1970s Art Form That Derived From Photography and Exhibited Extreme Realism

Contemporary Fine art Movements
Postmodernist Styles, Schools, Artist-Groups: belatedly 1960s-present.
MAIN A-Z INDEX

RECENT ARTISTS
For the leading artists
around the globe, see:
• 20th Century Painters
• 20th Century Sculptors

Examples of Movements

The Physical Impossibility of Decease
in the Mind of Someone Living (1991).
By Damien Hirst, one of the most
famous postmodernist artists.

Studies for a Cocky Portrait (1980).
(Detail) By Francis Bacon, whose
disturbing style of painting combines
surrealist and expressionist imagery.
Although born in the 1900s, Bacon
produced some of the well-nigh avant
garde 20th century paintings.

Self Portrait Suspended (2004)
By Young British Artist
Sam Taylor-Wood.
Is Photography art?

Contemporary Art Movements
Chronological list of Postmodernist styles and artforms

Contents

• INTRODUCTION
• Pop Art (1960s onwards)
• Word Art (1960s onwards)
• Conceptualism (1960s onwards)
• Performance (Early 1960s onwards)
• Fluxus Movement (1960s)
• Installation (1960s onwards)
• Video Installations (1960s onwards)
• Minimalism (1960s onwards)
• Photo-Realist Art (Hyperrealism) (1960s, 1970s)
• Digging (Country or Environmental Fine art) (1960s, 1970s)
• Contemporary Photography (1960s onwards)
• Arte Povera (1966-71)
• Supports-Surfaces (1966-72)
• Contemporary Realism
• Post-Minimalism (1971 onwards)
• Feminist Art (1970s)
• New Subjectivity (1970s)
• London Schoolhouse (1970s)
• Graffiti Art (1970s onwards)
• Neo-Expressionist Art (1980 onwards)
• Transavanguardia (Trans-advanced)
• Britart: Young British Artists (1980s)
• Deconstructivist Design (1985-2010)
• Body Art (1990s)
• Chinese Cynical Realism (1990s)
• Neo-Pop (late 1980s onwards)
• Stuckism (1999 onwards)
• New Leipzig School (2000 onwards)
• Projection Fine art (21st Century)
• Computer Fine art (21st Century)

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• For the top l exhibition venues, come across: Best Galleries of Contemporary Art.
• For the top 200 artists built-in after 1945, see: Height Contemporary Artists.

Introduction

In this article we list the main schools and styles of "Contemporary Art" which emerged from the belatedly-1960s onwards. Because "gimmicky fine art" superceded "modern fine art", information technology is also referred to every bit Postmodernist Fine art. Please note yet, that the transition from modernism to postmodernism was a gradual i, which took place during the decade of the 1960s. Both styles thus co-existed with each other during this fourth dimension.

In addition, please note that one of the most of import differences between modern and postmodern fine art, concerns the downgrading of the "finished product". The aim of well-nigh all mod artists, for instance, was to create an enduring and unique work of art like a painting, sculpture, drawing, or other type of object. By contrast, postmodernist artists have less involvement in this kind of product and more than interest in the ideas behind it. This helps to explicate the growth of new types of art - such every bit installation art (including sound and video installations), conceptualism (a wide category of 'ideas art'), happenings (blazon of performance art), video installations, projection mapping, and outdoor excavation (environmental constructions) - in which either there is no finished production to speak of, or else it is transient and recorded merely as an 'issue'. Revealingly, over the past twenty years, the Turner Prize for Gimmicky Art has been won by two painters, 0 sculptors, and 10 installation artists.

Gimmicky ART MOVEMENTS

Popular Art (1960s onwards)

Pop Art was both modernist and contemporary. It started out by depicting a more up-to-engagement reality, using images of motion-picture show-stars and other celebrities, too as mass-made consumer appurtenances. Simply this was apace eclipsed by an increasing mail service-modern focus on impact and style. Encounter for case our short guide to Andy Warhol's Pop Art of the sixties.

Word Art/Give-and-take Painting (1960s onwards)

Word Art was a brand new course of painting or sculpture which used text-based imagery. It was associated with artists like Robert Indiana (b.1928), Jasper Johns (b.1930), On Kawara (1932-2014), Barbara Kruger (b.1945) and Christopher Wool (b.1955).

Conceptualism (1960s onwards)

Conceptual art is a postmodernist fine art move founded on the principle that art is a 'concept' rather than a textile object. That is to say, the 'idea' which a piece of work represents is considered its essential component, and the "finished production", if it exists at all, is regarded substantially as a grade of documentation rather than as an artifact. The origins of Conceptualism go back to Dada and the early on 20th century avant-garde creative person Marcel Duchamp, simply it wasn't until the 1960s that it became a recognizable movement and acquired a name. Conceptual fine art has the ability to deliver ideas quite powerfully, hence it has served every bit a popular vehicle for socio-political comment. In addition, past downplaying the need for any painterly or sculptural skills - indeed, for any craftsmanship at all - information technology retains a destructive edge by challenging the entire tradition of a piece of work of art every bit a unique and valuable object. Some experts betoken to the fact that the postmodern era demands more than the passive experience of "viewing" a piece of work of art, and that Conceptualism provides a more interactive experience. Whether this added entertainment value helps an "thought" to authorize every bit a work of art, is rather doubtful. For works by one of Europe's first conceptual artists, please see also: Yves Klein'due south Postmodernist art (1956-62).

An illustration of this consequence is the large collection of shoes in the Holocaust Museum in Washington, DC, which belonged to Nazi concentration military camp victims. It has been suggested that this has the characteristics of a Conceptual artwork, considering walking by the huge pile of shoes helps united states of america to comprehend the terrifying reality of the gas chambers. Indeed it does, but frankly it doesn't turn the shoes into a work of fine art, or indeed any type of creative statement. (Compare Holocaust fine art 1933-45.) Information technology is a political or historical argument. Thus the difficulty for Conceptualism is to show how information technology qualifies as fine art, as opposed to entertainment, theatre, or political commentary.

Important exponents of Conceptualism include Sol LeWitt, Joseph Beuys, Felix Gonzales-Torres, Eva Hesse, Jenny Holzer, Joseph Kosuth, Barbara Kruger, Jean Tinguely and Lawrence Weiner. Other artists associated with the movement include Mel Bochner, Hanne Darboven, Agnes Denes, January Dibbets, Hans Haacke, On Kawara and Les Levine.

Performance (1960s onwards)

Emerging in America and Europe in the early 1960s, Performance art is an experimental fine art form inspired by Conceptual art, also equally Dada, Futurism, the Bauhaus and (in America) the Black Mountain College. Performance is mostly supposed to be characterized past its "live" nature - the fact that the artist communicates directly with the audition - and its impact, whether agreeable or shocking, must be memorable. A good example is the series of cocky-subversive machines - probably the most famous examples of kinetic art - created past the Swiss artist Jean Tinguely (1925-91). Fifty-fifty so, the verbal difference between innovative theatre and Performance art is hard to notice. Moreover its insistence on beingness labelled "fine art" - traditionally a conservative event - sits awkwardly alongside its anti-establishment ethic.

Operation at present includes events and "happenings" by visual artists, poets, musicians, film makers, video artists and so on. The late-1960s and 1970s also witnessed the appearance of "Torso Art", a type of Performance in which the creative person'southward own flesh becomes the canvas and after "performs" in a suitably shocking, newsworthy fashion (for more see below). During the 1980s, Performance art increasingly relied on engineering (video, computers) to evangelize its "creative" message. Contemporary artists associated with this genre include the pioneer Allan Kaprow (1927-2006), Yves Klein (1928-62), Gilbert & George (b.1943, 1942), and the boggling Joseph Beuys (1921-86), who created the innovative performance How to Explain Pictures to a Dead Hare (1965). Another innovative artist is the Korean-American Nam June Paik (1932-2006), who began in functioning art before working with televisions and video, and thereafter installations.

Fluxus Motility (1960s)

Fluxus was an avant-garde group of artists (its name means "flowing" in Latin) led by the Lithuanian-built-in art theorist George Maciunas (1931-78), which first appeared in Frg before spreading to other European capitals and then New York City, which became the heart of its activities. Its stated aims - a confusing mixture of "revolutionary" and "anti-art" art forms - carried on the traditions of Dada, focusing on Happenings (known as Aktions in Germany), and various types of street fine art. Leading members included the German conceptual artist Joseph Beuys, the Japanese-born conceptualist Yoko Ono, and the German performance and video creative person Wolf Vostell (b.1932). Maciunas' ultimate goal was to get rid of all fine art on the footing that it was a waste of resource and footling more a bourgeois indulgence. Fluxus artists collaborated to blend different media (visual, literary, musical) into a number of "events", involving installations, happenings, photography and film. Fluxus festivals of contemporary art were held throughout the 60s in Amsterdam, Copenhagen, Dusseldorf, London, Paris and New York. Run into too Viennese Actionism, under Body Art, below.

Installation (1960s onwards)

Installation art is a new art form which came to attending in the USA during the 1960s, although the idea dates back to the Surrealist exhibitions created by Marcel Duchamp and others, when works of art were arranged to course a complex and compelling environment. The Russian painter and designer El Lissitzky was some other pioneer whose 1923 "Proun Room" at the Berlin Railway Station was an early type of Installation, as were the room-filled Merzbilder constructions of Kurt Schwitters (1887-1948). Other more recent examples include Lucio Fontana'due south 1950s "Spatial Environments", and Yves Klein's 1958 prove "Le Vide" (The Void), which was an empty gallery room. Also, in the 1960s the Groupe Recherche d'Fine art Visuel created early installations in the form of kinetic light environments. An installation typically occupies an entire space, like a room or larger expanse, and consists of several different components. The American sculptor Ed Kienholz used cars and institutional furniture in the 1960s, to present an installation commenting on death and social issues. His young man sculptor George Segal, used lifesize plaster figures portrayed in everyday settings (similar waiting for a subway train) to comment on the mundane. Other recent installation artists have included Rebecca Horn, Bruce Nauman, Christian Boltanski, Richard Wilson and Tracey Emin. See also LED installation art - a class of kinetic art - past Tatsuo Miyajima (b.1957).

Video Installations (1960s onwards)

In the 1960s, artists began to exploit the medium of video in an attempt to redefine art. A number of video artists, for instance, have challenged the preconceived idea of art as high-brow, high priced, and only observable by society's elite. Others have used video to demolish the idea of art being a commodity - a unique "finished product" - by making their video art an "feel" (rather than something to own), or a tool for change, a medium for ideas. Video also allows the artist to reveal the actual process of creating art. Typically, video installations combine video with a sound track and/or music, and may involve other interactive devices, making full use of the surrounding environment to stimulate the audition. Pioneers of video installation include: Nam June Paik (1932-2006) whose 1960s arrangements typically involved multiple television monitors in sculptural arrangements; too equally Andy Warhol (1928-87), Peter Campus (b.1937), Wolf Vostell (b.1932), Bill Viola (b.1951), Gary Hill and Tony Oursler. In Great britain, video artists include: Laure Prouvost, Elizabeth Price, Jeremy Deller, Steve McQueen, Gillian Wearing, Douglas Gordon, Sam Taylor-Wood, David Hall and Tony Sinden, among many others.

Minimalism (1960s onwards)

Emerging in America in the second half of the 60s, Minimalism/Minimal Fine art is a refined form of abstract art which succeeded Post Painterly Abstraction (a type of late Abstract Expressionism) to become an influential style around the globe in sculpture, painting and compages. In the area of fine art, Minimalism is characterized by extreme simplicity of form and a deliberate lack of expressive content. Objects are presented in their elemental, geometric form, wholly devoid of emotion. Minimalist works (of sculpture and painting) are often composed of bare uniform elements making upwards some type of a grid or pattern. Regularity is almost essential to minimize any glint of expressionism.

Minimalism was the final stage in the logical development of Abstract Expressionism, whose style went from gestural (action-painting) to plane-piece of work (colour field painting) to sharply divers geometrical planes and patterns (hard edge painting) to Minimal Art. Along the style it gradually jettisoned all feeling and emotion, until information technology arrived at an austere and impersonal class of so-called artistic purity or truth. All that remains is the intellectual idea of the slice: there's no emotion. This is why Minimalism is close to Conceptualism - both are concerned with the bones thought or concept of the work created.

Important Minimalist sculptors include Carl Andre (b.1935), Don Judd (1928-94), Sol LeWitt (1928-2007), Robert Morris (b.1931), Richard Serra (b.1939) and Tony Smith (1912-80). Minimalist painters include Agnes Martin (1912-2004), Ad Reinhardt (1913-67), Ellsworth Kelly (b.1923), Kenneth Noland (b.1924), Robert Ryman (b.1930) and Frank Stella (b.1936).

Photograph-Realist Fine art (Hyperrealism) (1960s, 1970s)

Photorealism was a style of painting that appeared in the belatedly 1960s, in which subjects (people or urban scenes) are painted in a highly detailed manner, resembling photographs. Most practitioners work direct from photographs or digital computer imagery, and the subject matter is quite bland and of no special involvement. Instead the real focus is on the precision and detail accomplished by the artist, and its impact on the viewer. Photographic realism was largely inspired by Pop-Fine art - banal subject-thing was common to both, and certain artists (eg. Malcolm Morley and Mel Ramos) used both styles. even so Photo-Realism lacks Pop-Art'southward whimsical or ironic humor, and can fifty-fifty be faintly disturbing. What'southward more, paradoxically, its microscopic, indiscriminate detail can actually create a slightly "unreal" result. Leading members of the Super-Realist move include Richard Estes - who specializes in street scenes containing complex glass-reflections - and Chuck Close, who excels at monumental pictures of expressionless faces. Other Hyper-Realist painters include Robert Bechtle, Audrey Flack, Ralph Goings and John Doherty. Hyperrealist sculptors include Duane Hanson (1925-96), John de Andrea (b.1941), Carole Feuerman (b.1945), Ron Mueck and Robert Gober.

Earthworks (Country or Environmental Art) (1960s, 1970s)

Land fine art, which emerged largely in the United States during the 1960s, uses or interacts with the landscape in social club to create artistic shapes or "events." Referred to by a diverseness of names, it typically re-fashions natural forms or enhances them with man-made materials. Pioneers of this artform include Robert Smithson, Richard Long and Andy Goldsworthy, as well as the interventionists Christo and Jeanne-Claude. Notation that Land art is quite different from man-made monuments such every bit Stonehenge. The latter was errected for its ceremonial or religious significance and is not considered to be an chemical element of the state. Fifty-fifty the celebrated Presidential portraits of Mount Rushmore, while conspicuously works of art, practise not qualify equally Land art since they do not celebrate the land merely the images made from it. For similar styles, please encounter Art Movements, Periods, Schools (from nigh 100 BCE).

Gimmicky Photography (1960s onwards)

Up until the early 1960s, photography was driven past pictorialism and portrait photography. Since so, documentary photography, increasingly complex way photography and the growing genre of street photography have been the primary driving forces. Contemporary portraits of celebrities are also popular. Gimmicky photographers involved in photojournalism include Don McCullin (b.1935) and Steve McCurry (b.1950); while the best fashion photographers include Helmut Newton (1920-2004), David Bailey (b.1938), Nick Knight (b.1958) and David LaChapelle (b.1963). Street photography is illustrated by Garry Winogrand (1928-1984) and Nan Goldin (b.1953), while postmodernist portraiture is exemplified by Diane Arbus (1923-71) and Annie Leibovitz (b.1949).

Arte Povera (1966-71)

Given the name "poor art" by the Italian critic Germano Celant (who also wrote an influential book entitled "Arte Povera: Conceptual, Bodily or Incommunicable Art"), Arte Povera was an anti-commercial fashion of art that was concerned mainly with the physical qualities of the materials used. The latter typically consists of ordinary or otherwise worthless things, such as scraps of newspapers, erstwhile clothes, earth, metal fragments and so on, although in practice quite elaborate and expensive materials are sometimes used (!). Arte Povera was initiated by a grouping of avant-garde artists in Italy, whose members included: Piero Manzoni (1933-63), Mario Merz (1925-2003), Michelangelo Pistoletto (b.1933), Pino Pascali (1935-68), Jannis Kounellis (b.1936), Luciano Fabro (b.1936), Gilberto Zorio (b.1944) and Giuseppe Penone (b.1947). Another important figure was the Turin fine art dealer and promoter Enzo Sperone.

Supports-Surfaces (c.1966-72)

Supports-Surfaces was a conceptualist group of young left-fly French artists who exhibited together from about 1966 to 1972. (The proper name was chosen rather belatedly for their show "Animation, Recherche, Controntation" at the Musee d'Art Moderne de la Ville de Paris). Members of the group included Andre-Pierre Aarnal, Vincent Bioules, Louis Pikestaff, Marc Devade, Daniel Dezeuze, Noel Dolla, Toni G, Bernard Pages, Jean-Pierre Pincemin, Patrick Saytour, Andre Valensi, and Claude Viallat. The group aimed to divest art of its symbolic and romantic qualities - to liberate art from the tyranny of taste, the banality of Expressionism, the sentimentality of tardily Surrealism and the purity of Art Concrete, equally they put it - and and then they deconstructed the human activity of painting to its essential physical properties - the sheet and stretchers (frames). Noted for their touring outdoor exhibitions, the group employed a diverseness of unusual materials in their works, such as stones, waxed fabric, carboard and rope, and the works themselves were often folded, crushed, burned or dyed and exhibited on the flooring or hung without a frame. They issued numerous explanatory treatises and posters in an endeavor to explain their actions, and published a regular journal "Peinture/Cahiers Theoretiques." In general their works can be interpreted as a variant of Conceptualism.

Contemporary Realism

A term used in its narrow sense to denote an American style of painting which emerged in the tardily 1960s and early 1970s, in the works of a diversity of artists, such as Philip Pearlstein, Neil Wellilver and William Bailey. It is characterized by figurative works executed in a raw objective style, without the distortions of Cubist or Expressionist interpretation. Contemporary Realists deliberately rejected abstract art, choosing instead to depict down-to-world subjects in a straightforward naturalistic manner.

In its wider sense, the term Gimmicky Realism encompasses all post-1970 painters and sculptors who focus on representational art, where the object is to portray the "real" rather than the platonic. Thus genre paintings or figurative works whose subjects are depicted (eg) in a romantic or cornball light are excluded from this genre. At that place is no general schoolhouse of Contemporary Realism as such, and many artists - including abstractionists - have experimented with this more traditional approach. Mayhap the most interesting exponent of Contemporary Realism is the figurative chief Lucian Freud (1922-2011), whose powerful studies of the homo trunk manage to convey both grittiness and love. For earlier styles of realist painting, see Modern Art Movements (1870-1970).

Postal service-Minimalism (1971 onwards)

A buzzword first used by the American fine art critic Robert Pincus-Witten when he described works by Eva Hesse as "Post-Minimalism" in Artforum in 1971. Hesse together with other artists were reacting against the rigid and impersonal formalism of Minimal art by focusing on the concrete and creative processes involved. This new style, known as "Process Fine art", was highy transient and utilized unstable materials which condensed, evaporated or deteriorated without the artist having any control. It became a tendency as a result of 2 shows in 1969: "When Attitudes Become Class" at the Berne Kunsthalle and "Procedures/ Materials" at the Whitney Museum of American Art in New York. Prominent Post-Minimalist artists, as well as Hesse, included the American sculptor Richard Serra and the German-born Conceptual creative person Hans Haake.

In a broader sense, however, Post-Minimalism (like Postal service-Impressionism) encompasses a number of differing styles, as well every bit types of painting, sculpture and other gimmicky artforms, which succeeded Minimalism in the late-1960s and 1970s, and which use it as an aesthetic or conceptual reference point from which to develop. In very simple terms, as Minimalist artists began to take more of a conceptual arroyo to their fine art and focused on carrying a single truth, they gradually crossed over into Mail service-Minimalism. Indeed many Conceptual artists are ofttimes spoken of as Post-Minimalists. If this sounds likewise complicated, don't worry: nosotros are now in serious theoretical territory, involving epistemological and ontological problems which require a Masters Caste to cover. Suffice it to say that Postal service-Minimalism (not unlike Postal service-Modernism) shifts the focus of fine art from form to image. How something is done and communicated becomes as important as what is created.

Feminist Art (mid-to-belatedly 1960s onwards)

Feminist Fine art - art made past women near women's issues - emerged towards the terminate of the 1960s and explored what it was to be a woman AND an artist in a male dominated world. It first appeared in America and Britain, where various feminist fine art groups were inspired by the women's liberation movement, before spreading across Europe. In comparing with the elitist formal and impersonal subject matter pursued past male person avant-garde artists, work past women artists offered emotion, and existent-life feel. British and Usa feminist artists employed inherently female person symbolic forms, raising the status of so-chosen "female" materials and practices. They addressed fundamental gender-based issues, such as giving nascence, motherhood, and forced seduction, as well as wider concerns such as racism and working conditions. A specific style of Female person art, the Pattern and Decoration movement, sprang upwardly in California during the 1970s, beingness composed largely of women artists. They reacted against the severe thrift of Minimalizm by juxtaposing identical or similiar patterns, and producing intense fusions of colour and texture using traditional craft techniques, like weaving, paper cut-outs and patchwork. Their beautiful utilize of colour was inspired by the French Fauves move of 1900s Paris, while their geometrical and floral motifs were fatigued from Islamic, Far Eastern, Celtic and Persian Fine art. Prominent feminist artists include the Americans 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 Miriam Schapiro (1923-2015), the Swedish artist Monica Sjoo, the English artist Margaret Harrison (b.1940), to name only a scattering. In the plastic arts, one of the great feminist sculptors was Louise Conservative (1911-2010).

New Subjectivity (1970s)

"Nouvelle Subjectivité" was the title given by the French curator and fine art historian Jean Clair, to an international exhibition in 1976 at the Musée National d'Art Moderne at the Pompidou Centre in Paris. The show featured works by American, British and European modern artists who rejected the dominant abstraction and conceptualism in modern art in favour of a return to depicting the reality of things, albeit in a modernistic manner. In their paintings, they were concerned with careful observation of the existent earth.

Exponents of New Subjectivity employed every format of canvas from awe-inspiring to small-scale-scale, and worked in acrylics, oils, and watercolours, likewise as coloured pencils and pastels. In their render to figuration and their representation of nature, they depicted views of gardens, fields, swimming pools, portraits and still lifes. Typically, they were skilled draughtsmen and academically trained painters, and synthetic their paintings according to the traditional Renaissance rules of linear and arial perspective. Prominent artists associated with New Subjectivity included the English creative person David Hockney, the American artist (active in England) R B Kitaj, the Swiss creative person Samuel Buri, and the French artists Olivier O Olivier, Christian Zeimert, Michel Parre and Sam Szafran.

London School

A term used past the American painter RB Kitaj in the catalogue of an exhibition he staged, in 1976 at the Hayward Gallery, London, when Minimalism and Conceptualism were high fashion. The show, entitled "Man Clay", focused exclusively on figurative works of cartoon and painting, and in the brochure RB Kitaj coined the phrase "School of London" to refer to the individual artists whose works were being shown. Since then, the term London School has been used to refer to the group of artists associated with the city at that time, who connected to exercise forms of figurative work, in the confront of the avant-garde institution. The principal artists involved in this London School, included Michael Andrews, Francis Bacon, Lucian Freud, David Hockney (though really living in America), Howard Hodgkin, Frank Auerbach, and Leon Kossoff. As Minimal and Conceptual art began to fade in the belatedly 1970s, a new generation of figurative painters and sculptors began to appear, who took a renewed interest in the work of the school. (For a brief guide to modern painters in Britain, see: Gimmicky British Painting.)

Graffiti Art (1970s onwards)

Also known as "Street Art", "Spraycan Art" and "Aerosol Art", Graffiti art is a style of painting associated with hip-hop, a cultural motility which sprang up in diverse American cities, especially on New York subway trains, during the 1970s and 1980s. B-boys, the beginning generation of hip-hop voiced the frustrations of urban minorities in their attempt to create their own form of fine art, a not-commercial one that did not seek to please the general public. They employed stencils, marker pens, and aerosol spray cans, and wrote with industrial spray paint and acrylic on all types of support: stone, plaster, metal, wood, and plastic. Their "canvases" were subway trains, walls in urban areas and industrial wastelands, subways, roofs and billboards. During the 1970s, Graffiti Art spread to Europe and Japan and somewhen crossed over from the street into the gallery. (Run into biography of Banksy, Britain'southward most famous graffiti stencil artist.) The center of the movement however, was New York City.

In New York an early on pioneer, known by his tag TAKI 183, was a youth from Washington Heights. The outset women graffiti artists were Barbara 62 and Eva 62. From 1971, artists began adopting signature calligraphic styles to distinguish their work, and also began breaking into subway train depots in order to use their tag on the sides of trains - a procedure called "bombing" - with maximum result. The train thus became their "gallery" as information technology showed their work off across the urban center. The size and scale of tags also increased leading in 1972 to the production of then-called "masterpieces" or "pieces" by a graffiti sprayer known as Super Kool 223. A further development involved the inclusion of designs similar polka dots, checkers and crosshatches, and soon "Top-to-bottoms" - works spanning the entire height of a subway car - began to appear, as well every bit scenery and cartoon characters. Gradually the mainstream art globe started to accept notice. The United Graffiti Artists (UGA), a group founded in 1972 by Hugo Martinez, expanded its membership to include many of the leading graffiti artists, with a view to showing works in official venues, like the Razor Gallery. By the mid-1970s most of the creative standards in graffiti writing had already been established, and the genre began to stagnate. Also the NYC Metro Transit Authority began a twofold campaign to secure depots and erase graffiti on a continuing basis. As a upshot, taggers forsook the subway and took to the streets, where their static art neccessarily received far less exposure. During the late-1980s and 1990s, more than artists began showing their works in galleries and renting fine art studios, a practise which had already started a number of years earlier with taggers like Jean-Michel Basquiat - now one of the world's top contemporary artists - who dropped his signature SAMO (Same Sometime Shit), in favour of mainstream opportunities. Other famous graffiti artists include Keith Haring (1958-90), Banksy (b.1973-4) and David Wojnarowicz (1954-92). Graffiti is a class of the larger "Street Art" movement, a way of outsider art created outside of the framework of traditional fine art venues. It embraces stencil graffiti, poster or sticker art, pop up fine art and street installations, including the latest video projections, yarn bombings and Lock-On sculptures. Street Art is sometimes referred to every bit "urban art", "guerrilla fine art", "post-graffiti" or "neo-graffiti".

For a list of the top 30 postmodernist art exhibitions, biennials and fairs, please come across: All-time Contemporary Art Festivals.

Neo-Expressionism (Late 1970s onwards)

One of several styles of Postmodernism, Neo-Expressionism is a broad painting movement that appeared around 1980, in response to the stagnation of Minimalism and Conceptual fine art, whose intellectualism and self-style "purity" had dominated the 1970s but was now beginning to get on many artists' nerves. Neo-Expressionists championed the highly unfashionable practise of fine art painting (condemned as "dead" by postmodernists) and supported everything that the Modernists had tried to discredit: figuration, emotion, symbolism, and narrative. They employ sensuous colours, and incorporated themes associated with numerous historical styles and movements, such as the Renaissance, Mannerism, Cubism, Fauvism, Surrealism, Abstruse Expressionism and Popular-Art. Non surprisingly, in Germany, Neo-Expressionism was strongly influenced past before German Expressionist groups similar Der Blaue Reiter and Die Brucke.

The motility embraced new painting in Germany by artists like Georg Baselitz (b.1938), Jorg Immendorf, Anselm Kiefer, AR Penk, Sigmar Polke and Gerhard Richter, as well equally works past the "Ugly Realists" such as Markus Lupertz. It also covered the Neue Wilden (New Wild Ones, a reference to the 1900s style of Fauvism or "wild beasts") whose members included Rainer Fetting. Following international shows like "A New Spirit in Painting" (London Majestic University, 1981) and "Zeitgeist" (Berlin, 1982), the term Neo-Expressionism began to be applied to other groups, similar Figuration Libre in France, Transavanguardia in Italy, the "New Epitome Painters" and the so-chosen "Bad Painters." In America, the manner, while popular, has not produced the same calibre of work, with the exception of artists similar Philip Guston (1913-fourscore), Julian Schnabel, David Salle and others. In United kingdom, the way is exemplified past the Rubenesque nudes of Jenny Saville, that challenge notions of conventionality in the size and shape of the homo body. The rise of the move led to the rehabilitation of several artists working in a similar vein. These included Americans Louise Bourgeois, Leon Golub, and Cy Twombly; and the British creative person Lucian Freud, all of whose works take been labelled Neo-Expressionist. The label has besides been applied to sculpture. Works by sculptors like the American Charles Simonds, the British artists Anish Kapoor and Rachel Whiteread, the Czech Magdalena Jetelova, the German Isa Genzken and Polish sculptor Magdalena Abakanowitz, all incorporate Expressionist features. In architecture, the term expressionist has been applied to buildings such as the Sydney Opera House and the Guggenheim Museum in Bilbao. For more than information, please see: History of Expressionist Painting (1880-1930) and the Expressionist Move (1880s onwards).

Transavanguardia (Trans-avant-garde) (1979 onwards)

The Italian art critic Achille Bonito Oliva used the term "Transavanguardia" (beyond the avant-garde) in Flash Art magazine in October 1979, when referring to international Neo-Expressionism. Merely since then it has been used only to describe the work of Italian artists working in the style during the 1980s and 1990s. They include Sandro Chia, Francesco Clemente, Enzo Cucchi, and Mimmo Paladino. Transavantgarde artists employed a free, figurative mode of painting, with nostalgic references to the Renaissance and its iconography. They painted large-scale works in oil, including realistic and imaginary portraits, religious and allegorical history paintings, and were inspired also by Symbolism also equally the color palette of Fauvism. Chia incorporated Italian Mannerism, Cubism, Futurism and Fauvism in his narrative religious works; Paladino equanimous large mythological pictures with both geometric and figurative motifs; Cucchi produced romantic scenes of giants and mountains, inspired by Surrealism, and incorporated the employ of actress items, made from metal or dirt, in his painted works; Clemente was noted for his cocky-portraiture and intimate figurative works. Their inclusion in major shows at the Kuntshalle in Basel and the Venice Biennale in 1980, and the London Imperial Academy in 1981, led to solo exhibitions in both Europe and America every bit well as a rapid rise in the significance of the schoolhouse.

Britart: Young British Artists (1980s)

The Immature British Artists (YBAs) outset appeared on the scene in the 1980s, and were officially recognized in 1997 in the "Sensation" exhibition. Owing much to early 20th century styles such as Dada and Surrealism, their work is often called "Britart." The group consisted of a number of painters, sculptors, conceptual and installation artists working in the United Kingdom, many of whom attended Goldsmiths College in London. Its members gained considerable media coverage for their shocking artworks and dominated British fine art during the 1990s. Famous members include Damien Hirst (noted for The Physical Impossibility of Death in the Heed of Someone Living, a dead Tiger shark pickled in formaldehyde, and lately for his diamond studded skull For the Love of God), and Tracey Emin (noted for My Bed, a dishevelled double bed featuring some highly personal detritus).

Arguably, many YBAs would never have succeeded just for the patronage and promotion of their works by gimmicky art collector Charles Saatchi, who first met Damien Hirst at the Goldsmiths College 1988 student exhibition "Freeze", which showcased 16 YBAs. Saatchi purchased many of the works on show. Two years later Hirst curated 2 more influential YBA shows, "Modernistic Medicine" and "Gambler". Saatchi attended both exhibitions and bought more works. By 1992, Saatchi was not merely Hirst's principal patron, he was likewise the biggest sponsor for other Immature British Artists - a 2nd group of whom had appeared, via shows like "New Contemporaries," "New British Summertime," and "Minky Manky", and included artists such as Tracey Emin. Meantime, the economical recession in Britain worsened, triggering the collapse of the contemporary art market in London. In response, Saatchi hosted a series of exhibitions at his Saatchi Gallery, promoting the name "Immature British Art" from which the motion retrospectively caused its identity. The starting time one presented the work of Sarah Lucas, Mark Wallinger, Rachel Whiteread and of course Damien Hirst, whose dead shark speedily became the iconic symbol of Britart around the globe.

In 1993, the YBA Rachel Whiteread won the Turner Prize, followed in 1995 past Damien Hirst. In 1997, Young British Artists went mainstream when the London Royal University, in conjunction with Saatchi, hosted "Sensation", a definitive exhibition of YBA fine art, amid no lilliputian controversy. It then travelled to the Brooklyn Museum of Art in New York. In 1999, Tracey Emin's work "My Bed" was nominated for the Turner Prize, while in 2000, YBA exhibits were included in the new Tate Modernistic, all of which confirmed the established reputation of the group.

See besides: Contemporary Irish Artists and 20th Century Irish gaelic Painters.

Some prominent YBAs include: James Rielly (portraits), Keith Coventry (abstract painter), Simon Callery (urban views), Martin Maloney (Expressionist painter), Gary Hume (Minimalist), Richard Patterson (super-abstruse), Fiona Rae (abstract, Pop-art), Marcus Harvey (expressionist figurative works), Ian Davenport (geometric abstraction), Glenn Brown (sculptor and expressionist painting), and Jenny Saville (expressionist-fashion female bodies), several of whom are Turner Prize Winners (1984-2014).

Deconstructivist Design (1985-2010)

Deconstructivism is an "anti-geometric" form of 20th century architecture that offset appeared in the late 1980s, in California and Europe. Profoundly facilitated by computer software developed past the aerospace manufacture, deconstructivist architecture espouses a not-rectilinear approach to design which frequently distorts the outside of a structure. Deconstructivism was pioneered by the Canadian-American Frank O. Gehry (b.1929), one of the near innovative American architects of the postmodern era. Other famous practitioners take included Peter Eisenman, the firm Coop Himmelb(50)au, Rem Koolhaas and Daniel Libeskind. The best-known deconstructivist buildings include: the Guggenheim Museum (Bilbao), Nationale Nederlanden Building (Prague), and The Experience Music Projection (Seattle), all designed past Frank Gehry; UFA-Palast (Dresden), designed by Coop Himmelb(50)au; and Seattle Library designed by Rem Koolhaas. See also: Design Art c.1850-1970.

Trunk Art (1990s)

During the late-1960s a blazon of performance art appeared, chosen Torso art, in which the creative person's ain body became the "canvas", so to speak, for a passive work of art, or which and then "performs" in a shocking way. The most typical forms of passive body fine art are body painting, tattoos, nail art, piercings, face up painting, brandings or implants. The more active performance-related types of torso art, in which artists abuse their own body as a mode of conveying their particular "artistic message", can include mutilation, drug-taking, extreme physical activity, or extreme pain endurance. One controversial performance group was the Vienna Action group, founded in 1965 by Gunter Brus, Otto Muhl, Herman Nitsch, and Rudolf Schwartzkogler. Other famous body artists include Michel Journiac (1935-1995), Ketty La Rocca (1938-76), Vito Acconci (b.1940), Ulay (Frank Uwe Laysiepen) (b.1943) and the boggling Serbian artist Marina Abramovic (b.1946).

A leading torso painter is the New Zealander Joanne Gair (b.1958). Celebrated for her trompe-l'oeil body painting and make-upward artistry, she is all-time known for 1 of her artistic female person nudes, entitled "Demi Moore'southward Birthday Adjust" - which appeared on the front cover of Vanity Fair magazine in August 1992. It was photographed past the contemporary photographer Annie Leibovitz (b.1949).

Chinese Cynical Realism (1990s)

Contemptuous Realism - a term starting time coined by the highly influential art critic and curator Li Xianting (b.1949) as a deliberate play on the officially sanctioned fashion of Socialist Realism - describes a style of painting adopted by a number of Beijing artists in the post-1989 gloom following the suppression of the Tiananmen Square demonstration. Its ironic, sometimes highly satirical criticism of gimmicky society in China, greatly impressed Western fine art collectors, although it was and is viewed with ambivalence past Chinese art critics, who feel uncomfortable with its fame in the West. Artists associated with Cynical Realism include: Yue Minjun (b.1962), Fang Lijun (b.1963) and Zhang Xiaogang (b.1958), all of whom have sold paintings for more than $i 1000000. The move is related to "Political Pop" - a late-1980s course of Chinese Popular fine art.

Neo-Pop Art (belatedly 1980s onwards)

The terms "Neo-Pop" or "Postal service-Pop" denote the revival of American interest in the themes and methods of the 1950s and 1960s Pop-Fine art movement. In item, information technology refers to the piece of work of artists like Ashley Bickerton, Jeff Koons, Alan McCollum, and Haim Steinbach. Using recognizable objects, images of celebrities (eg. Michael Jackson, Madonna, Britney Spears) as well equally icons and symbols from pop culture of the 1980s and 1990s, this updated form of Pop-Art also drew inspiration from Dada (in their use of readymades and found objects), as well as mod Conceptual art. Classic examples of Neo-Pop fine art are "Rat-Male monarch" (1993) a sculpture by Katharina Fritsch, and Jeff Koons 1988 sculpture "Michael Jackson and Bubbles". Like its parent way, Neo-Pop poked fun at celebrity stars, and openly questioned some of society's almost precious assumptions. Koons himself achieved considerable notoriety for his superlative of kitsch into loftier art. His "Balloon Dog" (1994-2000) is a shiny red steel sculpture (10 feet high) whose detailed monumental form contrasts absurdly with the lilliputian nature of its subject. Other famous Neo-Pop artists included Americans Jenny Holzer, Cady Noland and Daniel Edwards; Young British Artists Damien Hirst, Gary Hume and Gavin Turk, as well as Michael Craig-Martin, Julian Opie and Lisa Milroy; Russians Vitali Komar and Alexander Melamid; and Belgian artist Leo Coper.

Note: Ane of the disruptive things about Neo-Pop is the fact that several creators of the original 1960s and 70s Pop-art were still creating interesting works in the 1990s. The best example is the sculptor Claes Oldenburg (b.1929) whose giant-sized Pop sculptures include Gratis Stamp (1985-91, Willard Park, Cleveland) and Apple tree Core (1992, Israel Museum, Jerusalem).

Stuckism (1999 onwards)

A controversial British fine art group, co-founded in 1999 by Charles Thomson and Billy Childish along with 11 other artists. The proper name stems from an insult to Childish delivered by British artist Tracey Emin, who advised him that his art was 'Stuck'. Rejecting the sterile nature of Conceptual fine art, every bit well equally Performance and Installation past YBAs similar Emin, which they claim is substantially devoid of artistic value, Stuckist artists favour a return to more painterly qualities equally exemplified by figurative painting and other representational fine art. The grouping held numerous exhibitions in Britain during the early on 2000s, including "The First Art Show of the New Millennium" (Jan 1st 2000), and "The Resignation of Sir Nicholas Serota" (March 2000), along with several almanac shows entitled "The Real Turner Prize Evidence", equally well as a number of other events. The group as well in Paris, Hamburg, Cologne, Leipzig, New Jersey, New Haven Usa and Melbourne Australia. Stuckism was also featured in two contempo books: "Styles, Schools and Movements: an Encyclopaedic Guide to Mod Art," by Amy Dempsey; and "The Tastemakers: UK Art Now," by Rosie Millard. A Stuckist gallery was as well opened in central London. Members of the Stuckist group included, among others, Charles Thomson, Billy Childish, Bill Lewis, Philip Absolon, Sanchia Lewis, Sheila Clark, Ella Guru, and Joe Machine.

New Leipzig Schoolhouse (c.2000 onwards)

Coming to public attention in the starting time years of the new Millenium, the New Leipzig School (in German, "Neue Leipziger Schule"), too called "Immature German language Artists" (YGAs), is a loose motility of painters and sculptors who received their training at the Hochschule für Grafik und Buchkunst (Academy of Visual Arts) in Leipzig, East Germany, where it was largely isolated from modernistic art trends in the West. Teaching methods were uniformly traditional, focusing on the fundamentals of traditional fine fine art, with heavy emphasis on draftsmanship, effigy drawing, life drawing, the use of grids, colour theory, and the laws of perspective. After re-unification in 1989, the school began to teach students from all across Germany and its graduates looked for opportunities to sell their works in the W. The get-go successful artist to sally was Neo Rauch who was offered a solo prove at the David Zwirner Gallery in New York in 2000. His success has now opened the gates for other equally talented Leipzig artists, whose works are being showcased in Europe and the United States. Their style is typically figurative with a strong emphasis on narrative, and is characterized by muted colours.

Classical Realism and the Postmodern Atelier Movement
The New Leipzig School is one of several contemporary centres of traditional craftsmanship. In the United States, traditional fine art painting was revitalized in the 1980s past "Classical Realism", a gimmicky movement founded by Richard Lack (1928–2009), a former pupil of Boston artist R. H. Ives Gammell (1893–1981) in the early 1950s. In 1967, he fix up Atelier Lack, a preparation workshop modelled on the ateliers of 19th-century Paris.

Project Fine art (21st Century)

Projection art - also known equally Projection mapping, or video mapping, or spatial augmented reality - is the acme of postmodernist artistry. Using computerized project technology information technology needs merely a surface (like a building, church facade, tree, and and so on) upon which to projection the finished product. Whatsoever imagery can be mapped onto the receiving surface and the effects tin be spectacular: it can literally transform an exterior or indoor space, while at the same time telling a story and creating an optical banquet. Famous projection artists include Paolo Buroni, Clement Briend, Ross Ashton, Jennifer Steinkamp, Andy McKeown and Felice Varini, to name but a few.

Computer Art (21st Century)

Dating dorsum to the Henry Drawing Automobile, designed by Desmond Paul Henry in 1960, the term "Computer art" denotes any art in which computers play a significant role. This broad definition also embraces more conventional art forms that utilize computers, such as: estimator-controlled animation or kinetic art, or computer-generated painting - also as those forms that are based on estimator software, similar Deconstructivist architecture. Computer art may also be called "Digital art", "Internet art", "Software art", or "Figurer graphics". Pioneers of this type of fine art include Harold Cohen, Ronald Davis, George Grie, Jean-Pierre Hebert, Bela Julesz, Olga Kisseleva, John Lansdown, Maughan Mason, Manfred Mohr and Joseph Nechvatal. Later digital artists included: Charles Csuri, Leslie Mezei, Frieder Nake, Georg Nees, A. Michael Noll, Nam June Paik and John Whitney. Other important enquiry pioneers included: Professor Harold Cohen, UCSD, and Ken Goldberg of UC Berkeley. The earliest exhibitions of computer fine art included: "Generative Computergrafik" (1965) at the Technische Hochschule in Stuttgart, Germany; "Computer-Generated Pictures" (1965) at the Howard Wise Gallery in New York; "Computer Imagery" (1965) at Galerie Wendelin Niedlich, in Stuttgart, Frg; "Cybernetic Serendipity" (1968) at the Institute of Contemporary Arts in London. In the 21st century, reckoner art has become the latest loonshit of contemporary art - a sort of ultimate postmodernism. In fact, computer-generated fine art is highly revolutionary - not least considering it is has the capability (equally artificial intelligence grows) to accomplish consummate artistic independence. Watch this infinite!

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