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Relevant bibliographies by topics / Postmodernism (Art)

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Academic literature on the topic 'Postmodernism (Art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Postmodernism (Art)"

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Isıtman, Odul. "The lord of the postmodernity: Plagiarism." Global Journal of Arts Education 8, no. 2 (May 25, 2018): 84–90. http://dx.doi.org/10.18844/gjae.v8i2.3798.

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Today's art, which is dominated by postmodernism, evolves into a completely different sense of art that reverses the system over its own weapon and changes all the known values of art. Postmodern art, which focuses on questions about what is the thing that is art, canalises itself into citations and compilations which turn into imitation, appropriation, pastiche or plagiarism. While postmodernism turns into a kind of citation and compilation aesthetics; imitation, which is at the centre of the questions related to what is the thing that is art, becomes the strategy of postmodernism. The article titled ‘The Lord of the Postmodernity: Plagiarism’ is about the transformation of an art object into an art material or the re-presentation of it in today's sense of art which extends from imitation, appropriation and pastiche to plagiarism.Keywords: Postmodernism, plagiarism, power, imitation, appropriation, art, pastiche.

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Wheeler, Wayne, and John Roberts. "Postmodernism, Politics and Art." Contemporary Sociology 20, no. 4 (July 1991): 611. http://dx.doi.org/10.2307/2071857.

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Xu, Q., and M. R. Chernaya. "Postmodernism as an Art Style." Университетский научный журнал, no. 51 (2019): 48–54. http://dx.doi.org/10.25807/pbh.22225064.2019.51.48.54.

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Rusin, R. M. "POSTMODERN AS AN ARCHITECTURAL PRACTICE." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 89–94. http://dx.doi.org/10.17721/ucs.2020.1(6).17.

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Of all movements in art and architecture history, postmodernism is perhaps the most controversial. Postmodernism was an unstable mix of the theatrical and theoretical. It was visually thrilling, a multifaceted style that ranged from the colourful to the ruinous, the ludicrous to the luxurious. What they all had in common was a drastic departure from modernism's utopian visions, which had been based on clarity and simplicity. The modernists wanted to open a window onto a new world. Postmodernism, by contrast, was more like a broken mirror, a reflecting surface made of many fragments. Its key principles were complexity and contradiction. In the architecture of postmodernism in the 1970s and 1990s saw widespread experimentation with architectural styles from the past that modernism had excluded. Postmodernism lived up to its central aim: to replace a homogenous idiom with a plurality of competing ideas and styles. Postmodernism shattered the established ideas about style. It brought a radical freedom to art and architecture, through gestures that were often funny, sometimes confrontational and occasionally absurd. Most of all, the architecture of postmodernism brought a new self-awareness about style itself. When architects began using high-powered software created for the aerospace industry, in the design phase, computer programs can organize and manipulated the relationships of a building's many interrelated parts. In the building phase, algorithms and laser beams define the necessary construction materials and how to assemble them. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. The main characteristics of postmodernism in its various manifestations are highlighted, such as absolute relativism, the denial of truth as a metaphysical false value, the existence of which is nonsense, a manifestation of a totalitarian type of thinking.

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Rusin, R. M. "POSTMODERNISM: AESTHETICS AND THE ART OF VIRTUALITY." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 67–69. http://dx.doi.org/10.17721/ucs.2019.1(4).13.

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At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmod- ernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer tech- nology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of indi- vidual creation.

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Ershova, Iuliia. "The technique of postmodernist simulation game in the novel “Supernova: The Knight, The Princess, and The Falling Star” by Indonesian writer Dewi Lestari (2001)." Litera, no. 5 (May 2021): 88–96. http://dx.doi.org/10.25136/2409-8698.2021.5.35544.

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This article examines the modern Indonesian women’s prose and its interaction with the elements of postmodernist paradigm. The object of this research is the novelistic writing of the prominent Indonesian author Dewi Lestari on the example of the novel "“Supernova: The Knight, The Princess, and The Falling Star” (Supernova: Ksatria, Puteri, dan Bintang Jatuh, 2001), which is part of the series “Supernova” (2001-2016). Fiction, as the “median” field in literature, embraces various codes of language art. Relying on the tested patterns of popular literature, it can also appeal to postmodernism. In the latter case, the works are characterized by the presence of deconstructive and game (including simulation) principles. The example of application of the codes of fiction and postmodernism is the novel of under review. An important role in the research is played by the literary-theoretical, typological, and descriptive methods. The work of Dewi Lestari has not yet been considered from the perspective of postmodernist game technique and involvement of the concept of simulacrum. An attempt to do this on the example of her most famous works defines the novelty of this research, as well as the noticeable place of postmodernism in Eastern literatures makes relevant it analysis based on the original Indonesian literature. Reference to the poetics of postmodernism through borrowing the simulation game technique allowed Lestari to create a commercially successful product. The perception of the text by each reader in accordance with their worldview, and engagement in the game proposed by Lestari, correspond to the ideas of the postmodernist interpretation of the literary text, as well as to the laws of the market. This is why modern Indonesian writers refer to the postmodernist paradigm.

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Forte, Jeanie. "Women's Performance Art: Feminism and Postmodernism." Theatre Journal 40, no. 2 (May 1988): 217. http://dx.doi.org/10.2307/3207658.

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Mitchell, Sebastian. "Celtic Postmodernism: Ossian and Contemporary Art." Translation and Literature 22, no. 3 (November 2013): 401–35. http://dx.doi.org/10.3366/tal.2013.0130.

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This article examines the depiction of Ossian in the works of four prominent contemporary artists: Calum Colvin, Gayle Chong Kwan, Geoff MacEwan, and Alexander Stoddart. Recent Ossianic artworks in terms of two significant and opposing definitions of the postmodern are discussed. On the one side, the approach of Jean Baudrillard stressed fabrication and imitation as the distinctive features of the postmodern aesthetic; on the other, Charles Jencks conceived of the postmodern as a revival of classical form. The essay demonstrates ways in which contemporary Ossianic art draws together both conceptions. It argues, furthermore, that Ossian has made a significant contribution to British art through the introduction of Celtic primitivism into more familiar forms of representation. It concludes by suggesting that the last twenty years have produced the most important visual interpretations of Ossian since the Romantic period.

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Dahlberg, Andrea. "Art Since 1900: Modernism, Antimodernism, Postmodernism." Leonardo 39, no. 3 (June 2006): 263–64. http://dx.doi.org/10.1162/leon.2006.39.3.263.

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Holt, David K. "Postmodernism: Anomaly in Art-Critical Theory." Journal of Aesthetic Education 29, no. 1 (1995): 85. http://dx.doi.org/10.2307/3333520.

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Dissertations / Theses on the topic "Postmodernism (Art)"

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Barry, Marie Porterfield. "Lesson 22: Postmodernism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/24.

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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.

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Cheng, Christina Miu Bing. "Postmodernism art and architecture in Hong Kong /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949861.

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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.

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Cheng, Miu-bing Christina. "Postmodernism : art and architecture in Hong Kong /." [Hong Kong] : University of Hong Kong, 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13031351.

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Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.

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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.
History of Art and Architecture

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Park, Jeong-Ae. "Modernism and postmodernism in contemporary Korean art : implications for art education reform." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.

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Combs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art." Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.

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149 pages
The reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.

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Andreopoulos, Andreas. "The death of art : the transformation of art from a religious perspective." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4089/.

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The hypothesis put forth in this dissertation is twofold. The first part is based on a view (supported by writers such as Hans Belting) that maintains that art lost its sacred character in the late Middle Ages, when art was emancipated from religion and the artist was recognized as an original Creator. The two first chapters examine this issue: The first chapter (A Religious View of the History of the Arts) discusses theories of religious art from the ancient Jewish drama and the Greek tragedy to the late Middle Ages. Psychological material, mostly drawn from Lacan and Jung, is used to explore the connection between art and religion in the East and the West. The second chapter {Anti-Leonardo) focuses on some important changes in the Renaissance which can be observed mostly in art, that have affected religious and social consciousness to date. The second part of the hypothesis is that contemporary philosophy and art, having witnessed the death of the author as it has been presented by writers such as Michel Foucault and Roland Barthes, are now registering the withdrawal of the work of art as an independent object, and the reversal of the Renaissance art paradigm. The withdrawal or "death" of the work of art and of art as a process are discussed in the third chapter {The Death of Art), which explores these issues in contemporary philosophy, and argues that contemporary art, popular and classical, is withdrawing as a distinct activity, giving its place to a growing religious awareness. The fourth chapter {The Religious Artist) examines the art and the views of some contemporary artists whose art expresses the return of the sacred. Particular emphasis is given to the art of the New Simplicity, an artistic trend that epitomizes the vanguard of art while expressing spiritual and religious contemporary concerns.

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Leung, Suet-wai Emily, and 梁雪慧. "Postmodernism: a study of films by David Lynch." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B3194999X.

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Books on the topic "Postmodernism (Art)"

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Heartney, Eleanor. Postmodernism. Cambridge, U.K: Cambridge University Press, 2001.

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Postmodernism. Cambridge: Cambridge University Press, 2004.

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Postmodernism, politics and art. Manchester, UK: Manchester University Press, 1990.

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editor, Burton Johanna, ed. New Games: Postmodernism After Contemporary Art. New York: Routledge, 2012.

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Postmodernism, postsocialism and beyond. Newcastle: Cambridge Scholars, 2008.

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Christopher, Allen. Art in Australia: From colonization to postmodernism. New York, N.Y: Thames and Hudson, 1997.

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Prinz, Jessica. Art discourse/discourse in art. New Brunswick, N.J: Rutgers University Press, 1991.

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From acting to performance: Essays in modernism and postmodernism. London: Routledge, 1997.

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Cheetham, Mark. Remembering postmodernism: Trends in recent Canadian art. Toronto: Oxford University Press, 1991.

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1947-, Hutcheon Linda, ed. Remembering postmodernism: Trends in recent Canadian art. Toronto: Oxford University Press, 1991.

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Book chapters on the topic "Postmodernism (Art)"

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Navas, Eduardo. "Postmodernism and Metaproduction." In Art, Media Design, and Postproduction, 127–37. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-15.

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Wolff, Janet. "Postmodern Theory and Feminist Art Practice." In Postmodernism and Society, 187–208. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20843-2_7.

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Tapia, Juliet Moore, and Susan Hazelroth Barrett. "Postmodernism and Art Museum Education." In Landscapes: The Arts, Aesthetics, and Education, 197–212. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-010-0043-7_14.

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Stewart, Susan. "Ceci Tuera Cela: Graffiti as Crime and Art." In Life after Postmodernism, 161–80. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19097-3_7.

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Fekete, John. "Vampire Value, Infinitive Art, and Literary Theory: A Topographic Meditation." In Life after Postmodernism, 64–85. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19097-3_3.

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Bernstein, Jay M. "Aesthetic Alienation: Heidegger, Adorno, and Truth at the End of Art." In Life after Postmodernism, 86–119. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19097-3_4.

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D’haen, Theo. "Postmodernism in Americam fiction and art." In Utrecht Publications in General and Comparative Literature, 211. Amsterdam: John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/upal.21.11dha.

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Levin, Charles. "Art and the Sociological Ego: Value from a Psychoanalytic Point of View." In Life after Postmodernism, 22–63. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19097-3_2.

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Gregson, Ian. "A Various Art: Veronica Forrest-Thomson and Denise Riley." In Contemporary Poetry and Postmodernism, 192–208. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230379145_12.

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Faxon, Alicia Craig. "Intersections of Art and Science to Create Aesthetic Perception: The Problem of Postmodernism." In The Elusive Synthesis: Aesthetics and Science, 251–66. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1786-6_12.

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Conference papers on the topic "Postmodernism (Art)"

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Matyushova, Maria. "Art in the Era of Postmodernism." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.14.

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Farhangpour, Yasaman. "INTERACTION OF MULTI MEDIA ART AND POSTMODERNISM." In 4th Arts & Humanities Conference, Stockholm. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.004.003.

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Nugraheni, Wiga, Kusnadi, and Aida Roihanna Zuhro. "The existence of Kendang Reog Art in Postmodernism." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.026.

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Cox, J. "The tao of postmodernism: computer art, scientific visualization and other paradoxes." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73879.

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Zhang, Yixiang. "The Hidden Cultural Issues in Postmodernism." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.340.

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Shao, Changzong. "Study on the Impact of Postmodernism on Contemporary Ceramic Art." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.010.

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Ruan, Jian. "Interpretation of Costume Design in Science Fiction Films from the Perspective of Postmodernism." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.96.

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Bilei, Zhou. "Teacher Learning Community A New Dimension of Specialization Promotion from the Perspective of Postmodernism." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.37.

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Gerasimova, Svetlana Valentinovna. "Graph-Guru in the Postmodernism Literature: On the Example of Verses by Andrey Golov. Simplicity Concept." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.193.

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Spiridonova, Anna. "VIRTUAL MUSEUM AS PHENOMENON OF POST-POSTMODERNISM." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.027.

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