Postmodern Art

Hedlin Hayden, M., 2003: Out of Minimalism: The Referential Cube. Contextualising sculptures by Antony Gormley, Anish Kapoor and Rachel Whiteread. Written in English. Acta Universitatis Upsaliensis, Figura Nova series 29. 282 pp. Diss., Uppsala University. ISBN: 91-554-5682-0.

As Baudrillard turned to metaphysics in the 1980s, he soured somewhat on art, believing that it had exhausted itself and he became associated with the "end of art" theory. In this interview "Game with Vestiges" he claims that in the sphere of art, every possible artistic form and every possible function of art has been exhausted. Furthermore, against Benjamin, and Adorno he argues that art has lost its critical and negative function. Art and theory for Baudrillard have become a "playing with the pieces" of the tradition, a "game with vestiges" of the past, through a postmodern recombination of forms already produced. (pace Douglas Kellner)

Araştırmada öncelikli olarak modern-postmodern ikileminde kübist biçimlendirme anlayışının temel karakteri, gerçeklik algısının yeniden yaratımı, söz konusu yaratım sürecinin farklı dönemler ve sanat anlayışları kapsamında anlam değişimleri incelenmektedir. Çalışmanın devamında zaman-mekana ilişkin yeni yönelimler çağdaş sanat kapsamında araştırmaya dahil edilerek zaman olgusunun bilimsel, matematiksel, psikolojik boyutları analiz edilmektedir. 20. yüzyılın bilimsel gerçekliği olan Einstein'ın göreli evren anlayışında zaman olgusu kendinden önceki bilimsel düşüncenin aksine nesnel bir gerçeklik olarak değil, belirli koşullar altında genişleyen, büzülen ve hareket halinde bir değişim olarak vardır. Sanatın biçimsel kolu olarak tanımlanabilen kübizm, fütürizm ve diğer sanat eğilimleri bu gerçekliği ve değişen zaman algısını devinimin farklı boyutlarda temsili olarak ele alıp sanatın konusu haline getirirler. Resimsel anlatının konu aldığı zaman da bu anlamda, geçmiş-gelecek ve şimdinin bir araya geldiği, bilinç halinde yer değiştirdiği, tek bir görüntüsel an' da farklı açılardan konumlandırıldığı zamandır. Bir araya getirilmiş bu tek bir noktadan, farklı zamansal anlardan, üst üste yerleştirilmiş hızlandırılmış görüntülerden bilişsel ve öznel olarak zamanın farklı açılımlarına gidilebilmektedir. Postmodern sanatta görülen kübist açılımların temsil ettiği gerçeklik budur. Bu doğrultuda araştırmada Einsteincı zaman-mekan anlayışı ve göreli evren düşüncesi ile kübizmin çözümsel kolu arasında kurulan ilişki yoluyla postmodern düşüncenin modernist yönüne disiplinlerarası bir yaklaşım sunulmaktadır.

Up to now historical studies have thoroughly not investigated the cultural background and the early professional biography of the five painters Achille Bonito Oliva has includeded in the Transavant-garde (Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola  de Maria and Mimmo Paladino) yet. The main obstacles to these studies go back to the birth of Transavant-garde. From one side, the documents concerning the past of the artists -those that would not justify the belated rehabilitation of the "traditional media"- were suddenly not taken into account; and, from the other side, it emerged a clear and schematic contrast between the Transavant-garde and the preceding experience of the Arte Povera and Conceptual Art through which the militant criticism interpreted this shift.
The essay focuses on the story of the two transavant-gardists, Paladino and de Maria, with the aim of reconstructing how they join from the end of the sixties up to 1977, the "Environment-Painting" (a form of expanded and wall painting, here cosidered as a preliminary step to the Transavant-garde). The historical investigation has taken up again this corpus of documents intentionally ignored, and it has focused on the experimental beginnings of the two artists -beginnings related to the envirnoment, the performance, and particularly the photograph.
Therefore, the essay tries to give a more complex interpretation of this corpus by comparing with the contrast suggested by the militant criticism and by founding out the continuity elements of painting, or the pictorial iconography, already present in the Italian neo-avant-garde (Arte Povera, Conceptual, etc...).

In our current technological age, digital reproductions of artworks are readily available with a mere Internet search. Additionally, the Internet allows for users to acquire copies of any image editing software, which in turn enables the altering and amalgamating of virtually anything, by anyone.  The results of this infinite availability that I wish to explore are the combinations of fine art pieces with elements of present-day popular culture into memes with art historical backgrounds and pop culture references. In a large way resembling the Dadaist tradition, these digital works physically and philosophically resemble Dadaist photomontage. As I place these works in a Postmodern setting, they reject the traditional medium and technique of painting and perhaps even adopt societal critique and parody, while the physical principles bear resemblance to pastiche.

Στα πλαίσια του ΔΠΜΣ «Σχεδιασμός-Χώρος-Πολιτισμός»
με κατεύθυνση «Γνωσιολογία Αρχιτεκτονικής», Αρχιτεκτονική ΕΜΠ
Εργασία για μεταπτυχιακό σεμινάριο: «Θεωρητική και Εφαρμοσμένη Αισθητική»
Διδάσκοντες: Μαρία - Μελίτα Εμμανουήλ, Θωμάς Συμεωνίδης, Ελένη Τάτλα, Παναγιώτα Ράπτη
Υπεύθυνη Καθηγήτρια: Τάτλα Ελένη

Διερεύνηση της σχέσης του έργου τέχνης/αρχιτεκτονικής και αρχετύπου.
Στο πρώτο μέρος της έρευνας μελετάται η σχέση του έργου-αρχετύπου ως «μίμησις». Αναδεικνύεται η σύνδεση της φιλοσοφίας του Πλάτωνα και του Αριστοτέλη με τα κλασσικά ελληνικά έργα τέχνης και αρχιτεκτονικής.
Το δεύτερο μέρος επικεντρώνεται στην αναστολή της λειτουργίας της μιμήσεως κατά τη Μοντέρνα και Μεταμοντέρνα τέχνη και την υποκατάσταση της από τη μεταφορά και την αλληγορία.

Postmodernizmi, modern düşünceye ait kavramların sorunsallaştırılması ve bu sorunların aşılması fikirleri oluşturmaktadır. Basit olarak bu şekilde ifade edebileceğimiz postmodernizm aslında çok fazla tartışılan bir kavramdır. Çoklu yapısından ötürü “Postmodernizm nedir?” sorusuna tek bir yanıt vermek mümkün değildir.
“Postmodernizm o kadar çok kafa karıştırıcı ve karmaşık bir kavramdır ki hakkında tartışmalar hâlâ tamamlanamamış, hâlâ üzerinde herkesin fikir birliğine vardığı bir tanımı yapılamamıştır.”

This essay couples David Foster Wallace’s works (Infinite Jest, This Is Water, and non-fiction essays) with contemporary research on shame and addiction and explores how literature anticipates science as a means of understanding the human condition.  Wallace's personal knowledge of addiction and how the individual struggles with addiction’s causes and consequences reflects what social workers and M.D.s are beginning to understand as an issue of society at large, not simply an isolated problem of the addict.  As much of the U.S. and other countries struggle with disconnection, isolation, and the overwhelming sense of hopelessness—manifested in burgeoning debt, obesity, medication dependence, etc.—we find ourselves confronted with the realization that the addict depicts our own inner turmoil that is easily ignored or pacified in our materialistic, consumer-driven culture.  Gabor Maté’s In The Realm of Hungry Ghosts: Close Encounters with Addiction (2011) and the work of Brené Brown, Ph.D., LMSW, present claims for how the individual is a reflection of the community and vice-versa, thereby arguing for a greater commitment to understanding and aiding those plagued by addiction.  Wallace recognized, “Everybody is identical in their secret unspoken belief that way deep down they are different from everyone else” (my emphasis Infinite Jest 205).  Yet his fiction and scholars’ research suggests that human beings share more identical attributes than dissimilar ones, and that the addict—whether it be Lenz, Hal, or even Gately as he struggles with sobriety—is not so different from the community who ostracizes him/her (my emphasis Infinite Jest 205).  Wallace, Maté, and Brown encourage authenticity, sincerity, and vulnerability, which are all traits that help addicts overcome their struggle with substances, and almost ironically, it is these traits that also push the literary community out of the post-modern refrain of disillusionment, deconstruction, and irony, which Wallace admittedly strove to overcome.

This paper discusses on the impact of thematic approaches taken by Malay artists in Malaysia since the 1990’s.Malaysian art has become increasingly diverse in terms of its approach, subject, theme and media. This growing artistic diversity is discussed within a postmodern framework and is representative of a shift in tendencies away from a purely Malay/Islamic-centred artistic tradition to a more postmodern approach that is inclusive of Malaysia’s emerging middle class. Since the 1990’s, works produced by Malay artists have taken a more critical perspective aligned with the postmodern situation or situasi percamoden in accordance with Malaysia’s leapfrog into modernization. Through their works, Malay artists raise concerns and issues pertaining to the consequences of development and modernization, and explore themes ranging from social problems, environment and urbanization, and contemporary issues thereby employing postmodernist approaches in their art. What is obvious is, that Malay artists are concerned with the immediate and near future, rather than looking back or glorying the past. These artistic tendencies epitomize the challenges, divergences and even connections of perspectives that define the growing Malaysian middle class especially in the context of the construction or even deconstruction of Malaysian society.

Nel solo arco di un decennio, gli anni Settanta, il canone interpretativo dell'opera di Giorgio De Chirico venne notevolmente sovvertito. La fortuna del maestro registrò, in questa fase, un'improvvisa ascesa che lo condusse, nell'epoca dei postmodernismi e del ritorno alla pittura, ad una consacrazione pari quantomeno a quella riservata a Marcel Duchamp durante i fasti della Pop e della Conceptual Art. Durante questa rinascita, il diffuso pregiudizio bretoniano -secondo il quale un'infelice e precoce senescenza lo avrebbe colpito dopo le sue prime, geniali, opere metafisiche -entrò in crisi per lasciar posto ad una visione di De Chirico che ne fece il paradigma della critica della modernità, l'ispiratore, neanche tanto celato, di alcuni fondamenti dell'omonimo libro di Jean Clair 1 . Nonostante gli antipodi qui appena delineati, da Breton sino a Clair, appartengano ad un dibattito interno alla storiografia francese, si può affermare che tale pregiudizio fosse internazionalmente condiviso e che il processo di revisione che ne inficiò la validità si sia svolto specialmente in Italia.

3 A kiállítás, melynek koncepcióját Beke László dolgozta ki, 1999. január 26. és február 14. között volt látható. Ld. Csernus Tibor újabb festmé-nyei William Hogarth The Harlot's Progress (1731) című rézmetszetsorozata nyomán. Szerk. Beke László. Kiáll. kat. Budapest, Műcsarnok, 1999. A tárlatot Lajta Gábor nyitotta meg, Hogarth metszeteit a Szépművészeti Múzeum kölcsönözte. 4 Csernus néhány későbbi fontosabb kiállítása, a teljesség igénye nélkül:

Öz Araştırmanın amacı, bilim felsefesinde paradigmalar ve olağan bilim etkinlikleri olarak tanımlanan çağdaş bilim anlayışının görüntü niteliklerini, modern sonrası felsefi düşünce ve postmodern sanatsal söylemin etkisinde çözümlemek, bilim-felsefe-sanat triyalektiğini örnekleme alınan çalışmalar ve düşünce biçimleri yoluyla ilişkilendirerek analiz etmektir. Bu doğrultuda paradigmatik yaklaşımın bilim felsefesi ve salt bilim anlayışında yer alan somut yansımaları incelenmekte, felsefe alanında çağdaş düşüncenin yansımaları ve sanat alanında enformasyon toplumunun yeni ifade biçimleri ilişkisel çözümlenmektedir. Araştırma sonucunda çağdaş düşüncenin bilimsel düşünceyi olduğu kadar sanatsal ifadeyi de değiştirip dönüştürdüğünün, yeni teknik ve ifade biçimlerinin yaratımı bilimsel düşünceye yaklaştırırken aynı zamanda düşünsel boşluğu doldurduğu görülmektedir. Çağın toplum yapısı olan enformasyonalizmin ve onunla ilişkili sanat eğilimlerinin incelenmesinin ardından, enformasyonalist paradigmanın düşünme biçimi olan mobilistik gelenek ve Deleuze'un 'organsız beden' olarak ifade ettiği değişken gerçeklik anlayışı araştırmanın temel çıkış noktası alınarak gerçeklik üzerine yeni bir ilişki kurulmaktadır. Abstract The aim of the study is to analyze the image qualities of contemporary science, defined as paradigms and ordinary science activities in the philosophy of science, under the influence of postmodern thought and postmodern artistic discourse, and to analyze the relation between science-philosophy-art trialectics and the ways of thinking. In this respect, firstly, the concrete reflections of paradigmatic approach in the philosophy of science and understanding of science are examined, the reflections of contemporary thought in the field of philosophy and the new forms of expression of information society in the field of art are analyzed in a relational manner. As a result of the research, it is evidenced by the studies taken by sampling that the contemporary thought changes and transforms the scientific plane as well as the artistic plane, and the new techniques and forms of expression bring the creation of scientific thought closer to the scientific thought at the same time. In this direction, after examining the social structure of the era, informationalism and the related art tendencies, a new relationship is established on reality by taking the basic starting point of the research as the fundamentalist point of the research, the mobilistic tradition which is the thinking form of the informationalist paradigm and the variable understanding of reality which Deleuze expresses as 'organless body'.

Araştırmada öncelikli olarak modern-postmodern ikileminde kübist biçimlendirme anlayışının temel karakteri, gerçeklik algısının yeniden yaratımı, söz konusu yaratım sürecinin farklı dönemler ve sanat anlayışları kapsamında anlam değişimleri incelenmektedir. Çalışmanın devamında zaman-mekana ilişkin yeni yönelimler çağdaş sanat kapsamında araştırmaya dahil edilerek zaman olgusunun bilimsel, matematiksel, psikolojik boyutları analiz edilmektedir. 20. yüzyılın bilimsel gerçekliği olan Einstein'ın göreli evren anlayışında zaman olgusu kendinden önceki bilimsel düşüncenin aksine nesnel bir gerçeklik olarak değil, belirli koşullar altında genişleyen, büzülen ve hareket halinde bir değişim olarak vardır. Sanatın biçimsel kolu olarak tanımlanabilen kübizm, fütürizm ve diğer sanat eğilimleri bu gerçekliği ve değişen zaman algısını devinimin farklı boyutlarda temsili olarak ele alıp sanatın konusu haline getirirler. Resimsel anlatının konu aldığı zaman da bu anlamda, geçmiş-gelecek ve şimdinin bir araya geldiği, bilinç halinde yer değiştirdiği, tek bir görüntüsel an' da farklı açılardan konumlandırıldığı zamandır. Bir araya getirilmiş bu tek bir noktadan, farklı zamansal anlardan, üst üste yerleştirilmiş hızlandırılmış görüntülerden bilişsel ve öznel olarak zamanın farklı açılımlarına gidilebilmektedir. Postmodern sanatta görülen kübist açılımların temsil ettiği gerçeklik budur. Bu doğrultuda araştırmada Einsteincı zaman-mekan anlayışı ve göreli evren düşüncesi ile kübizmin çözümsel kolu arasında kurulan ilişki yoluyla postmodern düşüncenin modernist yönüne disiplinlerarası bir yaklaşım sunulmaktadır.

In 1984, the literary critic and philosopher Frederic Jameson theorized the replacement of the individual subject of the modern era with the fragmented, decentered and multiple ego produced by the postmodern culture, absorbed in a continuous present that erases history and distinguished by a sort of emotional flatness.
As postmodern theorists debated contemporary identity, several visual artists produced self-portraits that multiplied, fractured or disguised their image, reflecting on the condition of the ego in contemporary society.
Subject to the cultural, aesthetic, social and anthropological transformations, the self-portrait has indeed changed form and symbology over the centuries, infusing the image of the artist with multiple meanings, focusing firstly on a question: how do I want you to see me? In the postmodern context, the answer to this question acquires many forms, as does the representation of the artist’s identity.
In order to understand the peculiarity of the self-portraits of this period, the essay will focus on several works, including Spermini (1997) by Maurizio Cattelan, The Book of Food (1985-1993) by Vanessa Beecroft, Untitled #193 (1988) by Cindy Sherman and the Cremaster Cycle (1994–2002) by Matthew Barney. Concerning this, the focus will be on the artistic production of the 1990’s because, as far as I can see, it seems to display a relevant maturation of the features that Jameson assigns to the postmodern ego. In the guise of self-projection, duplication and disguise, these and other self-portraits appear as the symbol of a multiple, evanescent and chameleonic ego, aimed at impersonating multiple roles and characters, assuming different self-concepts or a changing identity.
In order to analyse these artworks, I will use an interdisciplinary approach combining an art historical and anthropological perspective (Belting, Hall) with postmodern self theories (Jameson, Gergen).

In this study, it is aimed to investigate the motifs of the Mary and Child from the Byzantine icons to present day with the examples of the evolution in the art historical process. It is possible to see the influence of the Byzantine icons, whose sources are based on the ancient civilizations, for many hundreds of years, in all the geographies spread by Christianity and artistic expressions of different periods. In this study, which mainly includes examples of painting arts, examples related to the subject were investigated through written and visual sources. This research has shown that this main motif, which has been repeating for many years, still exists, although not as much as it was before.

The accumulation and hybrid nature of contemporary art practices, within the postmodern art canon and its discourse, present  complexities in relation to the characterisation of the experience of an artwork and its phenomenology (Wilder 2011:294). The intention of this assignment is to draw from the insights of Michael Fried (1992[1967]:822-834) and Miwon Kwon (1997:86-110), and other scholars to discuss the concept of the autonomous artwork in both modernist and postmodernist discourses, as well as to examine the delineation of site specificity and the subsequent revisions of its definition. The assignment will also look at the ongoing reassessment of the relationship between an artwork and its site. The theoretical understandings of each will be applied to relevant artworks and/or art objects from prominent postmodern and contemporary artists.

The scope of this research is the examination of the life and art of Claes Oldenburg who is a sculptor of the Pop Art movement occurring and developing after 1960s within the concept of postmodern art. First of all, postmodernism was defined and the basic paradigm changes were compared with the previous period in the research. Afterwards, through an orientation towards Pop Art which is a postmodern movement, the formal and semantic dimensions of Claes Oldenburg's sculptures and soft objects were analyzed.
Claes Oldenburg's artistic career started as a painter but continued as a sculptor as he was impressed by the shop windows, graffiti, advertisements and piles of garbage in New York City and started to use these objects in his sculptures. Initially, he started to form different objects by painting plaster pieces, later he started to make soft objects and like the Pop Art artists, he began to create works of art by selecting his subjects from objects of consumption. His most famous works are different food objects formed by soft materials (cake slices, hamburgers, an ice-cream cone). He also has giant sculpture installations in public spaces. Analysing different social, cultural and political meanings and connotations of food icons in Oldenburg sculptures within the scope of the artistic tendency of the of the period and its relation with conceptual art was the aim of this study.

ISBN: 978-605-2124-05-5

Hüsnü Dokak bases his art on the fragile structure of social realism and makes it dynamic by transforming it into images. Turkey moves to create a language with a unique artistic identity that reflects the unity of opposites in art canvas. In the narratives of Dokak, Jean François Lyotard (1924-1998), there is an avant-garde point of view which is hidden in his words, not to be seen, to show to the viewer.

Running Interference," a term used for offensive plays in football in which guards and often fullbacks dear paths for plays to be made and yardage gained, is a useful analogy for the goals of recent art. Instead of attempting to replicate external reality, this recent work appreciates the obstacles that make such an idealistic quest an impossibility. We might say that the overall aim of this art is to focus on an aesthetic interference and to emphasize those elements ovenaking the role of direct communication such as acknowledged ideological constructs, mass-media imagery, the citation of panicular genres, and discourses.

This paper proposes a new functionalist way of thinking about post‑modern works of art (broadly conceived) by suspending the typical expectation that works of art serve to impart aesthetic experiences. Using the theories of Rudolf Arnheim, the criterion is switched instead to experience. In this way, the typical shortcoming of functionalism is overcome while restoring what is intuitive about the theory. Thus, against standard functionalist theories that dismiss works like Duchamp's urinal or Warhol's brillo boxes, this paper affirms the ubiquity of this conception of art, which is opened up as experience , because these works enhance our experience of the world. What this revised functionalist theory assumes is that even though works of art do not provide aesthetic experiences exclusively, they are nevertheless bounded as artistic statements. But this boundedness does imply simplicity in any sense.

In the 1940s, Pavel Brázda invented his own art movement, called “Hominism”, which he defined as ‘art about people and for people’. He explains: “It was important to me that a larger group of people be engaged with art, unlike with modern art, which often ends up in the possession of a few wealthy collectors.”

Despite the originality and pioneering nature of his art, Brázda was unrecognised for most of his life. Being neglected by the official art scene during the Communist era for political reasons had one huge advantage: absolute creative freedom and independence. He and his wife and fellow artist, Věra Nováková, finally had their first official exhibition in 1992, after the Velvet Revolution. The discovery of his large body of distinctive works became a sensation. In 2006, to mark his 80th birthday, the National Gallery in Prague prepared a large retrospective of his works, and in 2010 his paintings were included in the gallery’s permanent exhibition.
Although he and his wife always worked outside of the mainstream, Brázda’s works often anticipated upcoming trends on the global art scene, including pop art, magic realism and art informel. In the late 1980s, Brázda’s position as an outsider naturally bonded him with young underground artists, who appreciated his originality – something
that was slowly disappearing with the incoming wave of postmodern art.
In 2006, at the age of 80, Brázda started using a computer to produce his works. Since then, he was consistently working on the extensive “Human Comedy” series.

"In this symposium I will compare the historiographic methodologies that appeared in Italy at the beginning of the eighties with the opposite postmodernists theories sustained by critics like Benjamin Buchloch.
The so-called “Return to painting” in Italy, including labels like “Transavanguardia”, tried to rehabilitate figures usually linked with anti-avantgardism and reactionarism, like Giorgio De Chirico after his disengagement with Surrealists, or Mario Sironi, who influenced Fascist style.
Italian critics associated with neo-figurative tendencies rejected as outdated any ideological judgement regarding realistic painting and its claims to a national style, particularly those derived from the historicistic interpretation adopted by Giulio Carlo Argan, the most influential contemporary art historian in Italy after 1945.
The exhibitions held after 1979, like “La Pittura Metafisica” or “Anni Venti”, proposed a new vision to re-evaluate Metafisica’s role, in opposition to Futurism’s supremacy based on an avanguardistic progression.
This effort to revise the political reactionary engagement of figures like Sironi or De Chirico, was preceded by the ex-Communist historian Renzo De Felice’s broadly reconciliatory approach toward Fascism in his lengthy biography of Mussolini.
At the same time, Communist Party, leaded by Enrico Berlinguer, began a renovating political strategy to emancipate itself from totalitarian policy of U.S.S.R. This change had a correspondent approach among art critics and historians close to the Party that culminated in the “Biennale del Dissenso” (1977) where artists persecuted by the sovietic regime can exposed their banished works.
The Revisionist tendency -and its art-historical version- deeply influenced Jean Clair, who was, during the seventies, close to italian critics like Luigi Carluccio and who organized Les Réalismes (1981), the most fervent attempt to eliminate the “avant-garde” category in historical methodology.
From the opposite side, Buchloch accused Clair of being a “new reactionary anti-modernist” and promoting an approach to the arts “outside the historical and political context”.
Buchloch’s Postmodern thought aimed primarily to revise Greenberg’s Modernism while, at the same time, reaffirming some of its aspects (such as the distinction between the avant-garde and kitsch) thus contradicting Clair’s theory.
In placing Greenberg’s theory at the center of Postmodernism’s change, Buchloh didn’t consider the possibility of other historical legacies in different political contexts such as Italy or France."

Ενα είδος υπαρξιακού χάσματος ανοίγεται μπροστά μου καθώς περιφέρομαι στα Bloomingdale και με οδηγεί αρχικά στο να ψάξω ένα τηλέφωνο για να τσεκάρω τα μηνύματά μου, έπειτα, σχεδόν κλαίγοντας, αφού πήρα τρία Halcion (από τη στιγμή που το σώμα μου μεταλλάχτηκε και προσαρμόστηκε στην ουσία, αυτή δεν λειτουργεί πια σαν υπνωτικό, απλά μοιάζει να απομακρύνει την απόλυτη τρέλα), κατευθύνομαι προς το σταντ της Clinique όπου αγοράζω 6 σωληνάρια ξυριστική κρέμα με την πλατινένια American Express μου, φλερτάροντας νευρικά με τις πωλήτριες και αποφασίζω ότι αυτό το κενό έχει κάποια σχέση, τουλάχιστον μερικώς, με τον τρόπο που συμπεριφέρθηκα στην Εβελυν χθες στο Μπαρκάντια, αν και πάντα υπάρχει η πιθανότητα να έχει να κάνει απλά με τη βλάβη του VCR μου, και ενώ σημειώνω νοητά ότι πρέπει να πάω μεταμφιεσμένος στο χριστουγεννιάτικο πάρτυ της Εβελυν (μέχρι που σκέφτομαι να ζητήσω σε ένα από τα κορίτσια της Clinique να με συνοδεύσει), υπενθυμίζω επίσης στον εαυτό μου να ρίξει μια ματιά στις οδηγείες χρήσεις του VCR. » Bret Easton Ellis, American psycho

I do not know that Roe Ethridge’s work is ironic, because I don’t know that I am. This is not to say that I am Ethridge’s work, but
if it is indeed some kind of comment on the culture, as I am
told it is, I am a part of that culture and therefore have some
say in the application of irony. Irony is calling yourself a Rock Chick when you are really a Square and you know it. Irony is not re-photographing Warhol, as Ethridge does in Warhol (Liz) (2011) or as Catherine Opie does in the series “700 Nimes Road.” Nor is re-photographing or photographing the mundane necessarily witty or droll, for those forms of humor carry with them a classist element, or at least a cattiness. I aspire to be a bitch and a Rock Chick, but I don’t think Ethridge does, and that’s OK. In any case, where is the cattiness in pictures of dead women made by dead men, carefree children, sublime settings, your own self? Only
in a refusal to identify with such phenomena and to feel the emotions, both unbearable and pleasurable, that they engender. I maintain that neither Warhol nor Ethridge are apathetic, because I am not apathetic, and they are not glib, because I am not glib, and if we, or you, choose to be, then so be it.

Le manifestazioni dell'arte postumana vengono lette attraverso i radicali cambiamenti sociali dei primi anni '90: l'avanzare della cosiddetta "società della performance",  l'affacciarsi di disturbi come l'Information Fatigue Syndrome e la depressione, il conseguente e generalizzato ricorso agli antidepressivi cambiano radicalmente la struttura del soggetto contemporaneo. Il contributo analizza l'opera di artisti come Cindy Sherman, Robert Gober e Paul Mcarthy in relazione a questo radicale mutamento.

Since its emergence in the 1980s, appropriation has become so widespread in contemporary art as to evade continued examination as a distinct genre of artistic practice. Yet at the same time, intellectual property battles ignited by appropriative gestures continue to threaten the strategy’s viability in the present. The work of LA-based artist Karl Haendel, grounded in meticulously rendered pencil drawings of found photographic imagery, exists at the crux of this contradiction. Among the first critical art historical examinations of Haendel’s conceptual drawing practice, Karl Haendel: Knight’s Heritage narrates four illuminating moments in the artist’s career that show how the operations, effects, and reception of appropriation art have changed in recent decades. Natilee Harren narrates how Haendel’s practice responds to the work of Anne Truitt, Mary Kelly, and Robert Longo, as well as to feminism, contemporary photography, postinternet art, and the 2016 U.S. presidential election. Ultimately, Haendel’s project—which expands beyond drawing to include sculpture, installation, books, film projection, and sound—makes surprising claims for the transformed stakes of appropriation in the 21st century, as the artist seizes upon its most promising politics of signification.