Postmodern art

[17] Major women artists in the Twentieth Century are associated with postmodern art since much theoretical articulation of their work emerged from French psychoanalysis and feminist theory that is strongly related to post modern philosophy.

[20] Though the usage of the term as a kind of shorthand to designate the work of certain Post-war "schools" employing relatively specific material and generic techniques has become conventional since the early to mid-1980s, the theoretical underpinnings of Postmodernism as an epochal or epistemic division are still very much in controversy.

[31] One compact definition is postmodernism rejects modernism's grand narratives of artistic direction, eradicating the boundaries between high and low forms of art, and disrupting genre's conventions with collision, collage, and fragmentation.

Krauss, for example, describes Pablo Picasso's use of collage as an avant-garde practice anticipating postmodern art with its emphasis on language at the expense of autobiography.

In a sense, the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt and others, opened the floodgates to the diversity and scope of following artworks.

Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting touring important art museums throughout the United States in 1964.

[46] Process art as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real space.

Nancy Graves, Ronald Davis, Howard Hodgkin, Larry Poons, Jannis Kounellis, Brice Marden, Bruce Nauman, Richard Tuttle, Alan Saret, Walter Darby Bannard, Lynda Benglis, Dan Christensen, Larry Zox, Ronnie Landfield, Eva Hesse, Keith Sonnier, Richard Serra, Sam Gilliam, Mario Merz, Peter Reginato, Lee Lozano, were some of the younger artists emerging during the era of late modernism spawning the heyday of the art of the late 1960s.

Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City were pioneers of performance based works of art.

Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments; radically changing the relationship between audience and performer especially in their piece Paradise Now.

Allan Kaprow, Joseph Beuys, Nam June Paik, Wolf Vostell, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman among others were notable creators of Happenings.

[citation needed] Leo Steinberg uses the term postmodernism in 1969 to describe Rauschenberg's "flatbed" picture plane, containing a range of cultural images and artifacts that had not been compatible with the pictorial field of premodernist and modernist painting.

[54] Craig Owens goes further, identifying the significance of Rauschenberg's work not as a representation of, in Steinberg's view, "the shift from nature to culture", but as a demonstration of the impossibility of accepting their opposition.

[55] Steven Best and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced by Marcel Duchamp, between modernism and postmodernism.

Lawrence Alloway used the term "Pop art" to describe paintings celebrating consumerism of the post World War II era.

This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated, material consumer culture, advertising, and iconography of the mass production age.

There is a clear connection between the radical works of Duchamp, the rebellious Dadaist — with a sense of humor; and Pop Artists like Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.

Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins.

And in 1963 with the: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.

Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice.

It did not represent a major advance in the development of artistic strategies, though it did express a rebellion against, "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War.

"[63] Robert Pincus-Witten coined the term Post-minimalism in 1977 to describe minimalist derived art which had content and contextual overtones minimalism rejected.

[64] Rosalind Krauss argues by 1968 artists such as Morris, LeWitt, Smithson and Serra had "entered a situation the logical conditions of which can no longer be described as modernist.

"[65] Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.

Precursors to conceptual art include the work of Duchamp, John Cage's 4' 33", in which the music is said to be "the sounds of the environment that the listeners hear while it is performed," and Rauschenberg's Erased De Kooning Drawing.

Lowbrow is a widespread populist art movement with origins in the underground comix world, punk music, hot-rod street culture, and other California subcultures.

Leading art theorists and historians in this field include Christiane Paul, Frank Popper, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken.

Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration.

Hal Foster states that neo-expressionism was complicit with the conservative cultural politics of the Reagan-Bush era in the U.S.[63] Félix Guattari disregards the "large promotional operations dubbed 'neo-expressionism' in Germany," (an example of a "fad that maintains itself by means of publicity") as a too easy way for him "to demonstrate that postmodernism is nothing but the last gasp of modernism.

[78][79] Critiques on the institutions of art (principally museums and galleries) are made in the work of Andrea Fraser, Michael Asher, Marcel Broodthaers, Daniel Buren and Hans Haacke.