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and whether it should begin directly after the High Renaissance or later in the
century. He makes the point that these debates go on all the time with respect to
art movements and periods, which is not to say that they are not important.[11]
The close of the period of postmodern art has been dated to the end of the
1980s, when the word postmodernism lost much of its critical resonance, and art
practices began to address the impact of globalization and new media.[12]
American Marxist philosopher Fredric Jameson argues that the condition of life
and production will be reflected in all activity, including the making of art.
Jean Baudrillard has had a significant influence on postmodern-inspired art and
has emphasised the possibilities of new forms of creativity.[13] The artist Peter
Halley describes his day-glo colours as "hyperrealization of real color", and
acknowledges Baudrillard as an influence.[14] Baudrillard himself, since 1984,
was fairly consistent in his view that contemporary art, and postmodern art in
particular, was inferior to the modernist art of the post World War II period,[14]
while Jean-Franois Lyotard praised Contemporary painting and remarked on its
evolution from Modern art. [15] Major Women artists in the Twentieth Century
are associated with postmodern art since much theoretical articulation of their
work emerged from French psychoanalysis and Feminist Theory that is strongly
related to post modern philosophy. [16][17]
As with all uses of the term postmodern there are critics of its application. Kirk
Varnedoe, for instance, stated that there is no such thing as postmodernism,
and that the possibilities of modernism have not yet been exhausted.[18]
Though the usage of the term as a kind of shorthand to designate the work of
certain Post-war "schools" employing relatively specific material and generic
techniques has become conventional since the mid-1980s, the theoretical
underpinnings of Postmodernism as an epochal or epistemic division are still
very much in controversy.[19]
[edit] Defining postmodern art
Postmodernism describes movements which both arise from, and react against
or reject, trends in modernism.[20] Specific trends of modernism that are
generally cited are formal purity, medium specificity, art for art's sake,
authenticity, universality, originality and revolutionary or reactionary tendency,
i.e. the avant-garde. However, paradox is probably the most important modernist
idea against which postmodernism reacts. Paradox was central to the modernist
enterprise, having been introduced by Manet. Manet's various violations of
representational art brought to prominence the supposed mutual exclusiveness
of reality and representation, design and representation, abstraction and reality,
and so on. The incorporation of paradox was highly stimulating from Manet to
the conceptualists.
[29] Later, Peter Brger would make a distinction between the historical avantgarde and modernism, and critics such as Krauss, Huyssen, and Douglas
Crimp, following Brger, identified the historical avant-garde as a precursor to
postmodernism. Krauss, for example, describes Pablo Picasso's use of collage
as an avant-garde practice that anticipates postmodern art with its emphasis on
language at the expense of autobiography.[30] Another point of view is that
avant-garde and modernist artists used similar strategies and that
postmodernism repudiates both. [31]
[edit] Dada
Main article: Dada
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Steiglitz
In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. His
point was to have people look at the urinal as if it were a work of art, because he
said it was a work of art. He referred to his work as "Readymades". The
Fountain, was a urinal signed with the pseudonym R. Mutt, that shocked the art
world in 1917. This and Duchamp's other works are generally labelled as Dada.
Duchamp can be seen as a precursor to conceptual art. It is questionable, to
some, whether Duchampwhose obsession with paradox is well knowncan
be called postmodernist on only the grounds that he eschews any specific
medium, since paradox is not medium-specific, although it arose first in Manet's
paintings.
Dadaism can be viewed as part of the modernist propensity to challenge
established styles and forms, along with Surrealism, Futurism and Abstract
Expressionism.[32] From a chronological point of view Dada is located solidly
within modernism, however a number of critics have held that it anticipates
postmodernism, while others, such as Ihab Hassan and Steven Connor,
consider it a possible changeover point between modernism and
postmodernism.[33] For example, according to McEvilly, postmodernism begins
with the realization that one no longer believes in the myth of progress, and that
Duchamp sensed this in 1914 when he changed his modernist practice to a
postmodernist one, "abjuring aesthetic delectation, transcendent ambition, and
tour de force demonstrations of formal agility in favor of aesthetic indifference,
acknowledgement of the ordinary world, and the found object or readymade."[8]