Postmodernism
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Period: c. late 1960s/1970s – present (Peak influence c. 1980s-1990s) Region: International cultural condition and artistic approach
Overview & Key Characteristics
Postmodernism is less a unified art style and more a broad cultural condition, set of critical theories, and diverse range of artistic strategies that emerged roughly from the late 1960s onwards, gaining prominence in the 1980s and 90s. It represents a fundamental departure from and critique of the core tenets of Modernism—its belief in progress, universal truths, originality, the autonomy of art, and "grand narratives" (overarching explanations of history and society). Postmodernism, in contrast, embraces pluralism, fragmentation, complexity, contradiction, irony, parody, and pastiche. It is characterized by skepticism towards universal truths, a focus on surfaces and simulation ("hyperreality"), the appropriation and recontextualization of existing images and styles (often blurring high and low culture), and the deconstruction of meaning, identity, and power structures. Influenced heavily by post-structuralist philosophy, Postmodernism reflects a media-saturated, globalized world where originality is questioned, and meaning is seen as fluid and context-dependent.
Summary of Common Characteristics / Strategies:
| Feature | Characteristic Description (Postmodernism) |
|---|---|
| Light | Variable, often Artificial or Quoted: Lighting can mimic media sources (film, TV, ads), be used ironically, or reference historical painting styles. Not bound by naturalism or modernist purity. |
| Surface/Texture | Eclectic, Simulated, Layered: Can range from slick commercial finishes to rough assemblages. Often emphasizes the surface, the copy, or the artificiality of the medium. Pastiche involves mixing textures/styles. |
| Figures/Objects | Appropriated, Quoted, Stereotypical, Deconstructed: Frequently uses images/objects borrowed from art history or popular culture. Explores identity as constructed/performed (Sherman). May employ kitsch or simulacra (copies without originals). |
| Space/Depth | Often Fragmented, Collaged, Simulated, Theatrical: Rejects both modernist flatness and consistent illusionism. Space can be layered, contradictory, referencing multiple sources, or self-consciously artificial. |
| Color Palette | Eclectic, Ironic, Referential: No dominant palette. Colors might be appropriated from sources, used ironically (garish, kitsch), reference historical styles, or be deliberately artificial. |
| Composition | Pastiche, Juxtaposition, Fragmentation, Hybridity: Often combines disparate elements and styles. Rejects modernist unity and harmony. Uses strategies of collage, appropriation, deliberate disjunction. |
| Details/Lines | Style and technique are often borrowed, quoted, or simulated. Emphasis may be on the imperfection of the copy, the slickness of the simulation, or the juxtaposition of different linear/detailed styles. |
| Mood/Emotion | Ironic, Playful, Skeptical, Critical, Ambiguous, Cynical, sometimes Nostalgic or Melancholic (for lost certainties). Questions authority, meaning, and authenticity. Often self-aware and engages with surfaces and codes. |
| Subject Matter | Critique of Modernism, Originality, Authenticity. Mass Media, Consumer Culture, Simulation. Identity Politics (gender, race, sexuality, representation). Language, Signs, Power Structures. History as Quotation/Pastiche. Appropriation & Recontextualization. Globalization. |
Postmodernism challenges modernist ideals of purity, originality, and progress, instead embracing complexity, quotation, irony, and the fragmented nature of contemporary experience.
Historical Context & Influences
Postmodernism emerged and took shape within the context of the late 20th century:
- Late Capitalism & Globalization: Rise of multinational corporations, global media networks, pervasive consumer culture, and information technology.
- Social & Political Shifts: Decline of traditional authorities, rise of identity politics (feminism, post-colonialism, LGBTQ+ rights), end of the Cold War, growing awareness of environmental issues.
- Skepticism Towards Progress: Disillusionment with science, technology, and grand political projects following events like the Vietnam War, environmental crises, and economic instability.
- Media Saturation: Experience increasingly mediated through television, advertising, film, and later the internet, leading to ideas about simulation and hyperreality (Baudrillard).
- Rise of Critical Theory: Post-structuralist philosophers (Derrida, Foucault, Lyotard, Baudrillard) provided key concepts like deconstruction, power/knowledge, simulacra, and the critique of "metanarratives."
Influences: Postmodernism developed in reaction against Modernism's core beliefs. It drew upon and radicalized strategies found in earlier movements:
- Dada: Irony, critique of institutions, use of found materials, questioning the definition of art.
- Pop Art: Engagement with popular culture, mass media imagery, blurring of high/low boundaries, mechanical reproduction.
- Conceptual Art: Emphasis on ideas over objects, critique of institutions, use of language and photography.
- Marcel Duchamp: His work remained a crucial touchstone for questioning originality and the art object.
- Post-structuralist Philosophy: Provided the theoretical tools for deconstructing language, meaning, power, and identity.
Key Artists & Thinkers (A Diverse Selection)
- Art (Examples embodying Postmodern strategies):
- Cindy Sherman (b. 1954): Uses staged self-portrait photography to deconstruct female stereotypes in media and art history (Untitled Film Stills).
- Jeff Koons (b. 1955): Creates highly polished sculptures and paintings engaging with kitsch, consumerism, celebrity, and taste (Balloon Dog, Puppy).
- Barbara Kruger (b. 1945): Employs graphic design aesthetics (image + text) for sharp feminist and social critiques (Your body is a battleground).
- Sherrie Levine (b. 1947): Appropriates iconic artworks by male modernists to question authorship, originality, and gender bias.
- Richard Prince (b. 1949): Known for re-photographing existing photographs, particularly from advertising (Marlboro cowboys) and popular culture.
- Jenny Holzer (b. 1950): Uses text projected or displayed on LED signs, benches, etc., offering concise, often contradictory statements (Truisms).
- Neo-Expressionists (e.g., David Salle, Julian Schnabel): Often considered Postmodern for their return to figurative painting incorporating diverse styles and references in a pastiche manner.
- Architecture (Examples):
- Robert Venturi (1925-2018): Advocated for complexity, contradiction, and learning from popular/commercial architecture ("Less is a bore").
- Charles Moore (1925-1993), Michael Graves (1934-2015): Known for playful use of historical forms, color, and ornament.
- Frank Gehry (b. 1929): Associated with Deconstructivism, creating fragmented, sculptural buildings that challenge modernist functionalism.
- Key Theorists: Jean-François Lyotard (The Postmodern Condition), Jean Baudrillard (Simulacra and Simulation), Jacques Derrida (Deconstruction), Michel Foucault (Power/Knowledge), Fredric Jameson (Postmodernism, or, The Cultural Logic of Late Capitalism).
Notable Works / Sites
- Art: Sherman, Untitled Film Stills (1977-80); Koons, Rabbit (1986); Kruger, Untitled (I shop therefore I am) (1987); Levine, After Walker Evans: 4 (1981); Holzer, Protect Me From What I Want (Times Square Spectacolor board, 1985-86).
- Architecture: Venturi, Vanna Venturi House (1964); Moore, Piazza d'Italia (1978); Graves, Portland Building (1982); Johnson/Burgee, 550 Madison Avenue (AT&T Building) (1984); Gehry, Guggenheim Museum Bilbao (1997).
Legacy and Influence
Postmodernism has profoundly shaped contemporary culture and artistic practice:
- It dismantled the dominance of Modernist ideals and opened art up to a vast range of styles, subjects, and strategies.
- Legitimized appropriation, pastiche, irony, and engagement with popular culture as valid artistic approaches.
- Fostered critical awareness of how images, language, and institutions construct meaning and identity.
- Influenced virtually all areas of cultural production, from art and architecture to literature, film, music, and design.
- While the term "Postmodernism" is sometimes seen as belonging to a specific historical period (roughly 1970s-90s), the attitudes and conditions it described—skepticism, pluralism, media saturation, focus on identity—remain central to understanding the complexities of contemporary art and culture globally. Debates continue about what comes "after" Postmodernism (e.g., Metamodernism, Post-Internet Art).