The 21st century art movement

Thinking maps, study rooms, paper films and Evermyra-like vitreous are one of the most common forms taken by research-based art. This genre is also known as “one-year art”. Artists who play academics or journalists have increasingly embraced non-fiction genre forms in the 21st century, finding facts through art things – more and more involved, rather than insisting on stifling discipline programs and norms.

Why? To a large extent, as art historian Claire Bishop puts it, the master narrative provided by scientists, scholars and journalists bothers them. But as authority is increasingly treated with skepticism, belief in facts begins to completely erode. As the Internet provides more information access than ever before, everyone becomes a researcher who builds their own truth. This sensitivity has been reflected in the pursuit of forensic architecture, the pursuit of alternative channels, the imitation of the authoritative knowledge of Walid Raad itself, and the compensation of Mayan objects advocated by Gala Porras-kim, rather than museums, but questioning of God, whose wisdom is considered to be the wisdom of God. – Waterlington

Social practice transforms into many auxiliary contents surrounding art, namely identification programs, community engagement, activism, pedagogy, institutional frameworks – an art medium. This genre deprives the art object, but focuses on influence and social change. For example, Rick Lowe’s job Project room (The recovery and reconstruction program in Dallas began in the 1990s and has been expanding since then), Thomas Hirschhorn Gramsci Monument In the Bronx in 2013, Theaster Gates’ Social Thought Rebuilding Foundation in Chicago (founded in 2010), and Lauren Halsey in Los Angeles’ Summaeverythang Community Center in Los Angeles (founded in 2020). Some criticized the movement’s use of art to solve problems that art cannot solve, while others called it an invitation to the art world to redistribute wealth and resources to social ambitions and political goals. – andy battaglia

Two museum exhibitions in the 2010s – the Museum of Modern Art and the International Center for Photography 2013 Triennium Center for Image Ocean: New Photography 2015, marking the institutional recognition of artist manuals who employ digital technologies in their works. Digital image editing tools first started in the 1990s, such as Photoshop in photo-based art, especially in photos by Thomas Ruff and Andreas Gursky. But by the 2010s, the Düsseldorf School’s ideas on the relationship between photography and painting, the occupation of mass media images by pictures and the descendants of pictures, and even Barbara T., the young team leveraged not only digital software, but also robotic cameras, iPads and other latest devices, including Lucas Blalock, Michele Abeles, Seth Price, Trevor Paglen and Andrea Longacre-White, and all blended in a new era of photography. – Anne Doran

The concept behind post-Internet art is very simple. As Gene McHugh said in 2009, interprets the blog post of artist Marisa Olson, “art made after using the internet.” Whether it’s the stylish beauty of bringing Web 2.0 offline or the porting of handmade sculptures and videos from stock photography and Google Street View, artists from Jon Rafman to Amalia Ulman’s involvement have ironic about it. Signature works seem to like the nonsense that comes with screen life stuffed into screen life every day, and for some, it’s an incredible point. This trend reached its peak with the curated 2016 Berlin Biennale, criticizing Jason Farago for being memorable for its “ultra-light, super-glitch” sensitivity. The comment effectively seals Brian Droitcour American Art prose. – Alex Greenberger 

Nature plays various roles in most human history. But artists of this century intend to work with other species (rather than dominating others), are looking for new ways to collapse the ecosystem. This is to repair the impact of human domination on the natural world, a dominance of the biological artists in the 20th century playing God through synthetic biology, while Earth artists molded the land into their own preferences (Michael Heizer). The latest wave of bioartists, whose canons and purpose was painted by the 2022 exhibition “Symbionts” of the MIT Checklist Center for Visual Arts, sees Agniezska Kurant working with termites to build sculptures. It also saw Anicka Yi wipe the cheeks of 100 art world women, a sculpture that criticized the artist’s feminism as a lonely genius and reminded people that no organism can live without relying on others. After all, more than half of the human body includes non-human cells, which are included in Yi’s glass. If you are interested in preparing the Revelation, please be aware. – Waterlington

In early 2021, buzzer for sale Daily: The first 5,000 days The business at Christie’s is $69.3 million. This is not the first crypto artwork, but its record-breaking sales have almost triggered the NFT boom, but rather digital works that use blockchain technology to authenticate and mark with unique digital signatures. Finally, the influence of the seemingly brief crypto art movement may be dual. First, the vulgar and tenacious visual culture in the form of Pepe the Frog, boring apes and encrypted postage materials became increasingly legitimized, finding it into the collections of Lacma, Center Pompidou and Ica Miami. Secondly, NFTS has created a funding mechanism for a generation of computer-based artists, which is mainly ignored by the traditional art world. With most of the dust, buzzers, refik anadol, snowfro aka Erik Calederon and Claire Silver have become the blue chip names for digital art collectors, even if crucial and institutional concerns are temporary at best. Finally, some artists have challenged the problems and restrictions as concepts, like Jill Magid’s Nfts of Video Game Flowers, which is a digital currency in itself. – Harrison Jacobs

There is no way to define an avalanche that began in the mid-2010s and has continued ever since. A prominent pattern that emerged during this period showed that a very online sensitivity was generated through the nonsense mashup of imitated images. Think of Jamian Juliano-Villani’s spray gun canvas that bring popular cultural images through blenders or surreal paintings by Emily Mae Smith, where a walking brush replaces people with masterpieces of art history.

Meanwhile, satirical portraits meditating on the representation itself are also rampant, with many artists creating images designed to bear the dignity of previously denied their subjects. Jordan Casteel New York Times Those queer artists and people of color “can now be the authors of their own stories.” (Quarles identified as queer and portrayed a split and multiplied body, she says her own work is a completely different image.)

Where do all these images come from? Critic Barry Schwabsky tracks the beginning of the meme symbol, the 2015 edition of the Greater New York Quinquennial of MOMA PS1, noting that all of the paintings appear in the abstract craze of “zombie formalism” in the early 2010s. However, the origins of other types of symbolic paintings have proven to be more elusive, which could explain why the sensational museum follows shows performances dedicated to the subject – most notably “When We See Us: A Black Image in Painting”, which originally appeared at Zeitz’s Museum of Contemporary Art in 2022, competed on Cape Town. In the case of “when we see us,” Nkgopoleng Moloi noted that the show showed a sense of “optimism” about representation, “reflecting the need to expand the language of black art and reevaluate the limitations of figurative painting.” – Alex Greenberger

Artificial Intelligence Art, Generative Art, Algorithm Art – This is the latest art and technology synthesis, with many names and more approaches. Some artists turn software like Midjourney or Dall-E to social criticism, while others build their own machine learning algorithms to synthesize and manufacture readable massive amounts of data. There are others who do not use AI at all in practice, but adopt the technology, as well as basic philosophy such as transhumanism or techno-autonomy as the subject of their works. AI art has little aesthetic solidarity compared to a range of thematic concerns: questions about bias; transfer of our understanding of authorship, influence, and collective creativity; and the spirit of hypercapitalism that is based on the entire foundation. Harold Cohen’s Aaron Computers from 1973 and computer drawings from Vera Molnar in the 1960s are often considered precursors, and Hito Steyerl, Trevor Paglen, Anicka Yi and Refik Anadol are just some of the modern artists among contemporary artists who can fix their sights on AI. With artificial intelligence growing and growing, this movement is growing, and hundreds of billions of dollars are pouring in around the world, almost guaranteeing that artists will explore it for decades to come. – Harrison Jacobs

“Abstract weaving, knotted sculptures, expressive baskets, fluffy wall hangings: all emerge from the artist’s studios and museum storage rooms, providing much-needed warmth and complexity to the exhibition space,” Glenn Adamson wrote in an article last year, “a high-fiber diet in the art world.” Although the movement was at its heyday in the 1960s and 1970s (not to mention that humanity has made it longer), fiber art revolved around the appreciation of artists like Anni Albers, Magdalena Abakanowicz and Magdalena Abakanowicz and Sheila Hicks and Sheila Hicks and Sheila Hicks and for the “Efriendcatile and Effender of Effenders and the Eforths and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and the Ica and With increased visibility and respect, the rise of fiber art has helped to shed light on ways in which painting privileges go beyond other media to marginalize work related to women and non-Western cultures. – andy battaglia