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"Postmodern art"
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Postmodern design complete
Originating as a rebellious movement in philosophy and literature, Postmodernism proclaimed the death of modernism and promoted a new, nonlinear way of approaching architecture and design, spearheaded by Michael Graves, Robert Venturi, Ettore Sottsass, and Alessandro Mendini. It became a style in itself and the defining look of the 1980s. 'Postmodern Design Complete' is the comprehensive reference to this period of vibrant design, as it profiles key creators including Graves, Mendini, Sottsass, Venturi, Charles Jencks, and Denise Scott Brown and covers the fields of architecture, furniture, graphic design, textiles, and product and industrial design. A section on Living with Postmodernism presents fifteen seminal homes and their furnishings; and a final section titled Postmodernism Continues is a comprehensive overview of contemporary makers.
Book
Anchoring Effects: Evidence from Art Auctions
This paper shows that the price of a painting sold at an art auction and the experts' pre-sale valuations are anchored on the price at which the painting previously sold at auction. We are able to separate anchoring from rational learning by using the identifying strategy that the unobservable component of quality for a particular painting remains constant between the last auction sale and the current auction sale. We interpret these results as anchoring on the part of the buyers, with the sellers and auctioneers either anticipating anchoring on the part of the buyers or exhibiting anchoring effects themselves. (JEL D44, Z11)
Journal Article
Possession and Access: Consumer Desires and Value Perceptions Regarding Contemporary Art Collection and Exhibit Visits
This research develops a multilevel and multifaceted perspective on art consumption behavior by separating consumption modes from the consumption products (artworks), by comparing possession (collection) with access (exhibit visits), and by distinguishing desire from value. The findings challenge the presupposition that possession is the ultimate expression of consumer desire and illustrate that contemporary art collectors and visitors choose collection or visits based on different desires. While artwork is perceived similarly, collection and visits have different impact on consumers’ perception of value. The findings confirm, extend, and challenge previous research on desire, value, possession, and experiential approach.
Journal Article
The Eyes of the Beholder: Aesthetic Preferences and the Remaking of Cultural Capital
Bourdieu's Distinction (1984) has been highly influential in sociological debates regarding cultural inequality, but it has rarely been considered a theory of aesthetics. In this article we explore empirically how the modernist framing of Bourdieu's aesthetics needs to be rethought in the context of contemporary aesthetic change. Drawing on a survey of museum visitors in Ghent, Belgium (n = 1195), we use Multiple Correspondence Analysis to analyse what aesthetic dimensions are important when people contemplate works of art. We find that the familiar Bourdieusian opposition between popular (based on beauty and harmony) and highbrow aesthetics is still important. However, the content of highbrow aesthetics has changed, now privileging 'postmodernist' dimensions over modernist ones. We can also detect another dimension that favours a socially reflexive art compared to a detachment of art from social preoccupations, which is not recognized in Bourdieu's account.
Journal Article
Rewriting the Surface: On Graffiti, the Law, and the Nature of Things
The article believes that the legal field needs to reconsider its approach to the surface of things. Using examples from jurisprudence of the United States, the United Kingdom, and the European Union and considering the legal tradition from the Roman Republic to today, the paper inquires why the law has evident problems in dealing with surface-oriented artforms, such as graffiti and postmodern literature. By consulting theorists of the surface, from Hegel over Critical Theory to Postmodernism, it will show that the law is outdated in the sense that it has failed to adapt its understanding of the nature of things. It will furthermore consider how property law and intellectual property law (including copyright) need to be revised in order to bring the law up-to-date with above developments.
Journal Article
The End of Temporality
Jameson discusses the end of temporality according to the different philosophies. The historical tendency of late capitalism is unrealizable because humans cannot revert to the immediacy of the animal kingdom. Violence pornography grasped from the perspective of a reduction to the present and to the body, is not to be seen as a form of immorality but rather as a structural effect of the temporality of socioeconomic system, of postmodernity of late capitalism.
Journal Article
Street Art: The Transfiguration of the Commonplaces
Riggle examines and defines street art. Street art embodies the other response to modernism. The post-historical repsonse reformed the art world to allow the everyday a place in its ranks.
Journal Article
Kant’s Theory of Modern Art?
Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.
Journal Article
The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production?
Manovich discusses the explosion of user-created media content on the web. Such explosion has unleashed a new media universe, which was made possible by free web platforms and inexpensive software tools that enable people to share their media and easily access media produced by others, cheaper prices of professional quality devices such as HD video cameras, and the addiction of cameras and video capture to mobile phones. However, this new universe is not simply a scaled-up version of twentieth-century media culture. Instead, it is a shift from media to social media. Here, Manovich examines what this shift means for how media functions and for the terms people use to talk about media. He also explores what the trends in web use mean for culture in general and for professional art in particular.
Journal Article
Eclectic Objects in Postmodern Art
Since the 1960s, when the concept of postmodernism began to be used, this term has manifested itself in various branches of fine arts, i.e. art, sculpture, graphic design, architecture and philosophy and found its expression in art and its objects. It is well-known fact that from past to present views related to art have followed one another and that current approach has rejected the previous one. Postmodern art has assumed different identities than modern art, which it followed, and brought new concepts and points of views to the world of art. Harboring in itself some structural properties of modernism despite its rejection of it, postmodernism has often been called “advanced modernism”. Investigating reflections on postmodern art of (eclectic) artistic forms that affect the world of art and bear different cultural features is important to interpret and understand today’s art. This study, which aims to reveal eclectic works of art in the history of Western art and their relationships with postmodern art, points out how complicated postmodern art and concepts are and what multiple and eclectic properties they bear.
Postmodernizm kavramının kullanıldığı 60’lı yıllardan bu yana, güzel sanatlar içerisine giren resim, heykel, grafik, mimarlık, felsefe alanlarında kendisini gösteren bu tanım ifadesini sanat ve nesneleri üzerinde bulmuştur. Geçmişten günümüze sanat anlayışlarının birbirini takip ettiği, güncel sanatın bir önceki dönemi reddettiği bilinen bir gerçektir. Postmodern sanat, devamı niteliğindeki modern sanattan farklı kimliklere bürünmüş, sanat hayatına yeni kavram ve bakış açıları getirmiştir. Tepki göstermesine rağmen içerisinde modernizmin yapısal özelliğini de barındıran postmodernizm, çoğu zaman “gelişmiş modernizm” olarak adlandırılmıştır. Sanat hayatını etkileyen ve farklı kültür özelliği taşıyan (eklektik) sanatsal formların postmodern sanata yansımalarını araştırmak günümüz sanatını yorumlamak ve anlamak açısından önemlidir. Batı sanatı tarihi içerisinde eklektik sanat yapıtlarının ortaya konması ve postmodern sanatla ilişkilerin incelendiği bu çalışma; postmodern sanat ve kavramların ne denli karmaşık, çoğul ve eklektik özellikler taşıdığına işaret etmektedir.
Journal Article