What Kind of Art Was Popular in the 1970s

Contemporary Art Movements
Postmodernist Styles, Schools, Artist-Groups: late 1960s-present.
MAIN A-Z Alphabetize

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

Examples of Movements

The Concrete Impossibility of Death
in the Listen of Someone Living (1991).
By Damien Hirst, one of the most
famous postmodernist artists.

Studies for a Self Portrait (1980).
(Particular) Past Francis Salary, whose
disturbing style of painting combines
surrealist and expressionist imagery.
Although born in the 1900s, Bacon
produced some of the most 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 Fine art (1960s onwards)
• Word Art (1960s onwards)
• Conceptualism (1960s onwards)
• Functioning (Early on 1960s onwards)
• Fluxus Movement (1960s)
• Installation (1960s onwards)
• Video Installations (1960s onwards)
• Minimalism (1960s onwards)
• Photo-Realist Art (Hyperrealism) (1960s, 1970s)
• Excavation (Country or Environmental Art) (1960s, 1970s)
• Contemporary Photography (1960s onwards)
• Arte Povera (1966-71)
• Supports-Surfaces (1966-72)
• Contemporary Realism
• Postal service-Minimalism (1971 onwards)
• Feminist Art (1970s)
• New Subjectivity (1970s)
• London School (1970s)
• Graffiti Art (1970s onwards)
• Neo-Expressionist Art (1980 onwards)
• Transavanguardia (Trans-avant-garde)
• Britart: Immature British Artists (1980s)
• Deconstructivist Design (1985-2010)
• Body Fine art (1990s)
• Chinese Cynical Realism (1990s)
• Neo-Pop (late 1980s onwards)
• Stuckism (1999 onwards)
• New Leipzig School (2000 onwards)
• Project Fine art (21st Century)
• Reckoner Art (21st Century)

Related Articles

• For the pinnacle 50 exhibition venues, see: Best Galleries of Contemporary Art.
• For the acme 200 artists born subsequently 1945, meet: Pinnacle Gimmicky Artists.

Introduction

In this article we list the main schools and styles of "Contemporary Fine art" which emerged from the tardily-1960s onwards. Because "contemporary fine art" superceded "modernistic art", it is besides referred to as Postmodernist Art. Delight note however, that the transition from modernism to postmodernism was a gradual one, which took identify 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 virtually of import differences betwixt modern and postmodern art, concerns the downgrading of the "finished product". The aim of nigh all modern artists, for case, was to create an enduring and unique piece of work of art like a painting, sculpture, cartoon, or other type of object. Past contrast, postmodernist artists have less interest in this kind of product and more interest in the ideas behind it. This helps to explicate the growth of new types of fine art - such as installation fine art (including sound and video installations), conceptualism (a wide category of 'ideas art'), happenings (type of operation art), video installations, projection mapping, and outdoor earthworks (ecology constructions) - in which either there is no finished product to speak of, or else it is transient and recorded merely as an 'event'. Revealingly, over the past xx years, the Turner Prize for Gimmicky Art has been won by 2 painters, 0 sculptors, and 10 installation artists.

CONTEMPORARY ART MOVEMENTS

Popular Art (1960s onwards)

Pop Art was both modernist and contemporary. It started out by depicting a more than up-to-date reality, using images of film-stars and other celebrities, as well as mass-made consumer appurtenances. But this was chop-chop eclipsed by an increasing mail-modern focus on impact and style. Encounter for example our short guide to Andy Warhol'south Pop Fine art of the sixties.

Word Art/Word Painting (1960s onwards)

Word Art was a brand new form of painting or sculpture which used text-based imagery. Information technology was associated with artists similar 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 art movement founded on the principle that art is a 'concept' rather than a cloth object. That is to say, the 'thought' which a work represents is considered its essential component, and the "finished product", if it exists at all, is regarded essentially equally a form of documentation rather than as an artifact. The origins of Conceptualism go back to Dada and the early 20th century advanced artist Marcel Duchamp, but information technology wasn't until the 1960s that it became a recognizable motility and caused a name. Conceptual art has the ability to deliver ideas quite powerfully, hence it has served as a popular vehicle for socio-political comment. In improver, by downplaying the demand for whatever painterly or sculptural skills - indeed, for any craftsmanship at all - it retains a subversive edge past challenging the entire tradition of a work of art as a unique and valuable object. Some experts signal 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 "idea" to qualify as a work of art, is rather hundred-to-one. For works by one of Europe's first conceptual artists, please run across as well: Yves Klein's Postmodernist art (1956-62).

An analogy of this outcome is the large collection of shoes in the Holocaust Museum in Washington, DC, which belonged to Nazi concentration camp victims. Information technology has been suggested that this has the characteristics of a Conceptual artwork, considering walking past the huge pile of shoes helps us to comprehend the terrifying reality of the gas chambers. Indeed it does, but frankly information technology doesn't turn the shoes into a work of art, or indeed whatever type of artistic argument. (Compare Holocaust fine art 1933-45.) It is a political or historical statement. Thus the difficulty for Conceptualism is to bear witness how it qualifies every bit art, every bit opposed to entertainment, theatre, or political commentary.

Of import 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, Jan 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 art form inspired by Conceptual fine art, every bit well as Dada, Futurism, the Bauhaus and (in America) the Black Mountain College. Performance is by and large supposed to exist characterized by its "live" nature - the fact that the artist communicates straight with the audience - and its bear on, whether amusing or shocking, must be memorable. A proficient case is the series of self-destructive machines - probably the most famous examples of kinetic fine art - created by the Swiss creative person Jean Tinguely (1925-91). Even so, the verbal divergence between innovative theatre and Operation art is difficult to detect. Moreover its insistence on being labelled "fine art" - traditionally a bourgeois event - sits awkwardly alongside its anti-institution ethic.

Performance now includes events and "happenings" past visual artists, poets, musicians, film makers, video artists and and then on. The late-1960s and 1970s also witnessed the appearance of "Trunk Art", a type of Performance in which the creative person's own mankind becomes the canvas and subsequently "performs" in a suitably shocking, newsworthy manner (for more run across below). During the 1980s, Performance fine art increasingly relied on technology (video, computers) to deliver 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 extraordinary Joseph Beuys (1921-86), who created the innovative performance How to Explain Pictures to a Expressionless Hare (1965). Another innovative artist is the Korean-American Nam June Paik (1932-2006), who began in performance art before working with televisions and video, and thereafter installations.

Fluxus Movement (1960s)

Fluxus was an avant-garde group of artists (its name means "flowing" in Latin) led by the Lithuanian-born art theorist George Maciunas (1931-78), which first appeared in Frg before spreading to other European capitals and and so New York City, which became the centre of its activities. Its stated aims - a disruptive mixture of "revolutionary" and "anti-art" art forms - carried on the traditions of Dada, focusing on Happenings (known equally Aktions in Frg), and various types of street art. Leading members included the German conceptual artist Joseph Beuys, the Japanese-born conceptualist Yoko Ono, and the German performance and video artist Wolf Vostell (b.1932). Maciunas' ultimate goal was to get rid of all fine fine art on the footing that it was a waste of resource and lilliputian more than a bourgeois indulgence. Fluxus artists collaborated to blend dissimilar 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. See also Viennese Actionism, nether Torso 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 form a complex and compelling environment. The Russian painter and designer El Lissitzky was another pioneer whose 1923 "Proun Room" at the Berlin Railway Station was an early blazon 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 evidence "Le Vide" (The Void), which was an empty gallery room. Besides, in the 1960s the Groupe Recherche d'Art Visuel created early installations in the form of kinetic light environments. An installation typically occupies an entire infinite, like a room or larger area, 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 expiry and social issues. His fellow sculptor George Segal, used lifesize plaster figures portrayed in everyday settings (like waiting for a subway train) to comment on the mundane. Other recent installation artists take included Rebecca Horn, Bruce Nauman, Christian Boltanski, Richard Wilson and Tracey Emin. See also LED installation art - a grade of kinetic art - by 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 thought of art as high-forehead, high priced, and only appreciable by club's elite. Others have used video to demolish the idea of art beingness a article - a unique "finished product" - by making their video fine art an "experience" (rather than something to own), or a tool for modify, 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 audience. Pioneers of video installation include: Nam June Paik (1932-2006) whose 1960s arrangements typically involved multiple television monitors in sculptural arrangements; equally well 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 Toll, Jeremy Deller, Steve McQueen, Gillian Wearing, Douglas Gordon, Sam Taylor-Wood, David Hall and Tony Sinden, amongst many others.

Minimalism (1960s onwards)

Emerging in America in the second half of the 60s, Minimalism/Minimal Art is a refined form of abstruse art which succeeded Post Painterly Brainchild (a type of belatedly Abstract Expressionism) to become an influential manner effectually the earth in sculpture, painting and architecture. In the area of fine fine art, Minimalism is characterized past extreme simplicity of form and a deliberate lack of expressive content. Objects are presented in their elemental, geometric class, wholly devoid of emotion. Minimalist works (of sculpture and painting) are often composed of bare uniform elements making up 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 airplane-work (colour field painting) to sharply defined geometrical planes and patterns (hard edge painting) to Minimal Art. Forth the way information technology gradually jettisoned all feeling and emotion, until it arrived at an ascetic and impersonal class of and 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-eighty). 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).

Photo-Realist 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 mode, resembling photographs. Most practitioners piece of work direct from photographs or digital computer imagery, and the discipline matter is quite banal and of no special interest. Instead the real focus is on the precision and detail accomplished past the artist, and its touch on the viewer. Photographic realism was largely inspired by Pop-Art - banal subject-affair was common to both, and certain artists (eg. Malcolm Morley and Mel Ramos) used both styles. nonetheless Photo-Realism lacks Pop-Art's whimsical or ironic sense of humour, and tin fifty-fifty exist faintly disturbing. What'southward more, paradoxically, its microscopic, indiscriminate detail can actually create a slightly "unreal" issue. Leading members of the Super-Realist move include Richard Estes - who specializes in street scenes containing complex drinking glass-reflections - and Chuck Shut, who excels at monumental pictures of dead 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 (Land or Ecology Art) (1960s, 1970s)

Land art, which emerged largely in the United States during the 1960s, uses or interacts with the mural in social club to create artistic shapes or "events." Referred to by a variety of names, it typically re-fashions natural forms or enhances them with man-fabricated materials. Pioneers of this artform include Robert Smithson, Richard Long and Andy Goldsworthy, also as the interventionists Christo and Jeanne-Claude. Note that Land art is quite different from human-fabricated monuments such equally Stonehenge. The latter was errected for its formalism or religious significance and is not considered to be an element of the state. Even the celebrated Presidential portraits of Mount Rushmore, while clearly works of fine art, do not qualify as Land fine art since they do non gloat the land but the images made from it. For like styles, please see Art Movements, Periods, Schools (from virtually 100 BCE).

Contemporary Photography (1960s onwards)

Up until the early 1960s, photography was driven by pictorialism and portrait photography. Since and so, documentary photography, increasingly complex fashion photography and the growing genre of street photography have been the main driving forces. Gimmicky portraits of celebrities are also popular. Contemporary 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, Actual or Impossible Art"), Arte Povera was an anti-commercial way of art that was concerned mainly with the concrete qualities of the materials used. The latter typically consists of ordinary or otherwise worthless things, such as scraps of newspapers, old clothes, globe, metallic fragments then on, although in practice quite elaborate and expensive materials are sometimes used (!). Arte Povera was initiated by a group of avant-garde artists in Italian republic, 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 effigy was the Turin art dealer and promoter Enzo Sperone.

Supports-Surfaces (c.1966-72)

Supports-Surfaces was a conceptualist group of young left-wing French artists who exhibited together from well-nigh 1966 to 1972. (The name was chosen rather tardily for their bear witness "Blitheness, Recherche, Controntation" at the Musee d'Art Moderne de la Ville de Paris). Members of the grouping included Andre-Pierre Aarnal, Vincent Bioules, Louis Cane, Marc Devade, Daniel Dezeuze, Noel Dolla, Toni Chiliad, 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 gustation, the banality of Expressionism, the sentimentality of late Surrealism and the purity of Art Physical, as they put it - and so 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 variety of unusual materials in their works, such as stones, waxed fabric, carboard and rope, and the works themselves were ofttimes folded, crushed, burned or dyed and exhibited on the floor or hung without a frame. They issued numerous explanatory treatises and posters in an effort to explain their actions, and published a regular journal "Peinture/Cahiers Theoretiques." In general their works tin 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 late 1960s and early 1970s, in the works of a variety 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 Contemporary Realism encompasses all post-1970 painters and sculptors who focus on representational fine art, where the object is to portray the "real" rather than the ideal. Thus genre paintings or figurative works whose subjects are depicted (eg) in a romantic or cornball lite are excluded from this genre. There is no general schoolhouse of Contemporary Realism as such, and many artists - including abstractionists - accept experimented with this more traditional approach. Mayhap the most interesting exponent of Contemporary Realism is the figurative main Lucian Freud (1922-2011), whose powerful studies of the human body 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 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 ceremonial of Minimal art past focusing on the concrete and creative processes involved. This new mode, known as "Process Art", was highy transient and utilized unstable materials which condensed, evaporated or deteriorated without the creative person having any control. It became a trend every bit a result of 2 shows in 1969: "When Attitudes Go Class" at the Berne Kunsthalle and "Procedures/ Materials" at the Whitney Museum of American Art in New York. Prominent Post-Minimalist artists, every bit well as Hesse, included the American sculptor Richard Serra and the German-born Conceptual artist Hans Haake.

In a broader sense, however, Post-Minimalism (like Postal service-Impressionism) encompasses a number of differing styles, every bit well equally types of painting, sculpture and other contemporary artforms, which succeeded Minimalism in the late-1960s and 1970s, and which use information technology equally an aesthetic or conceptual reference signal from which to develop. In very elementary terms, as Minimalist artists began to have more of a conceptual approach to their art and focused on conveying a single truth, they gradually crossed over into Post-Minimalism. Indeed many Conceptual artists are ofttimes spoken of equally Mail-Minimalists. If this sounds too complicated, don't worry: we are now in serious theoretical territory, involving epistemological and ontological issues which crave a Masters Degree to comprehend. Suffice it to say that Postal service-Minimalism (not unlike Post-Modernism) shifts the focus of fine art from form to image. How something is washed and communicated becomes as important as what is created.

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

Feminist Fine art - art made by women virtually women'south issues - emerged towards the stop of the 1960s and explored what information technology was to exist a woman AND an artist in a male dominated world. It get-go appeared in America and U.k., where various feminist art groups were inspired by the women'south liberation motion, earlier spreading across Europe. In comparison with the elitist formal and impersonal subject thing pursued by male avant-garde artists, work by women artists offered emotion, and real-life feel. British and U.s.a. feminist artists employed inherently female person symbolic forms, raising the status of so-called "female" materials and practices. They addressed central gender-based issues, such as giving nativity, motherhood, and forced seduction, as well equally wider concerns such as racism and working atmospheric condition. A specific style of Female art, the Blueprint and Decoration motion, sprang up in California during the 1970s, existence composed largely of women artists. They reacted against the severe thrift of Minimalizm by juxtaposing identical or similiar patterns, and producing intense fusions of color and texture using traditional craft techniques, like weaving, paper cutting-outs and patchwork. Their beautiful use of colour was inspired by the French Fauves movement of 1900s Paris, while their geometrical and floral motifs were fatigued from Islamic, Far Eastern, Celtic and Farsi 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 proper name just a handful. In the plastic arts, 1 of the not bad feminist sculptors was Louise Bourgeois (1911-2010).

New Subjectivity (1970s)

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

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

London School

A term used by 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 loftier fashion. The show, entitled "Human Clay", focused exclusively on figurative works of drawing 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 and then, the term London Schoolhouse has been used to refer to the group of artists associated with the metropolis at that time, who continued to practise forms of figurative piece of work, in the confront of the avant-garde establishment. The principal artists involved in this London School, included Michael Andrews, Francis Bacon, Lucian Freud, David Hockney (though actually living in America), Howard Hodgkin, Frank Auerbach, and Leon Kossoff. As Minimal and Conceptual art began to fade in the late 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 cursory guide to mod painters in Britain, encounter: Gimmicky British Painting.)

Graffiti Art (1970s onwards)

Also known equally "Street Fine art", "Spraycan Art" and "Droplets Art", Graffiti art is a style of painting associated with hip-hop, a cultural move which sprang up in diverse American cities, especially on New York subway trains, during the 1970s and 1980s. B-boys, the get-go generation of hip-hop voiced the frustrations of urban minorities in their attempt to create their own course of fine art, a non-commercial 1 that did non seek to please the general public. They employed stencils, marking pens, and aerosol spray cans, and wrote with industrial spray paint and acrylic on all types of support: stone, plaster, metal, forest, 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 Nippon and somewhen crossed over from the street into the gallery. (See biography of Banksy, Britain'southward well-nigh famous graffiti stencil artist.) The heart of the movement however, was New York Urban center.

In New York an early pioneer, known past 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 piece of work, and likewise began breaking into subway train depots in gild to utilize their tag on the sides of trains - a process called "bombing" - with maximum effect. The train thus became their "gallery" as information technology showed their work off beyond the urban center. The size and calibration of tags too increased leading in 1972 to the production of so-called "masterpieces" or "pieces" by a graffiti sprayer known as Super Kool 223. A farther development involved the inclusion of designs like polka dots, checkers and crosshatches, and presently "Height-to-bottoms" - works spanning the unabridged tiptop of a subway automobile - began to appear, as well as scenery and drawing characters. Gradually the mainstream art world started to take 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, similar the Razor Gallery. By the mid-1970s near of the creative standards in graffiti writing had already been established, and the genre began to stagnate. Too the NYC Metro Transit Authority began a twofold campaign to secure depots and erase graffiti on a standing footing. Every bit a effect, 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 art studios, a practice which had already started a number of years before with taggers similar Jean-Michel Basquiat - now one of the earth's top contemporary artists - who dropped his signature SAMO (Aforementioned Erstwhile 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 form of the larger "Street Art" movement, a fashion of outsider art created outside of the framework of traditional fine art venues. It embraces stencil graffiti, poster or sticker art, popular up art and street installations, including the latest video projections, yarn bombings and Lock-On sculptures. Street Art is sometimes referred to as "urban art", "guerrilla art", "post-graffiti" or "neo-graffiti".

For a list of the top 30 postmodernist art exhibitions, biennials and fairs, please meet: Best Contemporary Art Festivals.

Neo-Expressionism (Late 1970s onwards)

One of several styles of Postmodernism, Neo-Expressionism is a broad painting move that appeared around 1980, in response to the stagnation of Minimalism and Conceptual art, whose intellectualism and self-style "purity" had dominated the 1970s but was now beginning to go on many artists' nerves. Neo-Expressionists championed the highly unfashionable practice of fine art painting (condemned as "expressionless" by postmodernists) and supported everything that the Modernists had tried to ignominy: figuration, emotion, symbolism, and narrative. They use sensuous colours, and incorporated themes associated with numerous historical styles and movements, such as the Renaissance, Mannerism, Cubism, Fauvism, Surrealism, Abstract Expressionism and Pop-Fine art. Not surprisingly, in Germany, Neo-Expressionism was strongly influenced by earlier German Expressionist groups similar Der Blaue Reiter and Die Brucke.

The motion embraced new painting in Deutschland by artists like Georg Baselitz (b.1938), Jorg Immendorf, Anselm Kiefer, AR Penk, Sigmar Polke and Gerhard Richter, as well equally works by the "Ugly Realists" such as Markus Lupertz. Information technology 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 similar "A New Spirit in Painting" (London Imperial Academy, 1981) and "Zeitgeist" (Berlin, 1982), the term Neo-Expressionism began to be practical to other groups, like Figuration Libre in French republic, Transavanguardia in Italy, the "New Image Painters" and the so-called "Bad Painters." In America, the manner, while popular, has not produced the same calibre of work, with the exception of artists like Philip Guston (1913-fourscore), Julian Schnabel, David Salle and others. In Britain, the mode is exemplified by the Rubenesque nudes of Jenny Saville, that challenge notions of conventionality in the size and shape of the man body. The rise of the motility 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 artist Lucian Freud, all of whose works have been labelled Neo-Expressionist. The label has as well been practical to sculpture. Works by sculptors like the American Charles Simonds, the British artists Anish Kapoor and Rachel Whiteread, the Czech Magdalena Jetelova, the German language Isa Genzken and Polish sculptor Magdalena Abakanowitz, all contain Expressionist features. In compages, the term expressionist has been applied to buildings such as the Sydney Opera Firm and the Guggenheim Museum in Bilbao. For more information, please come across: History of Expressionist Painting (1880-1930) and the Expressionist Movement (1880s onwards).

Transavanguardia (Trans-advanced) (1979 onwards)

The Italian art critic Achille Bonito Oliva used the term "Transavanguardia" (beyond the advanced) in Wink Art magazine in October 1979, when referring to international Neo-Expressionism. But since then it has been used merely 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 style of painting, with nostalgic references to the Renaissance and its iconography. They painted large-calibration works in oil, including realistic and imaginary portraits, religious and allegorical history paintings, and were inspired too past Symbolism as well as the colour 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 utilize of extra items, made from metal or clay, in his painted works; Clemente was noted for his self-portraiture and intimate figurative works. Their inclusion in major shows at the Kuntshalle in Basel and the Venice Biennale in 1980, and the London Royal Academy in 1981, led to solo exhibitions in both Europe and America also as a rapid ascent in the significance of the school.

Britart: Young British Artists (1980s)

The Young British Artists (YBAs) kickoff 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 ofttimes 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 art during the 1990s. Famous members include Damien Hirst (noted for The Physical Impossibility of Expiry in the Mind 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 take succeeded simply for the patronage and promotion of their works by contemporary fine art collector Charles Saatchi, who first met Damien Hirst at the Goldsmiths College 1988 pupil exhibition "Freeze", which showcased sixteen YBAs. Saatchi purchased many of the works on show. Ii years later Hirst curated ii more influential YBA shows, "Modern Medicine" and "Gambler". Saatchi attended both exhibitions and bought more works. By 1992, Saatchi was not only Hirst's primary patron, he was also the biggest sponsor for other Immature British Artists - a second 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 economic recession in United kingdom of great britain and northern ireland worsened, triggering the collapse of the gimmicky art market in London. In response, Saatchi hosted a series of exhibitions at his Saatchi Gallery, promoting the proper noun "Young British Fine art" from which the movement retrospectively acquired its identity. The first one presented the piece of work of Sarah Lucas, Mark Wallinger, Rachel Whiteread and of course Damien Hirst, whose dead shark rapidly became the iconic symbol of Britart around the globe.

In 1993, the YBA Rachel Whiteread won the Turner Prize, followed in 1995 by Damien Hirst. In 1997, Young British Artists went mainstream when the London Royal Academy, in conjunction with Saatchi, hosted "Sensation", a definitive exhibition of YBA art, amid no little controversy. It so 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 Modern, all of which confirmed the established reputation of the group.

Run into also: Contemporary Irish Artists and 20th Century Irish gaelic Painters.

Some prominent YBAs include: James Rielly (portraits), Keith Coventry (abstruse 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-style 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 first appeared in the late 1980s, in California and Europe. Greatly facilitated by reckoner software adult by the aerospace industry, deconstructivist architecture espouses a non-rectilinear approach to design which oft distorts the exterior of a structure. Deconstructivism was pioneered by the Canadian-American Frank O. Gehry (b.1929), one of the about 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 all-time-known deconstructivist buildings include: the Guggenheim Museum (Bilbao), Nationale Nederlanden Building (Prague), and The Experience Music Project (Seattle), all designed by Frank Gehry; UFA-Palast (Dresden), designed by Coop Himmelb(fifty)au; and Seattle Library designed by Rem Koolhaas. See as well: Design Art c.1850-1970.

Body Fine art (1990s)

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

A leading body painter is the New Zealander Joanne Gair (b.1958). Celebrated for her trompe-l'oeil body painting and make-up artistry, she is best known for one of her artistic female nudes, entitled "Demi Moore's Altogether Conform" - which appeared on the front end cover of Vanity Fair magazine in Baronial 1992. It was photographed by the contemporary photographer Annie Leibovitz (b.1949).

Chinese Cynical Realism (1990s)

Contemptuous Realism - a term first coined past the highly influential art critic and curator Li Xianting (b.1949) as a deliberate play on the officially sanctioned style of Socialist Realism - describes a way of painting adopted past a number of Beijing artists in the post-1989 gloom post-obit the suppression of the Tiananmen Square sit-in. Its ironic, sometimes highly satirical criticism of gimmicky society in Cathay, greatly impressed Western fine art collectors, although it was and is viewed with ambiguity by 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 $1 million. The movement is related to "Political Pop" - a late-1980s form of Chinese Pop art.

Neo-Pop Fine art (belatedly 1980s onwards)

The terms "Neo-Pop" or "Post-Pop" announce the revival of American involvement in the themes and methods of the 1950s and 1960s Popular-Art movement. In detail, it 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) every bit well equally icons and symbols from popular culture of the 1980s and 1990s, this updated class of Pop-Art also drew inspiration from Dada (in their utilize of readymades and establish objects), equally well equally modern Conceptual art. Classic examples of Neo-Pop art are "Rat-Rex" (1993) a sculpture by Katharina Fritsch, and Jeff Koons 1988 sculpture "Michael Jackson and Bubbles". Like its parent style, Neo-Pop poked fun at celebrity stars, and openly questioned some of order's most precious assumptions. Koons himself accomplished considerable notoriety for his tiptop of kitsch into high art. His "Balloon Canis familiaris" (1994-2000) is a shiny ruddy steel sculpture (10 feet high) whose detailed monumental class contrasts absurdly with the petty 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, also as Michael Craig-Martin, Julian Opie and Lisa Milroy; Russians Vitali Komar and Alexander Melamid; and Belgian artist Leo Coper.

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

Stuckism (1999 onwards)

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

New Leipzig School (c.2000 onwards)

Coming to public attention in the first years of the new Millenium, the New Leipzig Schoolhouse (in German language, "Neue Leipziger Schule"), too called "Immature German Artists" (YGAs), is a loose movement 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 modern fine art trends in the West. Teaching methods were uniformly traditional, focusing on the fundamentals of traditional fine art, with heavy emphasis on draftsmanship, figure drawing, life drawing, the apply of grids, color theory, and the laws of perspective. Later re-unification in 1989, the schoolhouse began to teach students from all across Germany and its graduates looked for opportunities to sell their works in the West. The outset successful creative person to emerge was Neo Rauch who was offered a solo evidence at the David Zwirner Gallery in New York in 2000. His success has at present opened the gates for other every bit 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 Motion
The New Leipzig School is one of several contemporary centres of traditional craftsmanship. In the U.s.a., traditional fine fine art painting was revitalized in the 1980s by "Classical Realism", a contemporary motion founded past Richard Lack (1928–2009), a erstwhile educatee of Boston artist R. H. Ives Gammell (1893–1981) in the early 1950s. In 1967, he set Atelier Lack, a training workshop modelled on the ateliers of 19th-century Paris.

Projection Art (21st Century)

Project art - also known as Projection mapping, or video mapping, or spatial augmented reality - is the pinnacle of postmodernist artistry. Using computerized project technology it needs only a surface (similar a building, church facade, tree, and then on) upon which to project the finished product. Whatever imagery can be mapped onto the receiving surface and the effects can exist spectacular: information technology can literally transform an outside or indoor space, while at the aforementioned time telling a story and creating an optical feast. Famous project artists include Paolo Buroni, Clement Briend, Ross Ashton, Jennifer Steinkamp, Andy McKeown and Felice Varini, to proper noun but a few.

Computer Fine art (21st Century)

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

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