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Journal articles on the topic 'Postmodernism (Art)'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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4

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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6

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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7

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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8

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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9

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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10

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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Marriner, Robin. "Postmodernism and Art Education: Some Implications." Journal of Art & Design Education 18, no. 1 (February 1999): 55–61. http://dx.doi.org/10.1111/1468-5949.00154.

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Mankovskaya, Nadezhda Borisovna. "Postmodernism as Myths Generating Practice." Journal of Flm Arts and Film Studies 1, no. 1 (November 15, 2009): 26–45. http://dx.doi.org/10.17816/vgik1126-45.

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The article deals with an aspect of postmodernism in art connected with the creation of new type of myths also on the base of newest technology. Speciicity of postmodern myths generation in cinema, literature, painting, actual art-practices is turned out. Particularities of its occidental and Russian varieties are analyzed on the examples of P. Greenaway, M. Barney, D. Prigov, I. Kabakov creations.

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Baker, Carole. "From Postmodernism to Posthumanism: The Photographed Animal." Instinct, Vol. 4, no. 1 (2019): 66–70. http://dx.doi.org/10.47659/m6.066.art.

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This essay was inspired by the growing critical and artistic attention currently afforded to the subject of the nonhuman animal within Posthumanism and a curiosity to explore photographic practices that could potentially contribute to this endeavour. An exploration of Postmodernist art practice has revealed a dramatic shift in approach to the nonhuman animal subject; essentially characterised as a move from a sceptical, emotionally-distanced, theoretically-grounded range of practices to those that are emotionally-engaged, affective and ethically responsive. This is not to suggest that this characterises all Posthumanist photographic practices; a number of critical writers ably theorise about global networks, nonhuman photography, abstraction of vision. Instead, I examine photographic practices which are embedded within compassion, generosity, responsibility. This is not a return to the modernist notion of the artist and his or hers creation, but a plea for productive interrelations based on equality and experimentation which will potentially lead to novel ways of living. Keywords: animality, art photography, nonhuman, photography of animals, posthumanism

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14

Milbrandt, Melody K. "Postmodernism in Art Education: Content for Life." Art Education 51, no. 6 (November 1998): 47. http://dx.doi.org/10.2307/3193752.

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Young Chul Suh. "Beyond Postmodernism? - Early Post-Postmodern Art Movements-." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 50 (December 2010): 237–53. http://dx.doi.org/10.30947/zfdsl.2010..50.237.

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16

Daniels, T. Tilden. "Michel Butor'sMobile: Modernism, Postmodernism, and American Art." Symposium: A Quarterly Journal in Modern Literatures 62, no. 2 (July 2008): 99–112. http://dx.doi.org/10.3200/symp.62.2.99-112.

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17

Pasler, Jann. "Postmodernism, narrativity, and the art of memory." Contemporary Music Review 7, no. 2 (January 1993): 3–32. http://dx.doi.org/10.1080/07494469300640011.

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18

Mizerkiewicz, Tomasz. "Art After Democracy, Art Before Democracy." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 15–21. http://dx.doi.org/10.14746/pss.2019.17.1.

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The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges.

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Toropova, Anastasiya Aleksandrovna. "European project of designing new corporeality: mutant body, body without organs, agender body." Философия и культура, no. 1 (January 2020): 54–62. http://dx.doi.org/10.7256/2454-0757.2020.1.31430.

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The object of this research is the introduced into postmodernist discourse concept of body without organs. This article advances a hypothesis regarding the causes of occurrence of the aforementioned concept replacing the Cartesian teaching on parallelism of body and soul. Cultural practices of postmodernism fight against thinking of binary oppositions, which led to repression of the corporeal beginning. On the examples from the field of art and fashion, it is demonstrated that the theoretical model of body without organs finds its practical implementation. In this research the author applies analytical, hermeneutic and comparative methods with regards to the outlined ideas from the area of philosophy and art. The scientific novelty consists in interpretation of art phenomena through the concept of body without organs. The concept of the Theatre of Cruelty developed by Antonin Artaud inspired the philosophers and art community to pursue the experience of a “living body”. Cunningham carried over the principle of coincidence from music to dance, undermining the traditional perception of body as a hierarchical system with organs subordinate to the center. In a commercial sphere, Gucci Luxury Fashion House created a visual reflection of the idea of agender. Abreaction practices in performance art are aimed at liberation of body from imagery. Postmodernists are sure that freedom from dyadic thinking, idea of the center and periphery, principles of hierarchy and teleologicity that are so common to any mind, would lead to regeneration of corporeality and human as such, realizing the true value of the European culture – value of freedom.

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Kovalova, N. I., and V. L. Levchenko. "AESTHETIC SPHERE IN PHILOSOPHICAL AND INTELLECTUAL REFLECTIONS OF THE XXth CENTURY." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 8–13. http://dx.doi.org/10.17721/ucs.2018.2(3).02.

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The article is devoted to the consideration of the aesthetical and the philosophical in intellectual reflections of the twentieth century. The material for the study were conceptions of such characteristic figures of modernism and postmodernism as W. Benjamin and J.-F. Lyotard. The task of the work was the analysis of modern and postmodern discourses and identification of their intertwining and intercollision. Benjamin articulated main modernist tendencies in his writings. For him the sociological approach and the consideration of the subject of art and artistic activity in all manifestations were basic everywhere in analysis of art. Instead of these postmodern art reflects itself as an antisocial practice in the context of it by the "decline of metanorations", the decline of ideology, the rejection of the general theoretical position, Modernism cuts off idea of any connection with the past. The principle condition on creativity for modernists was innovation and originality. Benjamin demonstrates such a level of decadence of the moderating guidelines in relation to the tradition. But for him Interest in historicity, games with citations in his books and writings are closed him to postmodernist positions and directions. Postmodernism, in relation to the past, is based on the paradigmic guideline that "everything was already there," everything has already happened both as an event and in an interpretive sense.

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Walton, Clarence C. "Business Ethics and Postmodernism: A Dangerous Dalliance." Business Ethics Quarterly 3, no. 3 (July 1993): 285–306. http://dx.doi.org/10.2307/3857255.

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Postmodernism, a poorly defined term, is nevertheless influencing art, architecture, literature and philosophy. And despite its definitional ambiguities, some philosophers see in postmodernism a reason for the rise and interest in business ethics. This view is chailenged on two grounds: (1) its philosophical source in Europe; and (2) its vocabulary. Martin Heidegger, one of the major forces in postmodernism’s rise, left a confusing legacy. In his early years, Heidegger advocated moral subjectivism; in his later years, he argued that moral standards could be found in the lives of human gods whose pronouncements would replace the precepts of a Western Civilization he found decadent.Contemporary postmodernism seems to take inspiration from the views of both the younger and older Heidegger even though he, himself, saw contradictions between them. The confusion is compounded by incorporation of Neitzsche's God-is-dead thesis into Heideggerian thought, thereby, confronting philosophers with a dilemma: if God is out of the picture, and if objective rules derived from human nature do not exist, what human gods can lead us? Will they come from a political or cultural elite? How should we know them? Why should we trust them? Unless—and until—these questions are answered, it is unwise to build business ethics on a postmodern foundation.Another—and seemingly insignificant—reason for rejecting postmodernism ethics is the esoteric vocabulary used by its expositors to advance it. More jargon will not help philosophers who try to respond to moral questions raised by business managers themselves.

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Siddiqui, Dilnawaz A. "Postmodernism and Islam:." American Journal of Islam and Society 10, no. 4 (January 1, 1993): 538–45. http://dx.doi.org/10.35632/ajis.v10i4.2477.

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According to postmodemists, modemists have passed their intentional,planned, and personal assertions as laws to justify their oppression,injustice, terrorism, and exploitation of the poor peoples of the world forseveral centuries. A cursory look at the record of Euro-American colonialismand neocolonialism across the globe bears out this fact One canthink of their laws, totalitarian state regulations, the Nixon and Carterdoctrines, and many recent resolutions of the raped United Nations as examplesof personal beliefs and desires, even whims, justified as laws.Paradoxically, the secular fundamentalist tradition of postmodernismitself has justified its own free-wheeling metanarrative as a revolt againstall traditionalism without distinguishing between lasting and fleeting societal values. Sardar and Davies, in their Distorted Imagination (1990),illustrated this phenomenon by referring to Salman Rushdie's pornographic writings, such as The Satanic Verses. This characteristic confusionof postmcxiernism can be partly tmderstood by the mission of one ofits founders (Habennas), which was to complete the Wlfinished businessof western modernism: a noble cause of enlightenment rooted in "objectivescience, universal morality, and autonomous art according to theirinner logic." Baring the civil autonomy of art, tirades against objectivityand the universality of modernism and its morality are considered thevery backbone of postmodernism.Ahmed's book is an excellent expose of this paradox of postmodernismas it relates to Islam. The quixotic western beliefs about, attitude towards, and treatment of Islam and Muslims as the new perceived enemiesare part of its central theme. He sees for Islam, in its fresh encotmter withthe West and its powerful propagandist media, many problems and a promise. Keeping his tradition of critical self-evaluation, he points out manyweaknesses of the Muslims and their present leadership. The promise, hefeels, lies in the openness of the postmodernist and in the proven survivabilityof Islam's universal principles.The book features six chapters preceded by a preface and followedby exhaustive references and the two usual indexes. Ahmed states in thepreface that this book is an attempt to understand the present times interms of their prospects and promises, and that his arguments are basedlargely on his south Asian background, which may be impressionisticwithout necessarily being chronological or sequential. In reality, it is acompendium of cogent proofs exposing the illogical nature of the imagesand impressions of Muslims and Islam constructed by the global media ...

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23

Lovejoy, Margot. "Art, Technology, and Postmodernism: Paradigms, Parallels, and Paradoxes." Art Journal 49, no. 3 (1990): 257. http://dx.doi.org/10.2307/777117.

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Stevens, Ingrid. "Postmodernism, structuralism, post-structuralism, deconstruction and art criticism." de arte 31, no. 54 (September 1996): 32–42. http://dx.doi.org/10.1080/00043389.1996.11761240.

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Lovejoy, Margot. "Art, Technology, and Postmodernism: Paradigms, Parallels, and Paradoxes." Art Journal 49, no. 3 (September 1990): 257–65. http://dx.doi.org/10.1080/00043249.1990.10792700.

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Mason, Rachel, and Jeong-Ae Park. "Modernism and Postmodernism in Contemporary Korean Art: Implications for Art Education Reform." Journal of Art & Design Education 16, no. 3 (October 1997): 303–13. http://dx.doi.org/10.1111/1468-5949.00090.

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Markus, Mario. "A Scientist's Adventures in Postmodernism." Leonardo 33, no. 3 (June 2000): 179–86. http://dx.doi.org/10.1162/002409400552478.

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The author provides an ac-count of his everyday experience as a physicist, which allows him to witness research on chaos as a science of convergence: the elite with the masses, the scientific dis-ciplines with each other, modern physics with Giordano Bruno's phi-losophy, and science with mysti-cism and art. He also outlines how chaos theory displays postmodern features and dissolves the bound-aries between the “two cultures.”.

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Erjavec, Aleš. "Postmodernism and the post-socialist condition: 15 years after (2003-2018)." SAJ - Serbian Architectural Journal 9, no. 2 (2017): 153–62. http://dx.doi.org/10.5937/saj1702153e.

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The author sketches the concept of the "post-socialist" (or "third generation") avant-garde movements. He explains the historical and political conditions which made the emergence of this specific avant-garde art possible. In his opinion, a unique type of art appeared in socialist countries during the disintegration of Soviet-type socialism due to similar circumstances. Once the global and local political conditions have changed, this art has mostly disappeared, leaving behind only traces of its existence The author then points out the specific representational mechanisms employed by such art and argues that it should be recognised as yet another kind of the twentieth-century avantgarde art.

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Fitch, Sebastien. "Derailing Dewey: Art Education and Social Reconstruction | Déraillement de Dewey : éducation artistique et reconstruction sociale." Canadian Review of Art Education / Revue canadienne d’éducation artistique 44, no. 1 (December 12, 2017): 74–84. http://dx.doi.org/10.26443/crae.v44i1.10.

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Abstract: In this paper, a case is made for a critical re-examination of current trends in art education which support the adoption of inherently politically motivated curricula. The author examines the historical influence of Postmodernism upon both the fields of art and education, and goes on to argue that the potential for art to serve as a vehicle for ideology has caused many art educators to mistakenly conflate their moral role as teachers with their drive to disseminate their personally held political beliefs.Key words: Arts; Education; Ideology; Morality; Dewey; ActivismRésumé : Cet article établit le bien-fondé d’une révision critique des tendances actuelles dans le domaine de l’éducation artistique qui favorisent l’adoption de programmes à caractère intrinsèquement politiques. L’auteur examine l’influence historique du postmodernisme sur les domaines de l’art et de l’éducation. L’auteur allègue que le rôle potentiel de l’art comme vecteur idéologique a incité plusieurs éducateurs artistiques à y associer à tort un rôle moral dans l’espoir de disséminer leurs propres convictions politiques.Mots-clés : arts ; éducation ; idéologie ; moralité ; Dewey ; activisme

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Burlakov, Vladimir, and Vladislav Shchepelkov. "Crime Boss and the Grounds for Liability: Postmodernism in Criminal Law." Russian Journal of Criminology 13, no. 3 (July 4, 2019): 465–76. http://dx.doi.org/10.17150/2500-4255.2019.13(3).465-476.

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All over the world crime is becoming more and more organized. Globalization has considerably extended the area of criminal activities, it can no longer be contained within the national boundaries of one state. Crime bosses freely travel between countries and may solve the problems of their gangs’ cooperation far from the place where the criminal activity takes place. The gangs today have moved away from typical criminal practices. Business is becoming their key activity as it facilitates the organization of criminal groups not only in the shadow, but also in the legal economy. Thus, the main focus of crime counteraction should be the bosses of organized crime. Based on this position, the authors provide a theoretical basis for the introduction of Art. 210.1 in the Criminal Law of Russia — taking the highest position in the criminal hierarchy. They analyze the legal construction of this offence which, in essence, is inchoate. The authors also assess the grounds for criminalizing the very fact of occupying the highest position in a criminal hierarchy. It is proven that this status of a crime boss emerges at an advanced stage of development of the organized group, so the form of crime organization could act as a criterion for the establishment of such a status. The authors also examine some problems of enforcing Art. 210.1 of the Criminal Code and offer different ways of solving them, namely, the aggregate of Part 4, Art. 210 and Art. 210.1 of the CC, and the and specific features of penalizing offenders persecuted under Art. 210.1 and Part 4, Art. 210 of the CC of the Russian Federation.

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Pavlov, A. V., and Y. V. Erokhina. "Images of Modernity in the 21st Century: Altermodernism." Russian Journal of Philosophical Sciences 62, no. 2 (May 12, 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2019-62-2-7-25.

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The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new.

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Basak, Rasim. "Teacher Opinions and Perspectives of Visual Culture Theory and Material Culture Studies in Art Education." Journal of Education in Black Sea Region 6, no. 2 (May 21, 2021): 186–211. http://dx.doi.org/10.31578/jebs.v6i2.242.

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Teacher opinions and discussions about Visual Culture Theory and Material Culture in art education are examined in this paper. Both approaches were compared and evaluated within their contents and fundamentals. Visual Culture Art Education (VCAE) in art education, specifically, has been criticized as having a Neo-Marxist or Cultural Marxist agenda stemming from Critical Theory, nonetheless, it is also viewed as being just another recent Postmodernist approach. Being a controversial theoretical account, VCAE seems widely unknown and not understood in its conceptual frame among art teachers in Turkey. Its name also may have caused confusion. In this study, art teacher opinions of VCAE content, principles, applications and practices were collected through a survey questionnaire; and examined. Participants were 71 art teachers. A purposeful, convenient, random sampling method was employed to represent a population of art teachers from various backgrounds, with various experience levels, with educational experience from various universities, working at various geographical regions and towns in Turkey. The study was designed and structured as descriptive survey research. Analyses revealed that art teachers usually are not aware of the typical discussions about VCAE. Having been criticized as an ideologically rooted theory, the applicability of VCAE in Turkey seems controversial in many aspects. Keywords: visual culture, Modernism, DBAE, VCAE, critical pedagogy, Postmodernism, neo-marxism

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Moon, Catherine Hyland. "Art Therapy and Postmodernism: Creative Healing Through a Prism." Art Therapy 29, no. 4 (December 2012): 197–98. http://dx.doi.org/10.1080/07421656.2012.730949.

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Stratton, Jon. "Beyond Art: Postmodernism and the Case of Popular Music." Theory, Culture & Society 6, no. 1 (February 1989): 31–57. http://dx.doi.org/10.1177/026327689006001002.

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Rayment, Trevor. "School Art in the United Kingdom: Postmodernism or Pragmatism?" Journal of Aesthetic Education 35, no. 2 (2001): 113. http://dx.doi.org/10.2307/3333678.

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Y, Lalitha. "Postmodernism in the Fiction Synchology Summary of Kumaraselvas Fiction." International Research Journal of Tamil 3, S-1 (June 14, 2021): 132–37. http://dx.doi.org/10.34256/irjt21s121.

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The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

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Dai, Chuang. "The state of contemporary art in China: tradition and postmodernism." Культура и искусство, no. 8 (August 2020): 1–10. http://dx.doi.org/10.7256/2454-0625.2020.8.33621.

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This article is dedicated to examination of the phenomenon of contemporary Chinese art, its essential specificity within the framework of tradition and in the conditions of globalization. For achieving the set goal, the author applies the method of historical-cultural analysis in combination with the elements of structural-semiotic analysis of contemporary art in China of the late XX century. For historical and social reasons, contemporary art became a substantial part of the works of Chinese artists only after the “Reform and Opening-Up” in the 1980s. China was able to preserve tremendous artistic heritage, thus the contemporary art resembles a fusion of the tradition and postmodernism. The scientific novelty of this work consists in shifting away from art discourse in studying artistic material and concentrating on philosophical perspective. The conclusion is drawn that since the 1980s until the present China undergoes a drastic period of transformation of art from traditional to contemporary. The works of that time reflect such themes as the alienation of a modern person from tradition, change in experience of world perception, conflict between modern politics and society.

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ETARYAN, Yelena. "The German View on Modernism and Postmodernism." WISDOM 15, no. 2 (August 23, 2020): 211–19. http://dx.doi.org/10.24234/wisdom.v15i2.336.

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This article examines the origins of modernism/postmodernism and their presentation in the light of aesthetic and philosophical treatises or literary works of Friedrich Schlegel, Heinrich Kleist, Friedrich Schiller, as well as in the triad model of the world history and the biblical story of the fall of the man. The common idea which lies at the basis of the works presented is the contrast between the principles of nature and reason and the search for opportunities for their synthesis. The main thesis of the article is to present the commonality between the maxims of modernism/ postmodernism and early German romanticism, as well as to consider postmodernism as late romanticism with its inherent manneristic features. The basic concepts of modernism and postmodernism are presented through the prism of works and theories of Friedrich Nietzsche, Wolfgang Welsch, Christoph Bode, Rolf Günter Renner, as well as Victor Žmega?. The central concept in the article is the concept of self-reflection of literature and art as the most vivid feature of modernism and postmodernism.

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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (February 24, 2021): 329–42. http://dx.doi.org/10.46872/pj.245.

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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.

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Srnic, Vesna, Emina Berbic Kolar, and Igor Ilic. "Memory in Linguistic Narrative vs. Postmodern Multitasked Multimedia Art Memory." Communication, Society and Media 1, no. 2 (September 20, 2018): 101. http://dx.doi.org/10.22158/csm.v1n2p101.

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<p><em>In addition to the well-known classification of long-term and short-term memory, we are also interested in distinguishing episodic, semantic and procedural memory in the areas of linguistic narrative and multimedial semantic deconstruction in postmodernism. We compare the liveliness of memorization in literary tradition and literature art with postmodernist divisions and reverberations of traditional memorizations through human multitasking and performative multimedia art, as well as formulate the existence of creative, intuitive and superhuman paradigms.</em></p><em>Since the memory can be physical, psychological or spiritual, according to neurobiologist Dr. J. Bauer (Das Gedächtnis des Körpers, 2004), the greatest importance for memorizing has the social role of collaboration, and consequently the personal transformation and remodelling of genomic architecture, yet the media theorist Mark Hansen thinks technology brings different solutions of framing function (Hansen, 2000). We believe that postmodern deconstruction does not necessarily damage memory, especially in the field of human multitasking that utilizes multimedia performative art by means of anthropologization of technology, thereby enhancing artistic and affective pre&post-linguistic experience while unifying technology and humans through intuitive empathy in society.</em>

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Barzman, Karen-Edis. "Beyond the Canon: Feminists, Postmodernism, and the History of Art." Journal of Aesthetics and Art Criticism 52, no. 3 (1994): 327. http://dx.doi.org/10.2307/431431.

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Kamhi, Michelle Marder. "Modernism, Postmodernism, or Neither? A Fresh Look at "Fine Art"." Arts Education Policy Review 107, no. 5 (May 2006): 31–38. http://dx.doi.org/10.3200/aepr.107.5.31-38.

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Burger, C. "The Disappearance of Art: The Postmodernism Debate in the U.S." Telos 1986, no. 68 (July 1, 1986): 93–106. http://dx.doi.org/10.3817/0686068093.

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Kotlomanov, Alexander O. "Sisyphean toil. Review of “Art Since 1900: modernism, antimodernism, postmodernism”." Vestnik of Saint Petersburg University. Arts, no. 3 (2016): 115–20. http://dx.doi.org/10.21638/11701/spbu15.2016.309.

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Baraban, Elena V., and Aleš Erjavec. "Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism." Slavic and East European Journal 50, no. 3 (October 1, 2006): 553. http://dx.doi.org/10.2307/20459348.

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Pomerants, G. "After Postmodernism, or the Art of the Twenty-first Century." Russian Studies in Literature 33, no. 3 (July 1997): 86–94. http://dx.doi.org/10.2753/rsl1061-1975330386.

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Horne, Victoria. "Kate Davis: re-visioning art history after modernism and postmodernism." Feminist Review 110, no. 1 (May 2015): 34–54. http://dx.doi.org/10.1057/fr.2015.12.

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Betterton, Rosemary. "Book Review: Reclaiming Female Agency: Feminist Art History after Postmodernism." Feminist Review 87, no. 1 (September 2007): 163–65. http://dx.doi.org/10.1057/palgrave.fr.9400373.

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Henley, David. "The Meaningful Critique: Responding to Art from Preschool to Postmodernism." Art Therapy 21, no. 2 (January 2004): 79–87. http://dx.doi.org/10.1080/07421656.2004.10129554.

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