated with modernism through the first half of the 20th century, or market capitalism before that.
Postmodernism is the overarching label that is attached to this perspective." It is this underlying hostility toward objectivity, evident in most contemporary critical theorists, that is the common point of attack for postmodernist critics.
www.questionz.net /Architecture/Postmodernism.html   (2780 words)

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