Movements in postmodern art

New Classicism
The clear distinction between what defines modern art, with its constant reinvention, and the return to
classical painting and sculpture is a central movement in postmodernism. Chief among the proponents
of this aspect of postmodernism is the Art Renewal Center with its staunch rejection of all art it
perceives to be modern. This movement is often referred to as classical realism.
Conceptual art

Lawrence Weiner, Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art
Center, Minneapolis, 2005.
Main article: Conceptual Art
Conceptual art is sometimes labelled as postmodern because it is expressly involved in deconstruction
of what makes a work of art, "art". Conceptual art, because it is often designed to confront, offend or
attack notions held by many of the people who view it, is regarded with particular controversy.
Precursors to conceptual art include the work of Duchamp, John Cage's 4' 33" which is four minutes
and thirty three seconds of silence and Rauschenberg's Erased De Kooning Drawing. Many conceptual
works take the position that art is created by the viewer viewing an object or act as art, not from the
intrinsic qualities of the work itself. Thus, because Fountain was exhibited, it was a sculpture.
Installation art
Main article: Installation art

John Fekner © 1979-1990 Wheels Over Indian Trails, Long Island City, NY. Pulaski Bridge overpass
at the Queens Midtown Tunnel
An important series of movements in art which have consistently been described as postmodern
involved installation art and creation of artifacts that are conceptual in nature. One example being the
signs of Jenny Holzer which use the devices of art to convey specific messages, such as "Protect Me
From What I Want". Installation Art has been important in determining the spaces selected for
museums of contemporary art in order to be able to hold the large works which are composed of vast
collages of manufactured and found objects. These installations and collages are often electrified, with
moving parts and lights.
They are often designed to create environmental effects, as Christo and Jeanne-Claude's Iron Curtain,
Wall of 240 Oil Barrels, Blocking Rue Visconti, Paris, June 1962 which was a poetic response to the
Berlin Wall built in 1961.
Lowbrow art
Main article: Lowbrow (art movement)
Lowbrow is a widespread populist art movement with origins in the underground comix world, punk
music, hot-rod street culture, and other California subcultures. It is also often known by the name pop
surrealism. Lowbrow art highlights a central theme in postmodernism in that the distinction between
"high" and "low" art are no longer recognized.
Performance art
Main articles: Performance art and List of performance artists
Intermedia and multi-media
Main article: Intermedia
Another trend in art which has been associated with the term postmodern is the use of a number of
different media together. Intermedia, a term coined by Dick Higgins and meant to convey new artforms
along the lines of Fluxus, Concrete Poetry, Found objects, Performance art, and Computer art. Higgins
was the publisher of the Something Else Press, a Concrete poet, married to artist Alison Knowles and
an admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the confusion
of realms," in his list of the characteristics of postmodern art.[51] One of the most common forms of
"multi-media art" is the use of video-tape and CRT monitors, termed Video art. While the theory of
combining multiple arts into one art is quite old, and has been revived periodically, the postmodern
manifestation is often in combination with performance art, where the dramatic subtext is removed,
and what is left is the specific statements of the artist in question or the conceptual statement of their
action. Higgin's conception of Intermedia is connected to the growth of multimedia digital practice
such as immersive virtual reality, digital art and computer art.
Appropriation art and neo-conceptual art

Philip Taaffe, We Are Not Afraid, 1985.

Main articles: Appropriation art and Neo-conceptual art
In his 1980 essay The Allegorical Impulse: Toward a Theory of Postmodernism, Craig Owens
identifies the re-emergence of an allegorical impulse as characteristic of postmodern art. This impulse
can be seen in the appropriation art of artists such as Sherrie Levine and Robert Longo because,
"Allegorical imagery is appropriated imagery." [52] Appropriation art debunks modernist notions of
artistic genius and originality and is more ambivalent and contradictory than modern art,
simultaneously installing and subverting ideologies, "being both critical and complicit."[53]
Neo-expressionism and painting
Main article: Neo-expressionism
The return to the traditional art forms of sculpture and painting in the late 1970s and early 1980s seen
in the work of Neo-expressionist artists such as Georg Baselitz and Julian Schnabel has been described
as a postmodern tendency,[54] and one of the first coherent movements to emerge in the postmodern era.
[55] Its strong links with the commercial art market has raised questions, however, both about its status
as a postmodern movement and the definition of postmodernism itself. Hal Foster states that neo-
expressionism was complicit with the conservative cultural politics of the Reagan-Bush era in the U.S.
[47] Felix Guattari disregards the "large promotional operations dubbed 'neo-expressionism' in

Germany," (an example of a "fad that maintains itself by means of publicity") as a too easy way for
him "to demonstrate that postmodernism is nothing but the last gasp of modernism."[5] These critiques
of neo-expressionism reveal that money and public relations really sustained contemporary art world
credibility in America during the same period that conceptual artists, and practices of women artists
including painters and feminist theorists like Griselda Pollock[56][57], were systematically reevaluating
modern art.[58][59] [60] Brian Massumi claims that Deleuze and Guattari open the horizon of new
definitions of Beauty in postmodern art.[61] For Jean-François Lyotard, it was painting of the artists
Valerio Adami, Daniel Buren, Marcel Duchamp, Bracha Ettinger, and Barnett Newman that, after the
avant-garde's time and the painting of Paul Cézanne and Wassily Kandinsky, was the vehicle for new
ideas of the sublime in contemporary art.[62][63]

Contemporary artist- Dipo Andy (born in subawa)

-with countless exhibitions and countable awards