Postmodern Artists

Posted by Winifred E. Torres in Postmodern
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Postmodern Artists

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Along the way, he engages the work of such thinkers as Nietzsche, Freud, Heidegger, Habermas, Lacan, Barthes, and Derrida; visual artists Magritte and Stella; poets Georg and Coleridge; and composers Schonberg, Cage, and Reich, among others This book examines the parallel yet highly original evolution of Australia's leading appropriationist, Imants Tillers.working through that confusion that is interesting. Students like the notion of artists doing such radical and revolutionary things to objects. Picasso and Pollock are the two Big P's of modernism; Pollock being the full stop of modernism with his destruction of the image is seen by students as fascinating. They also find the lives of the artists intriguing. Postmodernism can

appear.threatening and I always look at it as an age of cynicism and questioning. The positive part of postmodernism is At the same time that high art proved itself safely cornered and sanitized, popular art forms based on radio, film, television, advertising, and comics thoroughly saturated U.S. culture. Rather than snobbishly dismissing these "low culture" forms, artists of the 1960s embraced them as a refreshing alternative to high culture and assimilated their forms into their work. Where modern artists were typically insular, obscure, and idiosyncratic in their work, postmodern artists began to speak in This book presents an indepth overview of the arts from the postwar period in Europe and the United States to

today,.from analysis of the pictorial languages of the leading masters of the second half of the 20th century, including the As a result, postmodern artists, however ingenious and inventive theirworks might be, are unable to establish and maintain a distinctive and easily identifiable personal style in the modernist sense. Instead, postmodern artists ''have nowheretoturnbut tothepast: theimitation of deadstyles,speech through all the masks and voices stored up in the imaginary museum of a now global culture'' (Postmodernism, 17–18). Postmodern artistic creativity, then, resides not in the production of The postmodern artistic production that emerged from this bubbling cauldron of theoretical musings sought to

transcend.modernist elitism and conflate "high" and "low" cultural forms while concurrently embracing tradition and using it in playful and ironic ways. In this mode postmodernists used pastiche with its patchwork and collage of ideas and images. Often the ideas and images put together were ostensible oppo sites — old and new, "high culture" and "low culture," progressive Art had become its own world, its own business, and with the slogan “art for art's sake” (unthinkable in a premodern context), its own end. This collection of attitudes toward artists and art—thinking of artists as geniuses of originality, and art as its own privileged cultural sphere—predictably fostered a

certain.highbrow selfimportance among artists and other members of the “art world.” Postmodern art and artists are a reaction to the modern art scene. Postmodern artists reject the It uses the works of two postmodern artists, Cindy Sherman and Mona Hatoum to show how two apparently irrelevent artists can be used to illustrate the use of death as a metaphor.Many excellent artists could hardly give their work away, much less sell it. When I was in art school in the 1950s everyone knew the same small handful of modern artists: giants such as de Kooning, Kline, and Pollack. That attitude, however, is inconsistent with today's art. Today's art students may know a few postmodern artists, but each student may well have heard of

an.entirely different set of artists. The artists that one student names may well be entirely unfamiliar to another.

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