Postmodernism in Visual Art Usually Refers to Which Quality?

Postmodernist Art
Postmodernism in 20th/21st Century Visual Arts.
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Important Examples

Canis familiaris (1994) by Jeff Koons.
Mirror-polished stainless stee
sculpture fabricated to look like a
children's political party balloon in the
shape of a dog.

Dancers at the Bar (2001)
Metropolitan Museum of Art, New York.
By Fernando Botero. One of the
artist's iconic 20th century paintings.

What is Postmodernist Fine art?

The term "postmodernist art" refers to a wide category of contemporary fine art created from about 1970 onwards. The hallmark of "postmodernist art" is its rejection of the aesthetics upon which its predecessor - "modernistic art" (1870-1970) - was based. One of these rejected values is the thought that "art" is something "special" which should be "elevated from" popular taste. Congruent with a raft of new technological developments, postmodernism has led to most five decades of artistic experimentation with new media and new art forms, including "Conceptual fine art", various types of "Functioning art" and "Installation art", as well as computer-aided movements like Deconstructivism and Projection art. Using these new forms, postmodernist artists have stretched the definition of art to the point where well-nigh "anything goes".

Unfortunately, nearly articles on postmodernism are full of complicated words like "modernity" (not the same as modernism), and "mail-modernity" (different to postmodernism), "Metamodernism" (from, only not part of, postmodernism), and "Postal service-postmodernism" (gimme a break). So instead of using jargon, let me give you lot a simple clothes-code case to assistance you lot to understand "postmodernist art" and how it differs from "modern art" and its even before predecessor "academic art".

The first major way of art later on the Renaissance was academic art, the classical stuff which was taught past professors in the Academies. Academic art is the creative equivalent of the traditional "suit and necktie". Adjacent, about 1870, comes "modern fine art". This is the artistic equivalent of the "shirt and pants" or "jacket and trousers". Next, about 1970, comes "postmodern art", which is the artistic equivalent of the "jeans and T-shirt". In the same way that dress codes take become less formal and more than "anything goes", then today's artists are less impressed with the sometime ideas of what art should be, and more focused on creating something (anything) that gets noticed.

Just breezy dress like jeans and T-shirts have simply become pop because society itself has become less formal. In the same way, equally we shall see, "postmodernist art" is function of a wider current of technological, political and social modify in the West, which has introduced many new attitudes and new types of behaviour. The full impact of the Internet, for instance, on the sourcing and distribution of artistic imagery, and on the creation of applied art and design, has still to be felt. But since information technology has already revolutionized the music industry, its effect on the fine art earth is not likely to be delayed for long.

Definition of Postmodernist Art

If you really need a 1 sentence definition of postmodernist art, hither it is.

A style of post-1960s art which rejected the traditional values and politically conservative assumptions of its predecessors, in favour of a wider, more entertaining concept of art, using new artistic forms enriched past video and figurer-based technology.

How it Differs from Contemporary Art

What's the difference between postmodernist art and contemporary art? In exercise, these 2 terms are more or less interchangeable. Nevertheless, technically speaking, "postmodern art" means "after modern" and refers to a fixed menstruation (say 50 years in length) start about 1970, whereas "contemporary art" refers to the moving 50-year flow immediately earlier the present. At the moment these two periods coincide. But in 2050, for instance, "postmodern fine art" (1970-2020) will have been superceded past some other era, while "contemporary art" volition now embrace the period 2000-2050. So the two will accept diverged.

How it Differs from Late Modernist Art

In visual art, the term "late modernism" refers to movements or trends which reject some aspect of "modern art", but which otherwise remain within the modernist tradition. Styles like Abstract Expressionism (1948-65) were practised by a number of radical modern artists, including Jackson Pollock, inventor of all-over action painting - and Willem De Kooning, both of whom rejected many of the formal conventions of oil painting. And yet neither Pollock nor de Kooning would have produced something similar Rauschenberg'south Erased de Kooning Drawing (1953, San Francisco Museum of Modernistic Art), since both remained strong believers in modernist concepts of actuality and meaning. Likewise, followers of postmodernist movements like Gimmicky Realism (1970s onward) and Neo-Expressionism (1980s onward) also included numerous painters who worked in a modernist rather than a postmodernist style. In dress code terms, tardily modernism is the artistic equivalent of "shirt and pants", but in a bright yellowish colour.

Background

"Modernistic fine art" is usually associated with the century 1870-1970 - roughly from Impressionism to Pop-Art. Despite several global catastrophes - The Swell State of war (1914-18), The Influenza Pandemic (1918-19), the Wall Street Crash and the Great Depression (late-1920s, 1930s) - which undermined many of the moral certainties of the era, modernistic artists generally retained a conventionalities in the primal scientific laws of reason and rational idea. Broadly speaking, like most Westerners of the menstruum they believed that life had meaning; that the scientific progress was automatically good; that the Christian Westward was superior to the rest of the globe; that men were above women. Modernists too believed in the significant, relevance and progression of art, especially art and architecture. Following in the footsteps of Leonardo and Michelangelo, they believed in "high art" - art which elevates and inspires the cultivated spectator - rather than "low art" which merely amuses or entertains the masses. They adopted a forward thinking approach, seeing fine art as something that should constantly progress, led by a leading group of avant-garde artists.

World State of war Ii and the Jewish Holocaust turned everything upside down. Paris was abruptly replaced by New York as the capital of earth art. In the wake of Auschwitz, all representational art - except Holocaust art - appeared all of a sudden irrelevant, so mod painters turned instead to abstract art (albeit packed with emotion, symbolism or animation) in order to limited themselves. Amazingly, during the 1950s, the New York School - featuring Jackson Pollock'south paintings also every bit the calmer Color Field painting of Mark Rothko - spearheaded a temporary recovery of fine art on both sides of the Atlantic. These avant-garde painters succeeded in redefining the envelope for abstruse paintings, just they remained within the confines of modernism. They believed in creating authentic, finished works of fine art with important content.

Only the "modernist" era was drawing inexorably to a close. The widening revelations of the Shoah, the testing of Atomic bombs, the Cuban Missile Crisis (1962) and the Vietnam War (from 1964), caused people to become more and more disillusioned most life (and art). Already, in the mid-50s, Jasper Johns and Robert Rauschenberg had produced the first postal service-modern style works of Neo-Dada and Pop. Shortly, mainstream Pop-art would conductor in postmodernism proper, as American TV networks focused on the 1968 Tet Offensive and the chaotic Autonomous Convention in Chicago.

Annotation: In 20th century architecture, the state of affairs was slightly unlike. Modern edifice design was influenced past a want to create a make new mode for "modern man". Modernist architects wanted to eliminate all historical references and create something entirely fresh. (So no Greek columns, Gothic style arches, or any other reminders of 'past' styles.) This led to the International manner of architecture (1920-70), a minimalist idiom of boring regularity, leavened with some truly awful Brutalism (concrete flat blocks with tiny windows). Mercifully, from about 1970, postmodernist architects began to re-humanize 20th century compages past designing structures with interesting features, taken from pop culture and from more traditional styles.

Characteristics of Postmodernism

"Postmodernism" is not a movement, it's a general attitude. And then at that place is no agreed list of characteristics that define "postmodernist art". But we must get-go somewhere, and so here are a few selected pointers.

General Ideology

Postmodernism reflects a widespread disillusionment with life, likewise every bit the ability of existing value-systems and/or engineering to effect beneficial change. Equally a consequence, authority, expertise, knowledge and eminence of achievement has become discredited. Artists are at present far more wary about "big ideas" (e.k. all 'progress' is expert). Nigh important, "Modernist art" was seen non just every bit elitist but besides equally white, male-dominated and uninterested in minorities. Which is why postmodernism champions art by Third World, Feminist and Minority artists. Nonetheless, critics say that - despite its supposed "rejection" of big ideas - the postmodern movement seems to accept lots of large ideas of its own. Examples include: "all types of fine art are as valid"; "art can be made out of annihilation"; "the democratization of art is a expert affair" (how about the democratization of brain surgery?).

To paraphrase Andy Warhol, "anyone tin can be famous for 15 minutes". This thought, more whatever other, sums upwards the postmodernist historic period. Faced with a new nonsensical world, the postmodernist response has been:

Okay, let's play around with this nonsense. Nosotros take that life and art no longer have whatsoever obvious intrinsic pregnant, only so what? Let's experiment, make art more interesting, and meet where information technology leads. Who knows, possibly nosotros tin be famous for 15 minutes!

Art Education

Postmodernism changed the educational priorities at numerous art colleges. During the 1970s, the fine art of painting (and to a lesser extent sculpture), was seen as worn out. Besides, the idea of working for 4 years to master the necessary skills of these traditional fine arts, was considered retrogressive. Art, it was believed, should be liberated from the elite and opened to the public, so art schools began to turn out a new blazon of graduate - someone familiar with instant postmodernist-style forms, equally well equally basic production techniques. In a nutshell, individual "creativity" was considered to be more than important than the accumulation of craftsman-similar skills.

Utilise of Engineering science

The era of "postmodernist fine art" has coincided with the inflow of several new epitome-based technologies (eg. television, video, screenprinting, computers, the Internet) and has benefited hugely from them. The new range of video and photographic imagery has reduced the importance of drawing skills, and by manipulating the new applied science, artists (notably those involved in new media, like installation, video and lens-based art) have been able to short-cutting the traditional processes involved in "making art," merely withal create something new. This is illustrated past the documentary photography of Diane Arbus, that focuses on members of minorities in New York Metropolis, and the video art of the Korean-American Nam June Paik (1932-2006).

Postmodernist Focus on Popular/Depression civilisation

The term "high culture" is ofttimes used past art critics when trying to distinguish the "loftier culture" of painting and sculpture (and other fine arts), from the "depression" pop culture of magazines, idiot box, lurid fiction and other mass-made commodities. Modernists, along with their influential supporters similar Cloudless Greenberg (1909-94), considered depression culture to be inferior to high culture. By dissimilarity, postmodernists - who favour a more 'democratic' thought of art - run into "high culture" as more elitist. Thus Popular-art - the first postmodernist motion - made art out of ordinary consumer items (hamburgers, tins of soup, packets of soap pulverisation, comic strips) that were instantly recognizable past Joe Public. Pop-artists and others went even further in their attempts to democratize fine art, by printing their "art" on mugs, paper bags, and T-shirts: a method which incidentally exemplifies the postmodernist want to undermine the originality and authenticity of art.

Mixing of Genres and Styles

Ever since Neo-Dada, postmodernists accept enjoyed mixing things up - or injecting novel elements into traditional forms - to create new combinations and pastiches. Fernando Botero creates primitive-style paintings of obese figures; Georg Baselitz paints upside-down figures. Gerhard Richter combined photographic camera art and painting in his 'photo-paintings' of the 1970s, while Jeff Koons combined consumerist imagery (balloon shapes) with highly finished sculptural techniques to create his Balloon Dog pop-sculptures (1994-2000). Meanwhile Andreas Gursky combines photography with reckoner generated imagery to create works like Rhein II (1999, MOMA, New York), while Jeff Wall uses digitally processed photomontage in his postmodernist pictorialist creations.

Postmodernist Multiple-Meanings

Postmodern artists accept junked the idea that a work of art has merely one inherent meaning. Instead, they believe that the spectator is an as important judge of meaning. Cindy Sherman'southward surrealist photography, for instance, highlights the idea that a piece of work of art can exist interpreted in a variety of ways. Indeed, some artists - such as the performance artist Marina Abramovic (b.1946) - even let spectators to participate in their 'art works', or even crave intervention by spectators in gild to complete their work.

Meeting Consumer Needs

The growth of consumerism and instant gratification over the concluding few decades of the 20th century has also had a huge impact on visual art. Consumers now want novelty. They also desire amusement and spectacle. In response, many postmodernist artists, curators and other professionals take taken the opportunity to plough art into an "entertainment product". The introduction of new types of art, for instance - such as Performance, Happenings and Installations - forth with new bailiwick-matter - including things like expressionless sharks, dying flies, huge water ice-sculptures, crowds of nude bodies, buildings that appear to be in motion, a collection of 35,000 terra cotta figures, islands wrapped in pinkish polypropylene cloth, painted bodies, spooky projected imagery on public buildings, and so on - have provided spectators with a range of new (sometimes shocking) experiences. Whether these new so-called art forms actually constitute "art" remains a hotly-contested issue. The postmodern conceptualists say "Yes", the traditionists say "No".

Focus on Spectacle

In the absence of any real meaning to life - especially when we are bombarded twenty-four hour period and nighttime by radio and Tv set advertizing while at the same time being forced to heed to politicians explain that ii plus two equals three - postmodernists accept preferred to focus on fashion and spectacle, often using advertising materials and techniques for maximum touch. This approach is exemplified by the commercial press methods, billboard-style imagery and master colours of Pop-artists similar Roy Lichtenstein and James Rosenquist. This focus on surface is a reoccurring feature of postmodernist fine art, and sometimes goes over the superlative with melodramatic, dazzling, even shocking imagery. See, for example, the manner photography of Nick Knight and David LaChapelle. Since 1980, the employ of calculator and other technologies has revolutionized multimedia art (e.g. animation), and has created specific opportunities in areas like compages and projection mapping.

The importance that postmodernism places on getting the attention of the audience is perfectly illustrated by the stupor-tactics of a group of Goldsmiths Higher students - known as the Young British Artists - in London during the belatedly-1980s and 1990s. Made famous by iii exhibitions - Freeze (1988) and Modern Medicine (1990), both curated by an unknown educatee called Damien Hirst (b.1965), and Sensation (1997) - the YBAs were lambasted for their shocking bad taste, and even so several (Rachel Whiteread, Damien Hirst, Douglas Gordon, Gillian Wearing, Chris Ofili, Steve McQueen, Mark Wallinger) went on to become Turner Prize-winners, while others (Jake and Dinos Chapman, Tracey Emin, Marc Quinn and Jenny Saville) likewise accomplished considerable fame and fortune.

Three Principles of "Postmodernist Art"

1. Instant Meaning

No more faded oil paintings depicting obscure events from Greek mythology to raise a knowing grin from cultivated spectators. From its ancestry in the Popular-art movement, postmodernist painting and sculpture was bold, bright and instantly recognizable. Themes and images were borrowed mostly from high profile consumer goods, magazines, advertising graphics, TV, film, cartoons and comic books. For the first fourth dimension, everyone understood the fine art on display. Although postmodernism has evolved since Pop-fine art, a key objective remains instant recognition.

Yet, some works of "postmodernist art" are more "instantly understood" than others. Take for case Equivalent 1 (1966, Kunstmuseum, Basel) past Carl Andre (b.1935). Information technology is ane of those works of fine art that need to exist explained by an skillful earlier it can be appreciated. It'southward a postmodernist minimalist sculpture consisting of 120 regular building bricks. The bricks are laid on top of each other on the floor in two layers of sixty bricks, set out in a precise rectangular configuration of three units by twenty units. At first glance, this masterpiece of contemporary art looks like something you might meet on a super-tidy edifice site. Fortunately, your fine art gallery catalogue tells you that Andre took his radical decision to make art flat on the floor in 1965, when canoeing on a lake in New Hampshire, and that this imperial pile of bricks exemplifies his artistic creed that "form = structure = place." As it happens, the original Equivalent 1 was "destroyed" in 1966 and "remade" in 1969. (Perchance they needed the bricks for something).

2. Art Can exist Made From Anything

Standing in the traditions of Marcel Duchamp - whose urinal entitled "Fountain" (1917) was the starting time famous instance of an ordinary object existence made into a piece of work of art - postmodernists have made a betoken of creating art from the most unlikely materials and scraps of rubbish. See: Junk Fine art. Sculptors, installationists and assemblage artists have made art out of industrial scrap fe, gas-masks, felt, human skulls, human blood, dead flies, neon-lighting, foam rubber, soup cans, physical, safety, sometime dress, elephant dung and more than. The idea behind this is to democratize art and go far more accessible.

3. The Idea Matters More the Work of Fine art Itself

Broadly speaking, upwardly until the 1960s, artists (including Picasso, Pollock and Lichtenstein) believed that without a finished product, at that place was nothing. So a huge amount of attention was lavished on the quality of the finished work of fine art, and the craftsmanship needed to produce it. Today, things are different. Postmodernists typically take a stronger belief in the concept backside the finished product, rather than the product itself. Which is why a lot of "postmodernist art" is known as "Conceptual Art" or "Conceptualism". This new approach is exemplified past the conceptual artwork (a list of instructions) by Martin Creed, entitled "227: The Lights Going On and Off" (2001), which won the Turner Prize in 2001. Other forms of no-production conceptualism include installations (which are purely temporary affairs, after all), performance fine art, happenings, projection art, and and so on.

Possibly the ultimate example of conceptual art was the exhibition held in March 2009, at the French National Museum of Contemporary Art in the Pompidou Centre in Paris. Entitled "The Specialisation of Sensibility in the Raw Material State into Stabilised Pictorial Sensibility", it consisted of ix completely empty rooms, and aught else.

Collections of Postmodernist Art
For two first-class displays of postmodernist art, visit the Saatchi Gallery, in London, or the Guggenheim, New York.

Postmodern Fine art Movements

So far, there have been no bully international art movements during the postmodernist period. Instead, the era has witnessed the appearance of a number of narrow, localized movements, as well as several make new types of art, like video and word painting. In addition, in that location have been dozens of creative splinter groups, besides equally one or two anti-postmodernist schools whose members have endeavoured to produce the sort of art that Michelangelo or Picasso would have been proud of. Hither is a cursory listing of the primary post-modern movements and styles, including most of the new art forms.

• Pop Art (1960s onwards)
Championed by Andy Warhol (1928-87) who fabricated fine art from bland, mass-produced imagery. For more than, meet Andy Warhol'southward Pop Art of the 60s and 70s, and sculpture by Claes Oldenburg (b.1929).

• Word Art (Text-based Painting) (1960s onwards)
A form of conceptualist painting or sculpture which uses discussion or text-based imagery. A adept example of the postmodernist trick of injecting new elements into old media. Associated with pop artists Robert Indiana (b.1928) and Jasper Johns (b.1930), the Japanese artist On Kawara (1932-2014) noted for his "date paintings", Barbara Kruger (b.1945) famous for "I store therefore I am", and Christopher Wool (b.1955), whose word painting entitled Apocalypse At present (1988) sold in 2013 for $26.4 meg.

• Conceptual Art (1960s onwards)
The definitive postmodernist idiom. Never mind the finished product, it'southward the underlying idea that counts. The first and (arguably) greatest conceptual creative person was Yves Klein (1928-62), founder of Nouveau Realisme. For details, please meet: Yves Klein'due south Postmodernist art (1956-62).

• Performance Art and Happenings (Early-1960s onwards)
Pioneered by artists similar John Muzzle (1912-92) and Allan Kaprow (1927-2006), this genre became a new way to present art to the masses. See also the "living sculptures" Gilbert & George (b.1943, 1942).

• Installation Art (1960s onwards)
A new way to draw spectators into the artwork or aggregation. A leading contributor to installation art is the German language creative person Joseph Beuys (1921-86). See besides the extraordinary installation-type art projects ("interventions") created past Christo & Jeanne-Claude (Christo Javacheff and Jeanne-Claude Denat).

• Fluxus (1960s)
A Dada-fashion anti-fine art movement begun by George Maciunas (1931-78). It appeared get-go in Germany before spreading to New York. Heavily involved with Happenings and other street 'events.'

• Video Art (1960s onwards). See also: Animation art.
Video is one of the most versatile mediums available. A piece of video pic tin can be (i) the work of fine art itself; and/or (2) a tape of how the work of art was made; and/or (iii) 1 element in an installation; and/or (4) role of a multiple-video organization. Whatsoever its precise office, video makes art more dynamic, more than absorbing, more exciting. Since the tardily 1980s, both video and animation accept become dependent on the use of computer software to dispense and control images.

• Minimalism (1960s onwards)
A refuge of intellectual painters and sculptors anxious nearly "purity" in art. Minimalists attempted to create art devoid of all exterior references, leaving only form. Clever possibly, but totally slow. Minimalist painters include Agnes Martin (b.1912), Ad Reinhardt (1913-67), Ellsworth Kelly (b.1923), Kenneth Noland (b.1924), Robert Ryman (b.1930), Robert Morris (b.1931), Robert Mangold (b.1937), Frank Stella (b.1936) and Brice Marden (b.1938). For Minimalist sculptors, see below.

• Photorealism (1960s, 1970s)
A hyperrealist course of painting, typically based on photographs. Leading photorealists include Chuck Shut (b.1940) and Richard Estes (b.1936). Photorealist sculptors include John De Andrea (b.1941), Duane Hanson (1925-96) and Carole Feuerman (b.1945).

• State Fine art (mid-1960s)
No greedy commercial galleries involved (supposedly). Championed by the experimental artist Robert Smithson (1938-73). Meet also the 'wrapping' interventions in nature, by Christo and Jeanne-Claude (both b.1935) and the environmental works of Andy Goldsworthy.

• Photography (1960s onwards)
The YBAs were just one of several postmodernist groups to champion the use of camera art. In fact, works by the greatest photographers soon passed the $i million mark at sale. For the best in postmodernist photography, delight encounter photos past Helmut Newton (1920-2004), Robert Mapplethorpe (1946-89), Cindy Sherman (b.1954) and Nan Goldin (b.1953).

• Arte Povera (1966-71)
Self-styled "poor art" created by an anti-commercial avant-garde fine art group in Italy, consisting of Piero Manzoni, Michelangelo Pistoletto, Giuseppe Penone and others. Heavily focused on the physical qualities of the materials used.

• Post-Minimalism (1970s)
In Mail-Minimalist art - a term outset coined by fine art critic Robert Pincus-Witten (b.1935) - the emphasis shifts from the purity of the thought, to how it is conveyed. Run across works by the German-American Eva Hesse (1936-1970).

• Feminist Art (1970s)
An art movement which dealt with specific female issues, such equally having a baby, violence against women, employment weather for women and so on. Famous female artists involved, include Louise Conservative (1911-2010), and the Japanese-born performance artist Yoko Ono (b.1933). Other activists include Miriam Schapiro (1923-2015), Nancy Spero (1926-2009), Eleanor Antin (b.1935), Joan Jonas (b.1936), Judy Chicago (b.1939), Mary Kelly (b.1941), Barbara Kruger (b.1945), and the English artist Margaret Harrison (b.1940).

• Graffiti Art (1970s onwards)
Ultimate postmodernist movement: instant painting, instant fame. See the biography of graffiti terrorist and street artist Banksy (b.1973-4). For the ii almost successful street artists to go mainstream, run across: Jean-Michel Basquiat (1960-88), Keith Haring (1958-xc) - who created the "Crack is Wack" mural in Harlem - and David Wojnarowicz (1954-92), the AIDS activist and hugely talented street painter and collage artist.

• Postmodernist Sculpture (1970s onwards)
Important contributors to postmodernist plastic art include: the Surrealist Salvador Dali (1904-89), noted for his "Melted Ice Foam Van" (1970, Private Collection); the French sculptor Cesar (1921-98), best known for his "compressions"; the Swiss kinetic artist Jean Tinguely (1925-1991); the Nouveau Realiste Arman (1928-2005) known for his "accumulations"; the minimalists Donald Judd (1928-94), Sol LeWitt (1928-2007) and Richard Serra (b.1939); the monumentalists Anish Kapoor (b.1954) and Antony Gormley (b.1950); the American Bruce Naumann (b.1941), best known for his neon sculptures. Two new types of sculpture which appeared during the 1980s, were Water ice Sculpture - the Earth Ice Art Championships have taken identify annually in Fairbanks, Alaska since 1989 - and Sand Art - the World Championship in Sand Sculpture was held in Harrison Hot Springs in Harrison, British Columbia, Canada, from 1989-2009.

• Neo-Expressionism (1980s onwards)
Characterized by typically big-format paintings featuring intense, frequently violent subject matter, painted at speed. Materials were sometimes embedded in the surface of the painting. Leading neo-expressionists included Georg Baselitz (b.1938), Gerhard Richter (b.1932), Jorg Immendorff (b.1945), Anselm Kiefer (b.1945), Rainer Fetting (b.1949) and A.R.Penck [Ralf Winkler] (b.1939), Julian Schnabel (b.1951) and David Salle (b.1952).

• Deconstructivism (1980s-2000)
Postmodernist style of compages, exemplified past the work of Los Angeles architect Frank O. Gehry (b.1929), besides as Daniel Libeskind, Peter Eisenman, Rem Koolhaas, Zaha Hadid, Bernard Tschumi and the Co-op Himmelblau group. Gravity-defying Deconstructivist architecture ofttimes involves calculator-assisted designwork using high-tech software, as well every bit the resource of cutting-edge firms of architects like Skidmore Owings and Merrill.

• Immature British Artists (Britart) (Late 1980s/1990s)
Combination of scenic business-savvy opportunism and shocking ideas. An explosion of farthermost bad gustatory modality dressed upward every bit art. The public loved information technology. The almost famous YBA is Damien Hirst (b.1965) while the group's main sponsor was the art collector Charles Saatchi (b.1943). For the most recent painters and sculptors in Republic of ireland, run into: Gimmicky Irish Artists (21st century), and also
20th Century Irish Artists (1900-2000).

• Neo-Pop Fine art (late 1980s onwards)
Huge plastic sculptures of children'due south toys and lots more in the same vein, exemplified past the works of Jeff Koons (b.1955).

• Body Art (1990s)
A style of fine art which uses the body every bit the "canvass". The most popular form is tattoos, followed past face painting of various kinds. Smash art is some other newcomer. Body painting is illustrated by New Zealander Joanne Gair's illusionist painting of Demi Moore - photographed past Annie Leibovitz - which appeared on the front comprehend of Vanity Fair in August 1992. The almost extreme forms of body fine art are practised by artists like Marina Abramovic (b.1946) and Frank Uwe Laysiepen (aka Ulay) (b.1943).

• Postmodernist Painting
Important contributors to postmodern styles of painting not listed above, include: the inimitable Francis Bacon (1909-92); the contemporary realist Lucian Freud (1922-2011), the subject painter Jack Vettriano (b.1951), and the figure painter Jenny Saville (b.1970).

• Cynical Realism (1990s)
Chinese contemporary fine art motility which appeared in the wake of the Tiananmen Foursquare crackdown (1989). Cynical Realists used a style of figurative painting with a mocking (sometimes cocky-mocking) narrative. Repetitive motifs used include clown-like figures, baldheaded-headed men and photographic style portraits. The style satirized the political and social state of China and, since this was a new divergence for Chinese artists, was well received past western art collectors. Artists associated with the motility include Yue Minjun (b.1962), Fang Lijun (b.1963) and Zhang Xiaogang (b.1958), all of whom achieved multi-million dollar sales.

• Project Mapping (Project Art) (21st Century)
One of the latest forms of postmodernism, projection art involves the figurer-assisted mapping of video imagery onto buildings or other large surfaces.

• Computer Fine art (21st Century)
Also chosen Digital or Internet art, this is a general category which encompasses a various range of computer related fine art forms.

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