ART AND METAMODERNISM
” It has always been easier to invent new labels than to create a new movement in Art that truly deserves a new name.” – H.W. Janson
METAMODERN ART: AS SEEN THROUGH THE DIGITAL LOOKING GLASSThe Digital Gallery is our portal to the era of metamodernism and metamodern art; featuring contemporary artists from around the world and the galleries that represent them. These images will link you to their websites, interviews or current exhibitions hosting their work. As the digital realm expands, our physical location becomes less relevant. The digital aesthetic provides us with instant access to some of the world’s most engaging fine art. The age of metamodernism has connected the entire world of metamodern art through the digital looking glass. Digital databases are now recording art history; all history and our expanding access to information is making physical location more obsolete as a necessity to experiencing and learning about life.
Defining culture through periods of art often reflects the intellectual engagement with social, industrial and political philosophies of the era. Metamodernism encompasses more than just art and politics. It is unique in its concept or realization because it transcends the common interpretations of what an “ism” or a movement might be. According cultural theorists Timotheus Vermeulen & Robin van den Akker:
“Metamodernism, as we see, it is not a philosophy. In the same vein, it is not a movement, a programme, an aesthetic register, a visual strategy, or a literary technique or trope. To say that something is a philosophy is to suggest that it is a system of thought. This implies that it is closed, that it has boundaries. It also implies that there is a logic to it. To say that something is a movement, or indeed a programme, suggests that there is a politics to it, a belief as to how our environment should be organised. To propose any one “–ism” as an aesthetic – register, strategy or trope – is to suggest that it is a figure that can be pinned down and picked up from a text or painting and inserted elsewhere. The notion of metamodernism we have proposed is neither of these. It is not a system of thought, nor is it a movement or a trope. For us, it is a structure of feeling.”
Photography (technology) was impacting painting before any consideration of its influence on fine art was being realized. As Beaumont Newhall from the Museum of Modern Art was asking in 1948, how “today’s art historians, with their delight in probing into prototypes of every artist’s work, should so generally fail to recognize that photography has ever since 1839, been to a host of artists both a source and an influence”. See The Painter and the Photograph from Delacroix to Warhol, by Van Deren Coke, 1964. Imagine the conflict of aesthetics that loomed over 19th and early 20th Century Art over that issue.
As digital and metamodern art evolve traditional painters are engaging new challenges. For production purposes the mouse replaces the brush. Technology has proven that we could sever the tactile relationship between painter and paint and still create something called Art. From one remote location we can access all the knowledge, accomplishments and failures of mankind and record new digital narratives for our future with a few clicks of a button. This is the driving force; the prime mover of metamodernism.
The Metamodern is happy to take on advisement any noteworthy submissions or referrals for postings when appropriate. We do not represent the artists, nor do we own the rights to any of their work. This gallery is purely an educational resource used to share examples of contemporary art and metamodernism and to make convenient, the visitor’s access to a wide variety of contemporary art. If any artist happens upon their work unexpectedly and would like it to be removed, please CONTACT us and we will remove it immediately.
Thank you for your consideration.
From the “Eldolon Series, Triptych 1” (left) by Shane Wolf.