Which Contemporary Art Movement Was He Particularly Interested in
Contemporary Fine art Movements
Postmodernist Styles, Schools, Artist-Groups: late 1960s-present.
MAIN A-Z Alphabetize
Recent ARTISTS
For the leading artists
around the globe, see:
• 20th Century Painters
• 20th Century Sculptors
Examples of Movements
The Concrete Impossibility of Death
in the Mind of Someone Living (1991).
By Damien Hirst, one of the most
famous postmodernist artists.
Studies for a Cocky Portrait (1980).
(Detail) Past Francis Bacon, whose
disturbing way of painting combines
surrealist and expressionist imagery.
Although born in the 1900s, Bacon
produced some of the most avant
garde 20th century paintings.
Self Portrait Suspended (2004)
Past Young British Artist
Sam Taylor-Forest.
Is Photography fine art?
Gimmicky Art Movements
Chronological listing of Postmodernist styles and artforms
Contents
• INTRODUCTION
• Pop Fine art (1960s onwards)
• Word Fine art (1960s onwards)
• Conceptualism (1960s onwards)
• Functioning (Early 1960s onwards)
• Fluxus Movement (1960s)
• Installation (1960s onwards)
• Video Installations (1960s onwards)
• Minimalism (1960s onwards)
• Photograph-Realist Art (Hyperrealism) (1960s, 1970s)
• Earthworks (Country or Environmental Fine art) (1960s, 1970s)
• Contemporary Photography (1960s onwards)
• Arte Povera (1966-71)
• Supports-Surfaces (1966-72)
• Gimmicky Realism
• Post-Minimalism (1971 onwards)
• Feminist Art (1970s)
• New Subjectivity (1970s)
• London Schoolhouse (1970s)
• Graffiti Art (1970s onwards)
• Neo-Expressionist Fine art (1980 onwards)
• Transavanguardia (Trans-avant-garde)
• Britart: Young British Artists (1980s)
• Deconstructivist Blueprint (1985-2010)
• Torso Art (1990s)
• Chinese Cynical Realism (1990s)
• Neo-Popular (late 1980s onwards)
• Stuckism (1999 onwards)
• New Leipzig School (2000 onwards)
• Projection Art (21st Century)
• Computer Art (21st Century)
Related Articles
• For the tiptop 50 exhibition venues, see: Best Galleries of Gimmicky Fine art.
• For the top 200 artists built-in after 1945, see: Superlative Contemporary Artists.
Introduction
In this article nosotros list the main schools and styles of "Contemporary Art" which emerged from the belatedly-1960s onwards. Because "contemporary art" superceded "modern art", it is also referred to every bit Postmodernist Art. Please note nonetheless, that the transition from modernism to postmodernism was a gradual one, which took identify during the decade of the 1960s. Both styles thus co-existed with each other during this time.
In addition, please note that one of the virtually important differences betwixt modernistic and postmodern fine art, concerns the downgrading of the "finished product". The aim of nearly all modern artists, for case, was to create an enduring and unique piece of work of art like a painting, sculpture, cartoon, or other type of object. Past contrast, postmodernist artists have less interest in this kind of product and more interest in the ideas backside information technology. This helps to explicate the growth of new types of art - such as installation art (including audio and video installations), conceptualism (a broad category of 'ideas art'), happenings (type of performance art), video installations, projection mapping, and outdoor excavation (environmental constructions) - in which either there is no finished product to speak of, or else information technology is transient and recorded only as an 'event'. Revealingly, over the by xx years, the Turner Prize for Gimmicky Art has been won by 2 painters, 0 sculptors, and 10 installation artists.
Contemporary ART MOVEMENTS
Pop Fine art (1960s onwards)
Pop Fine art was both modernist and contemporary. It started out by depicting a more up-to-date reality, using images of film-stars and other celebrities, likewise as mass-fabricated consumer appurtenances. But this was rapidly eclipsed by an increasing post-modernistic focus on impact and style. See for example our brusk guide to Andy Warhol's Pop Art of the sixties.
Give-and-take Art/Give-and-take Painting (1960s onwards)
Word Art was a make new form of painting or sculpture which used text-based imagery. It was associated with artists like Robert Indiana (b.1928), Jasper Johns (b.1930), On Kawara (1932-2014), Barbara Kruger (b.1945) and Christopher Wool (b.1955).
Conceptualism (1960s onwards)
Conceptual fine art is a postmodernist art movement founded on the principle that art is a 'concept' rather than a textile object. That is to say, the 'idea' which a piece of work represents is considered its essential component, and the "finished product", if it exists at all, is regarded essentially as a form of documentation rather than equally an artifact. The origins of Conceptualism become dorsum to Dada and the early on 20th century avant-garde artist Marcel Duchamp, but information technology wasn't until the 1960s that information technology became a recognizable movement and acquired a proper name. Conceptual art has the ability to evangelize ideas quite powerfully, hence information technology has served equally a pop vehicle for socio-political comment. In improver, past downplaying the demand for any painterly or sculptural skills - indeed, for any craftsmanship at all - it retains a subversive edge by challenging the entire tradition of a piece of work of art as a unique and valuable object. Some experts point to the fact that the postmodern era demands more than the passive feel of "viewing" a work of art, and that Conceptualism provides a more interactive experience. Whether this added entertainment value helps an "idea" to qualify as a work of art, is rather doubtful. For works past one of Europe's first conceptual artists, please see as well: Yves Klein'due south Postmodernist fine art (1956-62).
An illustration of this issue is the large collection of shoes in the Holocaust Museum in Washington, DC, which belonged to Nazi concentration military camp victims. It has been suggested that this has the characteristics of a Conceptual artwork, because walking by the huge pile of shoes helps usa to cover the terrifying reality of the gas chambers. Indeed it does, but frankly it doesn't turn the shoes into a work of art, or indeed any type of artistic statement. (Compare Holocaust art 1933-45.) Information technology is a political or historical statement. Thus the difficulty for Conceptualism is to show how it qualifies every bit art, as opposed to entertainment, theatre, or political commentary.
Important exponents of Conceptualism include Sol LeWitt, Joseph Beuys, Felix Gonzales-Torres, Eva Hesse, Jenny Holzer, Joseph Kosuth, Barbara Kruger, Jean Tinguely and Lawrence Weiner. Other artists associated with the movement include Mel Bochner, Hanne Darboven, Agnes Denes, January Dibbets, Hans Haacke, On Kawara and Les Levine.
Performance (1960s onwards)
Emerging in America and Europe in the early 1960s, Performance fine art is an experimental art form inspired by Conceptual fine art, likewise as Dada, Futurism, the Bauhaus and (in America) the Blackness Mountain College. Operation is generally supposed to be characterized by its "alive" nature - the fact that the artist communicates directly with the audience - and its affect, whether amusing or shocking, must be memorable. A good example is the series of cocky-subversive machines - probably the near famous examples of kinetic art - created by the Swiss artist Jean Tinguely (1925-91). Even so, the exact difference between innovative theatre and Performance fine art is hard to discover. Moreover its insistence on being labelled "art" - traditionally a bourgeois upshot - sits awkwardly aslope its anti-establishment ethic.
Performance now includes events and "happenings" by visual artists, poets, musicians, film makers, video artists so on. The late-1960s and 1970s likewise witnessed the appearance of "Trunk Fine art", a type of Performance in which the artist's own flesh becomes the canvass and subsequently "performs" in a suitably shocking, newsworthy manner (for more see below). During the 1980s, Performance art increasingly relied on technology (video, computers) to deliver its "artistic" message. Contemporary artists associated with this genre include the pioneer Allan Kaprow (1927-2006), Yves Klein (1928-62), Gilbert & George (b.1943, 1942), and the extraordinary Joseph Beuys (1921-86), who created the innovative functioning How to Explicate Pictures to a Expressionless Hare (1965). Some other innovative creative person is the Korean-American Nam June Paik (1932-2006), who began in performance art before working with televisions and video, and thereafter installations.
Fluxus Movement (1960s)
Fluxus was an avant-garde group of artists (its proper noun means "flowing" in Latin) led by the Lithuanian-born art theorist George Maciunas (1931-78), which first appeared in Frg before spreading to other European capitals and and then New York City, which became the middle of its activities. Its stated aims - a disruptive mixture of "revolutionary" and "anti-art" art forms - carried on the traditions of Dada, focusing on Happenings (known as Aktions in Germany), and diverse types of street art. Leading members included the German conceptual creative person Joseph Beuys, the Japanese-born conceptualist Yoko Ono, and the German performance and video creative person Wolf Vostell (b.1932). Maciunas' ultimate goal was to go rid of all fine art on the footing that information technology was a waste material of resources and little more than a bourgeois indulgence. Fluxus artists collaborated to alloy different media (visual, literary, musical) into a number of "events", involving installations, happenings, photography and moving-picture show. Fluxus festivals of contemporary art were held throughout the 60s in Amsterdam, Copenhagen, Dusseldorf, London, Paris and New York. Meet also Viennese Actionism, under Body Art, below.
Installation (1960s onwards)
Installation art is a new fine art form which came to attention in the U.s.a. during the 1960s, although the idea dates dorsum to the Surrealist exhibitions created by Marcel Duchamp and others, when works of art were bundled to form a complex and compelling environs. The Russian painter and designer El Lissitzky was some other pioneer whose 1923 "Proun Room" at the Berlin Railway Station was an early type of Installation, equally were the room-filled Merzbilder constructions of Kurt Schwitters (1887-1948). Other more recent examples include Lucio Fontana's 1950s "Spatial Environments", and Yves Klein's 1958 prove "Le Vide" (The Void), which was an empty gallery room. Also, in the 1960s the Groupe Recherche d'Art Visuel created early on installations in the form of kinetic light environments. An installation typically occupies an entire space, like a room or larger surface area, and consists of several different components. The American sculptor Ed Kienholz used cars and institutional piece of furniture in the 1960s, to present an installation commenting on death and social issues. His fellow sculptor George Segal, used lifesize plaster figures portrayed in everyday settings (like waiting for a subway railroad train) to comment on the mundane. Other contempo installation artists accept included Rebecca Horn, Bruce Nauman, Christian Boltanski, Richard Wilson and Tracey Emin. Run into likewise LED installation art - a form of kinetic art - by Tatsuo Miyajima (b.1957).
Video Installations (1960s onwards)
In the 1960s, artists began to exploit the medium of video in an attempt to redefine art. A number of video artists, for instance, accept challenged the preconceived idea of art as high-brow, loftier priced, and only appreciable past society's aristocracy. Others take used video to demolish the thought of fine art existence a article - a unique "finished product" - by making their video art an "experience" (rather than something to own), or a tool for change, a medium for ideas. Video also allows the artist to reveal the bodily process of creating art. Typically, video installations combine video with a audio track and/or music, and may involve other interactive devices, making full use of the surrounding surroundings to stimulate the audience. Pioneers of video installation include: Nam June Paik (1932-2006) whose 1960s arrangements typically involved multiple television monitors in sculptural arrangements; as well as Andy Warhol (1928-87), Peter Campus (b.1937), Wolf Vostell (b.1932), Bill Viola (b.1951), Gary Loma and Tony Oursler. In Britain, video artists include: Laure Prouvost, Elizabeth Toll, Jeremy Deller, Steve McQueen, Gillian Wearing, Douglas Gordon, Sam Taylor-Forest, David Hall and Tony Sinden, among many others.
Minimalism (1960s onwards)
Emerging in America in the second half of the 60s, Minimalism/Minimal Art is a refined grade of abstract art which succeeded Post Painterly Abstraction (a type of late Abstruse Expressionism) to become an influential style around the world in sculpture, painting and architecture. In the area of fine art, Minimalism is characterized by extreme simplicity of class and a deliberate lack of expressive content. Objects are presented in their elemental, geometric course, wholly devoid of emotion. Minimalist works (of sculpture and painting) are ofttimes composed of bare compatible elements making up some type of a grid or pattern. Regularity is nigh essential to minimize any glint of expressionism.
Minimalism was the last phase in the logical development of Abstract Expressionism, whose mode went from gestural (action-painting) to plane-work (colour field painting) to sharply divers geometrical planes and patterns (hard edge painting) to Minimal Art. Forth the way it gradually jettisoned all feeling and emotion, until it arrived at an austere and impersonal form of and so-called artistic purity or truth. All that remains is the intellectual idea of the piece: there's no emotion. This is why Minimalism is close to Conceptualism - both are concerned with the basic thought or concept of the work created.
Important Minimalist sculptors include Carl Andre (b.1935), Don Judd (1928-94), Sol LeWitt (1928-2007), Robert Morris (b.1931), Richard Serra (b.1939) and Tony Smith (1912-80). Minimalist painters include Agnes Martin (1912-2004), Ad Reinhardt (1913-67), Ellsworth Kelly (b.1923), Kenneth Noland (b.1924), Robert Ryman (b.1930) and Frank Stella (b.1936).
Photo-Realist Art (Hyperrealism) (1960s, 1970s)
Photorealism was a style of painting that appeared in the late 1960s, in which subjects (people or urban scenes) are painted in a highly detailed manner, resembling photographs. Most practitioners work direct from photographs or digital computer imagery, and the field of study matter is quite banal and of no special involvement. Instead the real focus is on the precision and item achieved by the creative person, and its touch on on the viewer. Photographic realism was largely inspired by Popular-Fine art - banal subject area-affair was common to both, and certain artists (eg. Malcolm Morley and Mel Ramos) used both styles. however Photograph-Realism lacks Pop-Art's whimsical or ironic humour, and tin can even be faintly disturbing. What's more than, paradoxically, its microscopic, indiscriminate detail can actually create a slightly "unreal" event. Leading members of the Super-Realist movement include Richard Estes - who specializes in street scenes containing complex glass-reflections - and Chuck Close, who excels at monumental pictures of expressionless faces. Other Hyper-Realist painters include Robert Bechtle, Audrey Flack, Ralph Goings and John Doherty. Hyperrealist sculptors include Duane Hanson (1925-96), John de Andrea (b.1941), Carole Feuerman (b.1945), Ron Mueck and Robert Gober.
Earthworks (Land or Ecology Art) (1960s, 1970s)
State fine art, which emerged largely in the United states during the 1960s, uses or interacts with the mural in order to create artistic shapes or "events." Referred to by a variety of names, information technology typically re-fashions natural forms or enhances them with man-made materials. Pioneers of this artform include Robert Smithson, Richard Long and Andy Goldsworthy, as well every bit the interventionists Christo and Jeanne-Claude. Note that Land art is quite different from homo-made monuments such equally Stonehenge. The latter was errected for its formalism or religious significance and is not considered to be an element of the country. Fifty-fifty the celebrated Presidential portraits of Mountain Rushmore, while conspicuously works of art, do non authorize as State art since they do non celebrate the land but the images made from it. For similar styles, please meet Art Movements, Periods, Schools (from near 100 BCE).
Gimmicky Photography (1960s onwards)
Up until the early 1960s, photography was driven by pictorialism and portrait photography. Since then, documentary photography, increasingly complex fashion photography and the growing genre of street photography take been the primary driving forces. Contemporary portraits of celebrities are also popular. Contemporary photographers involved in photojournalism include Don McCullin (b.1935) and Steve McCurry (b.1950); while the best fashion photographers include Helmut Newton (1920-2004), David Bailey (b.1938), Nick Knight (b.1958) and David LaChapelle (b.1963). Street photography is illustrated by Garry Winogrand (1928-1984) and Nan Goldin (b.1953), while postmodernist portraiture is exemplified by Diane Arbus (1923-71) and Annie Leibovitz (b.1949).
Arte Povera (1966-71)
Given the name "poor art" by the Italian critic Germano Celant (who as well wrote an influential volume entitled "Arte Povera: Conceptual, Actual or Impossible Art"), Arte Povera was an anti-commercial manner of fine art that was concerned mainly with the physical qualities of the materials used. The latter typically consists of ordinary or otherwise worthless things, such equally scraps of newspapers, old clothes, world, metal fragments and so on, although in practice quite elaborate and expensive materials are sometimes used (!). Arte Povera was initiated by a group of avant-garde artists in Italia, whose members included: Piero Manzoni (1933-63), Mario Merz (1925-2003), Michelangelo Pistoletto (b.1933), Pino Pascali (1935-68), Jannis Kounellis (b.1936), Luciano Fabro (b.1936), Gilberto Zorio (b.1944) and Giuseppe Penone (b.1947). Another important figure was the Turin art dealer and promoter Enzo Sperone.
Supports-Surfaces (c.1966-72)
Supports-Surfaces was a conceptualist group of immature left-wing French artists who exhibited together from well-nigh 1966 to 1972. (The name was called rather belatedly for their bear witness "Animation, Recherche, Controntation" at the Musee d'Fine art Moderne de la Ville de Paris). Members of the group included Andre-Pierre Aarnal, Vincent Bioules, Louis Pikestaff, Marc Devade, Daniel Dezeuze, Noel Dolla, Toni 1000, Bernard Pages, Jean-Pierre Pincemin, Patrick Saytour, Andre Valensi, and Claude Viallat. The grouping aimed to divest art of its symbolic and romantic qualities - to liberate fine art from the tyranny of taste, the banality of Expressionism, the sentimentality of late Surrealism and the purity of Art Concrete, as they put it - so they deconstructed the human action of painting to its essential physical properties - the canvas and stretchers (frames). Noted for their touring outdoor exhibitions, the group employed a variety of unusual materials in their works, such as stones, waxed textile, carboard and rope, and the works themselves were often folded, crushed, burned or dyed and exhibited on the floor or hung without a frame. They issued numerous explanatory treatises and posters in an attempt to explain their actions, and published a regular journal "Peinture/Cahiers Theoretiques." In full general their works can be interpreted equally a variant of Conceptualism.
Contemporary Realism
A term used in its narrow sense to denote an American style of painting which emerged in the late 1960s and early 1970s, in the works of a variety of artists, such every bit Philip Pearlstein, Neil Wellilver and William Bailey. It is characterized past figurative works executed in a raw objective style, without the distortions of Cubist or Expressionist estimation. Contemporary Realists deliberately rejected abstract fine art, choosing instead to depict down-to-earth subjects in a straightforward naturalistic style.
In its wider sense, the term Contemporary Realism encompasses all post-1970 painters and sculptors who focus on representational art, where the object is to portray the "real" rather than the ideal. Thus genre paintings or figurative works whose subjects are depicted (eg) in a romantic or nostalgic light are excluded from this genre. At that place is no general school of Contemporary Realism every bit such, and many artists - including abstractionists - have experimented with this more traditional approach. Perhaps the near interesting exponent of Contemporary Realism is the figurative master Lucian Freud (1922-2011), whose powerful studies of the human body manage to convey both grittiness and love. For earlier styles of realist painting, see Modernistic Fine art Movements (1870-1970).
Post-Minimalism (1971 onwards)
A buzzword first used by the American fine art critic Robert Pincus-Witten when he described works by Eva Hesse equally "Mail-Minimalism" in Artforum in 1971. Hesse together with other artists were reacting confronting the rigid and impersonal ceremonial of Minimal art by focusing on the physical and artistic processes involved. This new style, known every bit "Process Art", was highy transient and utilized unstable materials which condensed, evaporated or deteriorated without the creative person having whatever command. It became a tendency as a effect of two shows in 1969: "When Attitudes Become Form" at the Berne Kunsthalle and "Procedures/ Materials" at the Whitney Museum of American Fine art in New York. Prominent Postal service-Minimalist artists, as well as Hesse, included the American sculptor Richard Serra and the German-born Conceptual artist Hans Haake.
In a broader sense, however, Mail-Minimalism (like Post-Impressionism) encompasses a number of differing styles, as well as types of painting, sculpture and other gimmicky artforms, which succeeded Minimalism in the belatedly-1960s and 1970s, and which utilise it as an aesthetic or conceptual reference point from which to develop. In very simple terms, as Minimalist artists began to take more than of a conceptual arroyo to their art and focused on carrying a unmarried truth, they gradually crossed over into Mail-Minimalism. Indeed many Conceptual artists are often spoken of as Post-Minimalists. If this sounds besides complicated, don't worry: we are at present in serious theoretical territory, involving epistemological and ontological issues which require a Masters Caste to embrace. Suffice information technology to say that Post-Minimalism (not unlike Post-Modernism) shifts the focus of art from form to prototype. How something is washed and communicated becomes as important as what is created.
Feminist Art (mid-to-late 1960s onwards)
Feminist Fine art - fine art made by women almost women's problems - emerged towards the terminate of the 1960s and explored what it was to be a woman AND an artist in a male dominated world. It commencement appeared in America and U.k., where diverse feminist fine art groups were inspired by the women'south liberation movement, earlier spreading across Europe. In comparing with the elitist formal and impersonal field of study matter pursued by male person advanced artists, piece of work by women artists offered emotion, and real-life experience. British and US feminist artists employed inherently female person symbolic forms, raising the status of so-called "female" materials and practices. They addressed fundamental gender-based issues, such equally giving birth, motherhood, and forced seduction, as well as wider concerns such as racism and working conditions. A specific style of Female fine art, the Blueprint and Ornament move, sprang up in California during the 1970s, being composed largely of women artists. They reacted against the astringent austerity of Minimalizm by juxtaposing identical or similiar patterns, and producing intense fusions of colour and texture using traditional arts and crafts techniques, like weaving, paper cutting-outs and patchwork. Their cute employ of colour was inspired by the French Fauves movement of 1900s Paris, while their geometrical and floral motifs were drawn from Islamic, Far Eastern, Celtic and Persian Fine art. Prominent feminist artists include the Americans 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 Miriam Schapiro (1923-2015), the Swedish artist Monica Sjoo, the English artist Margaret Harrison (b.1940), to proper name only a handful. In the plastic arts, one of the great feminist sculptors was Louise Bourgeois (1911-2010).
New Subjectivity (1970s)
"Nouvelle Subjectivité" was the title given by the French curator and art historian Jean Clair, to an international exhibition in 1976 at the Musée National d'Art Moderne at the Pompidou Centre in Paris. The testify featured works by American, British and European modern artists who rejected the dominant abstraction and conceptualism in mod art in favour of a return to depicting the reality of things, admitting in a modern manner. In their paintings, they were concerned with conscientious ascertainment of the existent world.
Exponents of New Subjectivity employed every format of canvass from monumental to pocket-size, and worked in acrylics, oils, and watercolours, likewise as coloured pencils and pastels. In their return to figuration and their representation of nature, they depicted views of gardens, fields, swimming pools, portraits and still lifes. Typically, they were skilled draughtsmen and academically trained painters, and constructed their paintings according to the traditional Renaissance rules of linear and arial perspective. Prominent artists associated with New Subjectivity included the English creative person David Hockney, the American creative person (agile in England) R B Kitaj, the Swiss artist Samuel Buri, and the French artists Olivier O Olivier, Christian Zeimert, Michel Parre and Sam Szafran.
London School
A term used by the American painter RB Kitaj in the catalogue of an exhibition he staged, in 1976 at the Hayward Gallery, London, when Minimalism and Conceptualism were high fashion. The evidence, entitled "Human Dirt", focused exclusively on figurative works of drawing and painting, and in the brochure RB Kitaj coined the phrase "School of London" to refer to the private artists whose works were being shown. Since then, the term London Schoolhouse has been used to refer to the group of artists associated with the metropolis at that time, who continued to do forms of figurative piece of work, in the face of the avant-garde institution. The principal artists involved in this London School, included Michael Andrews, Francis Bacon, Lucian Freud, David Hockney (though actually living in America), Howard Hodgkin, Frank Auerbach, and Leon Kossoff. As Minimal and Conceptual art began to fade in the late 1970s, a new generation of figurative painters and sculptors began to appear, who took a renewed involvement in the work of the schoolhouse. (For a brief guide to modern painters in Britain, see: Contemporary British Painting.)
Graffiti Art (1970s onwards)
Also known as "Street Art", "Spraycan Art" and "Aerosol Art", Graffiti art is a style of painting associated with hip-hop, a cultural movement which sprang upwardly in various American cities, peculiarly on New York subway trains, during the 1970s and 1980s. B-boys, the first generation of hip-hop voiced the frustrations of urban minorities in their endeavor to create their own form of fine art, a non-commercial one that did non seek to please the full general public. They employed stencils, marker pens, and aerosol spray cans, and wrote with industrial spray paint and acrylic on all types of support: stone, plaster, metal, forest, and plastic. Their "canvases" were subway trains, walls in urban areas and industrial wastelands, subways, roofs and billboards. During the 1970s, Graffiti Fine art spread to Europe and Japan and eventually crossed over from the street into the gallery. (Come across biography of Banksy, Britain's most famous graffiti stencil creative person.) The heart of the movement all the same, was New York City.
In New York an early pioneer, known past his tag TAKI 183, was a youth from Washington Heights. The first women graffiti artists were Barbara 62 and Eva 62. From 1971, artists began adopting signature calligraphic styles to distinguish their piece of work, and also began breaking into subway train depots in society to use their tag on the sides of trains - a process chosen "bombing" - with maximum effect. The train thus became their "gallery" as information technology showed their work off across the city. The size and scale of tags also increased leading in 1972 to the product of and so-called "masterpieces" or "pieces" by a graffiti sprayer known as Super Kool 223. A further development involved the inclusion of designs like polka dots, checkers and crosshatches, and before long "Pinnacle-to-bottoms" - works spanning the entire height of a subway car - began to appear, every bit well every bit scenery and cartoon characters. Gradually the mainstream art earth started to have notice. The United Graffiti Artists (UGA), a grouping founded in 1972 by Hugo Martinez, expanded its membership to include many of the leading graffiti artists, with a view to showing works in official venues, like the Razor Gallery. By the mid-1970s most of the creative standards in graffiti writing had already been established, and the genre began to stagnate. Also the NYC Metro Transit Authority began a twofold entrada to secure depots and erase graffiti on a continuing basis. Every bit a result, taggers forsook the subway and took to the streets, where their static art neccessarily received far less exposure. During the belatedly-1980s and 1990s, more artists began showing their works in galleries and renting art studios, a practice which had already started a number of years before with taggers like Jean-Michel Basquiat - now 1 of the world'south top contemporary artists - who dropped his signature SAMO (Same Old Shit), in favour of mainstream opportunities. Other famous graffiti artists include Keith Haring (1958-xc), Banksy (b.1973-4) and David Wojnarowicz (1954-92). Graffiti is a form of the larger "Street Art" movement, a fashion of outsider art created outside of the framework of traditional art venues. Information technology embraces stencil graffiti, affiche or sticker art, pop up art and street installations, including the latest video projections, yarn bombings and Lock-On sculptures. Street Art is sometimes referred to as "urban art", "guerrilla art", "post-graffiti" or "neo-graffiti".
For a listing of the top xxx postmodernist art exhibitions, biennials and fairs, please see: Best Contemporary Fine art Festivals.
Neo-Expressionism (Late 1970s onwards)
One of several styles of Postmodernism, Neo-Expressionism is a wide painting movement that appeared effectually 1980, in response to the stagnation of Minimalism and Conceptual art, whose intellectualism and self-style "purity" had dominated the 1970s but was at present beginning to get on many artists' nerves. Neo-Expressionists championed the highly unfashionable practice of fine art painting (condemned as "dead" by postmodernists) and supported everything that the Modernists had tried to discredit: figuration, emotion, symbolism, and narrative. They use sensuous colours, and incorporated themes associated with numerous historical styles and movements, such equally the Renaissance, Mannerism, Cubism, Fauvism, Surrealism, Abstract Expressionism and Pop-Fine art. Not surprisingly, in Deutschland, Neo-Expressionism was strongly influenced by earlier German Expressionist groups like Der Blaue Reiter and Die Brucke.
The motion embraced new painting in Germany past artists similar Georg Baselitz (b.1938), Jorg Immendorf, Anselm Kiefer, AR Penk, Sigmar Polke and Gerhard Richter, as well equally works by the "Ugly Realists" such as Markus Lupertz. It also covered the Neue Wilden (New Wild Ones, a reference to the 1900s manner of Fauvism or "wild beasts") whose members included Rainer Fetting. Following international shows similar "A New Spirit in Painting" (London Royal Academy, 1981) and "Zeitgeist" (Berlin, 1982), the term Neo-Expressionism began to be practical to other groups, like Figuration Libre in French republic, Transavanguardia in Italy, the "New Epitome Painters" and the so-chosen "Bad Painters." In America, the style, while popular, has not produced the same calibre of work, with the exception of artists like Philip Guston (1913-80), Julian Schnabel, David Salle and others. In Britain, the manner is exemplified by the Rubenesque nudes of Jenny Saville, that challenge notions of conventionality in the size and shape of the human torso. The rising of the motion led to the rehabilitation of several artists working in a like vein. These included Americans Louise Bourgeois, Leon Golub, and Cy Twombly; and the British artist Lucian Freud, all of whose works have been labelled Neo-Expressionist. The characterization has also been applied to sculpture. Works past sculptors similar the American Charles Simonds, the British artists Anish Kapoor and Rachel Whiteread, the Czech Magdalena Jetelova, the German Isa Genzken and Polish sculptor Magdalena Abakanowitz, all comprise Expressionist features. In architecture, the term expressionist has been applied to buildings such as the Sydney Opera House and the Guggenheim Museum in Bilbao. For more data, delight run across: History of Expressionist Painting (1880-1930) and the Expressionist Move (1880s onwards).
Transavanguardia (Trans-advanced) (1979 onwards)
The Italian fine art critic Achille Bonito Oliva used the term "Transavanguardia" (beyond the advanced) in Wink Fine art magazine in October 1979, when referring to international Neo-Expressionism. But since so information technology has been used only to depict the work of Italian artists working in the style during the 1980s and 1990s. They include Sandro Chia, Francesco Clemente, Enzo Cucchi, and Mimmo Paladino. Transavantgarde artists employed a free, figurative style of painting, with nostalgic references to the Renaissance and its iconography. They painted large-calibration works in oil, including realistic and imaginary portraits, religious and allegorical history paintings, and were inspired as well by Symbolism as well as the color palette of Fauvism. Chia incorporated Italian Mannerism, Cubism, Futurism and Fauvism in his narrative religious works; Paladino composed big mythological pictures with both geometric and figurative motifs; Cucchi produced romantic scenes of giants and mountains, inspired by Surrealism, and incorporated the utilize of extra items, made from metallic or clay, in his painted works; Clemente was noted for his self-portraiture and intimate figurative works. Their inclusion in major shows at the Kuntshalle in Basel and the Venice Biennale in 1980, and the London Royal Academy in 1981, led to solo exhibitions in both Europe and America as well as a rapid rise in the significance of the school.
Britart: Young British Artists (1980s)
The Young British Artists (YBAs) first appeared on the scene in the 1980s, and were officially recognized in 1997 in the "Awareness" exhibition. Owing much to early 20th century styles such equally Dada and Surrealism, their work is often called "Britart." The group consisted of a number of painters, sculptors, conceptual and installation artists working in the United Kingdom, many of whom attended Goldsmiths Higher in London. Its members gained considerable media coverage for their shocking artworks and dominated British art during the 1990s. Famous members include Damien Hirst (noted for The Physical Impossibility of Death in the Mind of Someone Living, a dead Tiger shark pickled in formaldehyde, and lately for his diamond studded skull For the Love of God), and Tracey Emin (noted for My Bed, a dishevelled double bed featuring some highly personal detritus).
Arguably, many YBAs would never take succeeded just for the patronage and promotion of their works by contemporary art collector Charles Saatchi, who beginning met Damien Hirst at the Goldsmiths College 1988 student exhibition "Freeze", which showcased 16 YBAs. Saatchi purchased many of the works on show. Ii years later Hirst curated two more than influential YBA shows, "Mod Medicine" and "Gambler". Saatchi attended both exhibitions and bought more than works. By 1992, Saatchi was non simply Hirst's principal patron, he was as well the biggest sponsor for other Young British Artists - a 2nd group of whom had appeared, via shows like "New Contemporaries," "New British Summer," and "Minky Manky", and included artists such every bit Tracey Emin. Concurrently, the economic recession in Britain worsened, triggering the collapse of the gimmicky art market place in London. In response, Saatchi hosted a serial of exhibitions at his Saatchi Gallery, promoting the name "Young British Art" from which the movement retrospectively acquired its identity. The first i presented the work of Sarah Lucas, Mark Wallinger, Rachel Whiteread and of course Damien Hirst, whose dead shark rapidly became the iconic symbol of Britart effectually the globe.
In 1993, the YBA Rachel Whiteread won the Turner Prize, followed in 1995 by Damien Hirst. In 1997, Young British Artists went mainstream when the London Regal Academy, in conjunction with Saatchi, hosted "Awareness", a definitive exhibition of YBA fine art, amidst no little controversy. Information technology and so travelled to the Brooklyn Museum of Fine art in New York. In 1999, Tracey Emin's piece of work "My Bed" was nominated for the Turner Prize, while in 2000, YBA exhibits were included in the new Tate Modernistic, all of which confirmed the established reputation of the group.
Run into also: Gimmicky Irish Artists and 20th Century Irish gaelic Painters.
Some prominent YBAs include: James Rielly (portraits), Keith Coventry (abstract painter), Simon Callery (urban views), Martin Maloney (Expressionist painter), Gary Hume (Minimalist), Richard Patterson (super-abstract), Fiona Rae (abstract, Pop-art), Marcus Harvey (expressionist figurative works), Ian Davenport (geometric abstraction), Glenn Chocolate-brown (sculptor and expressionist painting), and Jenny Saville (expressionist-style female bodies), several of whom are Turner Prize Winners (1984-2014).
Deconstructivist Pattern (1985-2010)
Deconstructivism is an "anti-geometric" class of 20th century architecture that first appeared in the late 1980s, in California and Europe. Profoundly facilitated by calculator software developed by the aerospace industry, deconstructivist compages espouses a non-rectilinear approach to design which frequently distorts the exterior of a structure. Deconstructivism was pioneered by the Canadian-American Frank O. Gehry (b.1929), i of the most innovative American architects of the postmodern era. Other famous practitioners have included Peter Eisenman, the firm Coop Himmelb(l)au, Rem Koolhaas and Daniel Libeskind. The all-time-known deconstructivist buildings include: the Guggenheim Museum (Bilbao), Nationale Nederlanden Building (Prague), and The Experience Music Projection (Seattle), all designed past Frank Gehry; UFA-Palast (Dresden), designed past Coop Himmelb(l)au; and Seattle Library designed past Rem Koolhaas. See also: Design Art c.1850-1970.
Body Art (1990s)
During the tardily-1960s a blazon of performance art appeared, called Body art, in which the creative person's ain body became the "canvas", so to speak, for a passive piece of work of art, or which then "performs" in a shocking manner. The most typical forms of passive body art are body painting, tattoos, nail art, piercings, confront painting, brandings or implants. The more agile performance-related types of trunk art, in which artists abuse their own body as a way of carrying their detail "artistic message", can include mutilation, drug-taking, farthermost concrete activeness, or extreme pain endurance. 1 controversial performance group was the Vienna Action group, founded in 1965 by Gunter Brus, Otto Muhl, Herman Nitsch, and Rudolf Schwartzkogler. Other famous torso artists include Michel Journiac (1935-1995), Ketty La Rocca (1938-76), Vito Acconci (b.1940), Ulay (Frank Uwe Laysiepen) (b.1943) and the extraordinary Serbian artist Marina Abramovic (b.1946).
A leading trunk painter is the New Zealander Joanne Gair (b.1958). Celebrated for her trompe-fifty'oeil body painting and make-up artistry, she is best known for 1 of her artistic female nudes, entitled "Demi Moore'southward Birthday Suit" - which appeared on the front cover of Vanity Fair magazine in August 1992. It was photographed past the contemporary photographer Annie Leibovitz (b.1949).
Chinese Cynical Realism (1990s)
Cynical Realism - a term first coined past the highly influential art critic and curator Li Xianting (b.1949) as a deliberate play on the officially sanctioned manner of Socialist Realism - describes a style of painting adopted by a number of Beijing artists in the postal service-1989 gloom following the suppression of the Tiananmen Foursquare sit-in. Its ironic, sometimes highly satirical criticism of contemporary society in China, greatly impressed Western art collectors, although information technology was and is viewed with ambivalence by Chinese art critics, who feel uncomfortable with its fame in the W. Artists associated with Cynical Realism include: Yue Minjun (b.1962), Fang Lijun (b.1963) and Zhang Xiaogang (b.1958), all of whom have sold paintings for more than than $1 1000000. The motility is related to "Political Pop" - a late-1980s form of Chinese Popular art.
Neo-Pop Fine art (late 1980s onwards)
The terms "Neo-Pop" or "Post-Pop" denote the revival of American interest in the themes and methods of the 1950s and 1960s Pop-Art move. In particular, it refers to the work of artists similar Ashley Bickerton, Jeff Koons, Alan McCollum, and Haim Steinbach. Using recognizable objects, images of celebrities (eg. Michael Jackson, Madonna, Britney Spears) as well as icons and symbols from popular culture of the 1980s and 1990s, this updated form of Pop-Fine art besides drew inspiration from Dada (in their utilise of readymades and found objects), likewise as modern Conceptual art. Archetype examples of Neo-Pop fine art are "Rat-King" (1993) a sculpture by Katharina Fritsch, and Jeff Koons 1988 sculpture "Michael Jackson and Bubbles". Like its parent way, Neo-Pop poked fun at celebrity stars, and openly questioned some of society's well-nigh precious assumptions. Koons himself achieved considerable notoriety for his height of kitsch into loftier art. His "Balloon Dog" (1994-2000) is a shiny ruby-red steel sculpture (10 feet loftier) whose detailed monumental form contrasts absurdly with the trivial nature of its subject. Other famous Neo-Pop artists included Americans Jenny Holzer, Cady Noland and Daniel Edwards; Young British Artists Damien Hirst, Gary Hume and Gavin Turk, likewise as Michael Craig-Martin, Julian Opie and Lisa Milroy; Russians Vitali Komar and Alexander Melamid; and Belgian artist Leo Coper.
Notation: I of the confusing things virtually Neo-Pop is the fact that several creators of the original 1960s and 70s Popular-art were notwithstanding creating interesting works in the 1990s. The best instance is the sculptor Claes Oldenburg (b.1929) whose behemothic-sized Pop sculptures include Complimentary Stamp (1985-91, Willard Park, Cleveland) and Apple Core (1992, Israel Museum, Jerusalem).
Stuckism (1999 onwards)
A controversial British art group, co-founded in 1999 by Charles Thomson and Billy Childish along with eleven other artists. The proper name stems from an insult to Childish delivered by British artist Tracey Emin, who advised him that his art was 'Stuck'. Rejecting the sterile nature of Conceptual art, likewise as Operation and Installation by YBAs like Emin, which they claim is essentially devoid of creative value, Stuckist artists favour a return to more painterly qualities as exemplified by figurative painting and other representational fine art. The group held numerous exhibitions in Uk during the early 2000s, including "The Starting time Fine art Show of the New Millennium" (Jan 1st 2000), and "The Resignation of Sir Nicholas Serota" (March 2000), along with several annual shows entitled "The Real Turner Prize Show", as well every bit a number of other events. The group besides in Paris, Hamburg, Cologne, Leipzig, New Jersey, New Haven USA and Melbourne Australia. Stuckism was besides featured in ii contempo books: "Styles, Schools and Movements: an Encyclopaedic Guide to Modern Fine art," past Amy Dempsey; and "The Tastemakers: United kingdom of great britain and northern ireland Art Now," past Rosie Millard. A Stuckist gallery was also opened in fundamental London. Members of the Stuckist group included, among others, Charles Thomson, Billy Childish, Beak Lewis, Philip Absolon, Sanchia Lewis, Sheila Clark, Ella Guru, and Joe Automobile.
New Leipzig School (c.2000 onwards)
Coming to public attention in the first years of the new Millenium, the New Leipzig School (in German, "Neue Leipziger Schule"), also chosen "Young German Artists" (YGAs), is a loose movement of painters and sculptors who received their preparation at the Hochschule für Grafik und Buchkunst (Academy of Visual Arts) in Leipzig, E Deutschland, where it was largely isolated from modern art trends in the West. Didactics methods were uniformly traditional, focusing on the fundamentals of traditional fine art, with heavy emphasis on draftsmanship, effigy drawing, life drawing, the apply of grids, colour theory, and the laws of perspective. Later on re-unification in 1989, the school began to teach students from all across Frg and its graduates looked for opportunities to sell their works in the West. The beginning successful creative person to emerge was Neo Rauch who was offered a solo testify at the David Zwirner Gallery in New York in 2000. His success has now opened the gates for other as talented Leipzig artists, whose works are beingness showcased in Europe and the United States. Their style is typically figurative with a potent emphasis on narrative, and is characterized by muted colours.
Classical Realism and the Postmodern Atelier Movement
The New Leipzig School is i of several contemporary centres of traditional craftsmanship. In the United States, traditional fine art painting was revitalized in the 1980s past "Classical Realism", a contemporary movement founded by Richard Lack (1928–2009), a former pupil of Boston creative person R. H. Ives Gammell (1893–1981) in the early 1950s. In 1967, he set up Atelier Lack, a training workshop modelled on the ateliers of 19th-century Paris.
Projection Art (21st Century)
Projection art - also known equally Projection mapping, or video mapping, or spatial augmented reality - is the height of postmodernist artistry. Using computerized projection engineering it needs only a surface (similar a building, church facade, tree, and so on) upon which to project the finished product. Any imagery can be mapped onto the receiving surface and the furnishings can be spectacular: information technology can literally transform an outside or indoor space, while at the aforementioned time telling a story and creating an optical feast. Famous projection artists include Paolo Buroni, Clement Briend, Ross Ashton, Jennifer Steinkamp, Andy McKeown and Felice Varini, to name but a few.
Calculator Art (21st Century)
Dating back to the Henry Drawing Motorcar, designed past Desmond Paul Henry in 1960, the term "Computer art" denotes whatever art in which computers play a meaning role. This broad definition as well embraces more conventional fine art forms that utilize computers, such every bit: computer-controlled animation or kinetic art, or computer-generated painting - as well as those forms that are based on computer software, like Deconstructivist compages. Computer art may as well exist called "Digital fine art", "Internet art", "Software art", or "Computer graphics". Pioneers of this type of art include Harold Cohen, Ronald Davis, George Grie, Jean-Pierre Hebert, Bela Julesz, Olga Kisseleva, John Lansdown, Maughan Stonemason, Manfred Mohr and Joseph Nechvatal. Afterwards digital artists included: Charles Csuri, Leslie Mezei, Frieder Nake, Georg Nees, A. Michael Noll, Nam June Paik and John Whitney. Other important inquiry pioneers included: Professor Harold Cohen, UCSD, and Ken Goldberg of UC Berkeley. The primeval exhibitions of computer art included: "Generative Computergrafik" (1965) at the Technische Hochschule in Stuttgart, Germany; "Computer-Generated Pictures" (1965) at the Howard Wise Gallery in New York; "Computer Imagery" (1965) at Galerie Wendelin Niedlich, in Stuttgart, Germany; "Cybernetic Serendipity" (1968) at the Institute of Gimmicky Arts in London. In the 21st century, reckoner art has become the latest loonshit of contemporary art - a sort of ultimate postmodernism. In fact, estimator-generated art is highly revolutionary - not least because information technology is has the capability (as artificial intelligence grows) to achieve complete artistic independence. Watch this space!
TO SEARCH FOR A PARTICULAR Move,
BROWSE OUR A-Z OF ART MOVEMENTS
• For more contemporary artists and artworks, run across: Homepage.
• For data about modern painters, see: 20th Century Irish Artists.
ENCYCLOPEDIA OF ART
© visual-arts-cork.com. All rights reserved.
tinlineundoreumse.blogspot.com
Source: http://www.visual-arts-cork.com/contemporary-art-movements.htm