Postmodern Art Research Articles

Pictures and the past: Media, memory, and the specter of fascism in postmodern art By AlexanderBigman, Chicago, IL: University of Chicago Press. 2024. pp. 256. £26.97(hbk)

Pictures and the past: Media, memory, and the specter of fascism in postmodern art By AlexanderBigman, Chicago, IL: University of Chicago Press. 2024. pp. 256. £26.97(hbk)

Effect Program Educational Based on According to Raigloth Expansion Theory in Teaching Post-Modern Arts for Students of the Institute of Fine Arts

General Background: The evolving landscape of postmodern art necessitates innovative educational approaches to equip students with the skills and knowledge required to navigate this complex field. Specific Background: This research investigates the impact of an educational program grounded in Reigeluth's expansive theory on the teaching of postmodern art at the Institute of Fine Arts in Baghdad. Prior studies have highlighted the need for effective instructional designs that engage students and enhance their cognitive achievements. Knowledge Gap: Despite the proliferation of educational theories, there remains limited empirical evidence on the effectiveness of expansive instructional design in the context of postmodern arts education. Aims: This study aims to assess the effectiveness of an expansive educational program on students' cognitive achievement in postmodern art compared to traditional teaching methods. Results: Utilizing an experimental design with two equivalent groups, the findings reveal statistically significant differences (p < 0.05) in post-test scores favoring the experimental group that engaged with the educational program based on Reigeluth's theory. Novelty: This research contributes to the literature by demonstrating that an expansive instructional approach can significantly enhance students' understanding and appreciation of postmodern art. Implications: The results underscore the necessity for art education curricula to incorporate innovative instructional designs that foster deeper cognitive engagement and mastery of complex artistic concepts. By bridging the gap between theory and practice, this study offers valuable insights for educators seeking to improve instructional effectiveness in the rapidly evolving domain of postmodern art. Highlights: Impact of expansive design on cognitive achievement in postmodern art. Controlled study shows significant differences in student performance outcomes. Innovative teaching methods enhance student engagement and understanding. Keywords: postmodern art, educational program, Reigeluth's theory, cognitive achievement, instructional design

Conceptualism of Sculpture Films of the 1970s–1980s in the Experimental Field of “Expanded Cinema”

The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.

The Nihilism and Its Reflections in the Works of Jackson Pollock

The current research addresses Nihilism in the Works of Jackson Pollock, exploring the concept of nihilism in philosophical thought. The research consists of four chapters. The first chapter focuses on the methodological framework, which includes the research problem formulated in response to the following question: 1. Did nihilism influence Jackson Pollock's works? The first chapter also outlines the research objective: 1. To reveal the reflections of nihilism in Jackson Pollock's paintings. The research scope is limited to studying the concept of nihilism in Pollock's paintings and analyzing visual samples of his artworks, which appeared in the United States and Europe, using the descriptive-analytical method. The second chapter presents the theoretical framework, divided into two sections. The first section discusses nihilism philosophically, while the second section addresses nihilism in postmodern art. The second chapter concludes with theoretical framework indicators. The third chapter includes the research procedures, covering the research population, sample, and research tool, followed by the analysis of three selected artworks. The fourth chapter presents the research results and conclusions, along with recommendations and suggestions. The research concludes with references and appendices.

A Changing Representation: “Personal Writing” in Artistic Intervention in Chinese Rural Communities

As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct “good cultural governance” or “good cultural taste,” the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering “rural problem” under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive “thing,” and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities.

Your Digital Graveyard: Sound, Toilets and Participatory Post-Internet Practice in Scrape Elegy

Scrape Elegy is a participatory multimedia art installation designed as a critical exploration of our presence on and engagement with social media. The work uses sound, a physical installation in the form of a pink public toilet, and participatory practice through visitors’ Instagram accounts. It joins the postmodern art procession of toilet-based installations and plays on the aesthetics of the banal (Maffesoli 1999) as a critique of society, much like such works as Maurizio Cattelan’s America (2016) and Gelitin’s Locus Focus (2004). It calls attention to the ethical issues surrounding data scraping technology by using the very same technology to read visitors’ Instagram captions from their accounts back to themselves. Sound becomes the medium for self-representation, subverting the text- and photo-based platform of Instagram. The work is personal and user-specific, using parasitic platform practices to create a critique of modern internet capitalism and tech oligarchies (Sætra et al. 2021). Scrape Elegy is a comedic mourning poem, a monologue, and a private show for the individual in a commercialized, globalized, corporate, pink Instagram world. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="/profile/download-media?work=2936353&file=2936355" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a>

المردود القبيح للمتغيرات الفلسفية والاجتماعية في فنون ما بعد الحداثة

The Ugly Consequence of Philosophical, and Social changes in Postmodern Art has had a profound impact on Art, Thought, and Culture by challenging established Beliefs, and raising questions about the nature of Reality, and Knowledge. And as a Reflection of those changes that occurred in the twentieth century, The Arts in turn rejected traditional concepts such as objective truth, absolute meaning, and classical beauty, and adopted Pluralism, Deconstruction, Uncertainty, Decentralization, Individualism, and Futility over Philosophical Thought, resulting in fragmented and chaotic Artistic Expression, and emphasised criticism and questioning traditional Beliefs and Values, resulting in Art that is often critical and controversial. Postmodern art has embraced Cultural Pluralism by attempting to blend different values to express Social Conditions, and has completely distanced itself from Abstraction. Postmodern concepts have been formulated on the basis of a critique of modernism, which was based on the idea of the existence a History of Thought that moves usually on the basis of possessing understandable Concepts as complete Origins, and in Postmodern Art we found out a return to representational language, and differentiated consistency that suits different tastes as it carries different messages, and artistic trends became more interactive with Society and the Public, which gives the Artwork the characteristic of spread and integration with the surrounding environment, whether Social, Cultural, Economic, or Political. These changes have also led to diverse Arts that are rich in experiences, but are often difficult to understand and unconventional, which have led to criticism of these arts for being elitist and chaotic, yet they have contributed to the development of new and interesting Art Forms. In conclusion, Philosophical and Social Changes have played an important role in the formation of Postmodern Art, and the emergence of many new features accompanied by some negative consequences.

GENRE-STYLE CONSTANTS OF CHAMBER SYMPHONY BY E. STANKOVYCH

The originality of the creative handwriting of Ukrainian composers of the end of the ХХ and the first quarter of the ХХІ century is becoming an urgent research problem of our time. A large number of components of the musical language of artistic compositions, understanding of new value orientations, genre-style synthesis - these and other features constitute the poetics of the work of domestic artists of the mentioned period. E. Stankovych took an active place among the constellation of Ukrainian composers of the end of the 20th and the first quarter of the 21st century. The article emphasizes that the chamber symphony genre in the composer's work shows the peculiarities of his creative handwriting. It was determined that the composer's legacy of E. Stankovych, in particular the study of his chamber symphonies, is a production for the training of teachers of artistic disciplines. After all, chamber symphonies reflect constant reforms in the field of musical language and composer's thinking. The purpose of the research is to identify genre and stylistic features of chamber symphonies by E. Stankovych. To achieve the goal, historiographical, genre-stylistic and comparative research methods were used. The genre-style model of E. Stankovich's chamber symphonies shows the specificity of postmodern art, which takes place in genre synthesis, understanding the semantic potential of timbre, and transformation of images. Fifteen chamber symphonies of E. Stankovych have a common principle of construction, which gives grounds for confirming the opinion about the emergence of the author's metastyle.

“GOOD GIRLS AND BAD WOLVES?” - A READING OF BLURRED GENDER ROLES AND PARENTHOOD IN THE GRAPHIC NARRATIVES OF THE RED RIDING HOOD

Though not so iconised and popularized as the other fairy tales characters such as Cinderella, Snow White, or Beauty and the Beast, Little Red Riding Hood has seen multifarious subversive revisions and adaptations in modern and postmodern art and literature. The role of motherhood is inextricable from the traditional narratives of the fairy tales; nonetheless, the recent retellings of the story in fiction, poetry, and notably in graphic narratives show a blurring of the gender archetypes. This paper analyzes the blurring of gender boundaries and parenthood in the graphic retelling of the popular fairy tale, Red Riding Hood, namely The Little Red Wolf by Amélie Fléchais, “Red” by Teloka And Pi, and Emily Carroll’s short comics “In Conclusion” and “His Face All Red”. These graphic narratives will be analyzed with the theoretical discourses of Julia Kristeva, Luce Irigaray, and Marina Warner.

Chinese Mythological Elements and Contemporary Art Works

"Contemporary art" is an "alternative construction" that seeks a way out in the context of "modernity". It is a work of art constructed using the way of thinking of contemporary people; it is the development of post-modern art and continues after modern art and is derived from it; it is a new concept, new form, and new path. Chinese totem aesthetic art has substantial symbolic value and significance. Among the art categories, dance dramas with mythological themes deeply explore elements of various regions, ethnic groups, and dance types and incorporate traditional dance vocabulary. A large amount of vocabulary is used in dance dramas with mythological themes. This vocabulary not only makes the dance dramas present a unique national style but also sorts out and excavates the cultural relics of different mythological themes, effectively promoting the fullness of dance dramas with mythological themes.

UNDERSTANDING POSTMODERNISM THROUGH THE THEORIES OF LYOTARD AND BAUDRILLARD

This article studies the profound transformations ushered in by postmodernism in the mid-20th century, focusing on its impact on culture, truth, representation, and the traditional understanding of knowledge. Contrary to the view of postmodernism as a linear progression from modernism, we explore the perspectives of Jean-Francois Lyotard and Jean Baudrillard, presenting it as a cyclical moment within the continuous innovation of high modernism. Lyotard redefines the role of postmodern artists and writers as akin to philosophers, liberated from pre-established norms and engaged in a perpetual quest fornew rules within their works. Baudrillard’s insights into the evolution of science fiction reflect a broader postmodern reevaluation of reality as fragmented and simulacral. Furthermore, we address the so-called crisis of representation identified by Lyotard, challenging the realistic epistemology that views knowledge and art as mirrors of an external reality. By examining fragmented narration in literature, we propose a more inclusive approach to representing the multifaceted nature of reality. This article contributes to the understanding of postmodernism, highlighting its significance in redefining cultural expressions and our approach to knowledge and representation.

Technical innovation in the art of hyper-realism

In the period following World War II, a postmodern period in which cultural activity increased and the creation of new characteristics and patterns of form in social and economic life and is no longer the old artistic pressure is dominant, but the media, technology and the market and called the community the term consumer or multinational capitalism emerged new movements, including the art of hyperrealism subject of research has included the first chapter of the research problem, which ended with the following question:(what is the property of technical renewal brought by excessive realism)The aim of the study was to know the renewal in the art of hyperrealism and the techniques used in the works of art, the limits of the research included models of the art of hyperrealism for the period(1969/1979) in Europe/ America. The second chapter included two sections, the first dealt with intellectual and cultural transformations and their impact on postmodern arts and the second came on two axes, the first; the points of difference between the original image and the imaginary image and its relationship to the art of hyperrealism, and the second: the artistic characteristics of hyperrealism and its artists. In the third chapter, the research procedures, where the descriptive approach was relied on to analyze the sample taken from the research community, which is a set of works that have been viewed through books and scientific sources and the selection of a sample representing the subject in an intentional manner amounted to 3 drawing works with the use of the observation tool and what was stated in the indicators for analysis. Keywords: renewal, technical, art, realism, excessive.

The Technical Dimension of the Works of Artists Robert Rauschenberg and Jasper Johns

The research entitled (The Technical Dimension of the Works of Artists Rauschenberg and Jasper Jones) dealt with the nature of the concept of technology and the mechanisms of its operation in plastic art, The research come in four chapters. The first chapter: The methodological framework of the research, in which the research problem was presented, the importance of research and the need for it, and the goal and limits of the research. As for the second chapter; The theoretical framework, it contained two sections, The first section focused on technology, its concept and its transformations in the history of art, The second section dealt with (the experience of Robert Rauschenberg and Jasper Johns). The third chapter was concerned with research procedures, where the researcher presented the method used, and the research tool, community, and sample of (3) are a model. As for the fourth chapter, it included the results, conclusions, proposals, and recommendations, and the most important of these results reached by the researcher are: 1- Robert Rauschenberg and Jasper Johns used the collage technique (mixed medium), where the artist created multiple processes between gluing, composition, and color painting, thus presenting mutually reinforcing techniques within one visual field. 2- Most postmodern artists invested in disparate ready – made objects to develop them through color, collage, composition, printmaking, photography, and other techniques, as in models (1,2,3).

АРТ-ИНВЕСТОР НОВОГО ПОКОЛЕНИЯ: СИСТЕМА ИНВЕСТИЦИОННОЙ ОЦЕНКИ ТВОРЧЕСТВА ХУДОЖНИКОВ (SIECA)

Modern art is dynamic and sometimes unpredictable, even for professionals. This increases risks and opens up new opportunities for investment in art objects by postmodern artists. The process of making financial decisions in the art market requires a special approach and consideration of many factors. In this article, we consider the system for evaluating the work of contemporary artists, which can be useful in making decisions and justifying the choice of objects for financial investments. The article analyses the problem of the modern art market. In the course of the study, a comprehensive analysis of the main trends in modern visual art was carried out. This analysis includes a presentation of the System of Investment Evaluation of the Creativity of Artist (SIECA) programme.

Повесть А. Г. Битова «Человек в пейзаже» (1983): сюжет ментальных блужданий в поисках сущности искусства и смысла бытия

A significant place in the legacy of Andrey Bitov (1937−2018), a contemporary Russian writer, is occupied by analytical essayist prose. His natural philosophy tetralogy “The catechumen” (1971−2011) portrays the travels of the protagonist as a metaphor for the sensory and mental comprehension of reality and the world picture embodiment in the text. The story “Man in the landscape” (1983) involves an acquaintance with an artist, who leads the lyrical hero, a travel writer, into provocative “Socratic dialogues” interpreted as a space of metaphysical quests. The marginal adventures turn out to be a philosophical experiment, a revelation of free thought in the circles of the search for truth. This version of the evolution of artistic forms, starting from primordial mimetism and Renaissance humanism, comprehends the non-classical worldview of the 20th century. This happens not in iconic postmodern art but in the modernist transcendence of the Here-Being. The sequence of loci of the journey takes the hero from the sacred space to the infernal, increasing the semantics of the art phenomenon not only with creative but also with destructive aspects (“art” as “temptation”), strengthening the existential anxiety as a “concern for being.” Salvation is seen as the path of grateful contemplation of the Creation, embodying the essence of the Creator’s plan and testament, helping Him overcome his loneliness. The Being comprehends itself in the mirror of the text, understood as an act of acceptance of life.

The dialectic of form and meaning in postmodern art

Some have considered the dialectic in form and meaning from different points of view, and dismantled them from each other, and this view is correct if we adopt according to the logic of Aristotle when it comes to dialectic, the dialectic of form and meaning has different aspects and does not share a single line in terms of conceptual meaning, the form is the appearance What the recipient sees with the help of cognitive tools, the content or content is the mental meaning, which in turn depends on his own tools, and to this extent this view is correct, and the intellectual content or meaning of the artwork or the human message that the artist wants to convey to the viewer.The research included four chapters. The first chapter included the research problem, which was determined by the following question: How effective is the dialectic between form and meaning?And the importance of research and the need for it 1- The mutual relationship between form and meaning helps to develop the artistic taste of the recipient through dealing with artwork and other artwork.2- The dialectic in form and meaning contributes to the artistic taste of the recipient.As for the goal of the research: The current research aims to define the dialectic of form and meaning in postmodern art.And the limits of the research: 1- Objective limits: The current research is determined by studying (the dialectic in form and meaning in postmodern art) and all the products classified under this art according to its different raw materials and implementation techniques. 2- Temporal borders: (1959-2020). 3- Spatial borders: (Europe - America).As for the second chapter, it included two topics. The first topic dealt with the dialectic between form and meaning, and the second topic included postmodern currents. As for the third chapter, it included research procedures, and the fourth chapter dealt with the conclusions 1- The creativity and innovation of minimalist artists contributed to spreading this art in America and Europe, as it had its mechanisms, methods, and techniques at all artistic levels.2- Leaving the familiar outside and diving deeply into the interior was a concept that minimalist art worked on in all directions, which led to a close relationship between form and meaning in this art.Recommendations1- Acceptance of postmodern art, especially minimalist art, as a systematic course in universities and related art institutions for its artistic, philosophical and scientific importance.2- Enriching libraries with collections of books that document these artistic fields in proportion to the status of culture and art in the eyes of the students of these faculties.Suggestions 1- A comparative study on the reciprocity of forms and meanings between postmodern art trends.2- The interchangeability of form and meaning in contemporary Iraqi art.

Hybridity and the Unifying Space of Painting: Larry Abramson in Conversation with Theolonius Marx

Abstract While the drive toward homogeneous and pure visual languages was at the foundation of early twentieth-century utopian modernist art systems, the Dadaist and Surrealist reaction to this utopianism took the form of extreme and often violent hybridity. Marcel Duchamp's 1913 “readymade” of a bicycle wheel placed atop a kitchen stool is a paradigmatic manifestation of the linguistic hybridity characteristic of post-utopian twentieth-century art. In the 1920s Francis Picabia made paintings constructed of separate and discrete layers of images, which, when viewed together, produced an unsettling visual “monster.” Picabia's practice of superimposition was a significant forerunner of prevailing contemporary practices in postmodern painting. In his essay “Postmodernism, or the Cultural Logic of Late Capitalism,” philosopher Fredric Jameson (1991) identifies pastiche as one of the main characteristics of cultural production in the age of postmodernism. Pastiche is defined as a work of art consisting of motifs borrowed from one or more sources, an incongruous hodgepodge of materials, forms, and images. In this age of pastiche, what are the options open to artists—to endlessly quote, imitate, or parody existing images and styles, or to construct a new and significant system of meaning? To discuss the centrality of the principle of hybridity in postmodern art—and in my own artistic practice of the past fifty years—I summoned Theolonius Marx, a fiction of my imagination who helped me handle the dilemmas of conceptual art in the 1970s. In this “conversation,” Theolonius and I ponder how hybridity has placed a challenge to utopian modernist concepts, and what the conditions are for it to thrive today as a relevant and sustainable medium.

Intertextuality in Arts and Literature: A Postmodern Phenomenon

This paper explores different types of intertextuality in postmodern art and literature. There is no work individually complete and self-iconic; rather, each work achieves a new reality conveying the influence of other contemporary or previous works and authors. The literary works in any genre of one decade keep a certain connection which is intertextual net. The authors, consciously and unconsciously, bring up explicit and implicit references of other works glorifying or mocking the past works. Though a work can be representation of any fact or social reality, it must be a product of the imitation of multiple imitations and gets a state which leaves no connection with its origin. Therefore, any work cannot be considered as complete without the influence of other works. Every artistic work is influenced by other previous works and bears intertextual elements. It is a qualitative research based on content analysis method. This research brings out different types of intertextual elements in arts and literature from postmodern perspective.

Precarious ground

The construction of Flevoland is the largest land reclamation project in the Netherlands to date. Its completion around 1970 coincided with the emergence of a new postmodern art form, Land art. In Flevoland, the abundance of empty space and the desire to promote and give meaning to the new land gave rise to a remarkable collection of site-specific Land art pieces, created by internationally renowned artists on behalf of local governments. This essay unravels the stories these Land art pieces tell about the polders in which they are located. The artworks refer to the history of the man-made landscape and draw our attention to its qualities. But they also express the ambivalent feelings that polder landscapes evoke. In addition to an optimistic pioneering spirit and admiration for the skills of the Dutch hydraulic engineers, the works are also about human conceit and the sheer power of nature. They remind us that we are on precarious ground.

초국적 문화 시장 속 내셔널 시네마 재점검하기

The purpose of this paper is to problematize the critical and research landscape that anchor Edward Yang's films within the framework of national cinema, based on a post-colonial Marxist perspective. The success of the Taiwanese New Wave was influenced not only by the anti-colonial movement but also by marketing strategies within the postmodern art market. Furthermore, there was a process of responding to the new nation's desire for profit through the export of goods in the international market. Therefore, this paper aims to explore a new perspective in interpreting Edward Yang's films as national cinema, while also revealing aspects that have been concealed by the logic of criticism and the market surrounding his films. To achieve this, the paper focuses on new character types in his films since the 1990s, suggesting that his films may reproduce the culture of patriarchal bourgeois families. Thus, this paper aims to indicate that the concept of national cinema can solidify its privileged position within the nation and suppress diversity, when studying national cinema in the era of transnational capitalism.