Going Meta

(o título promete... o texto tem algumas frases com piada - assim, tipo esboçamos um sorriso... agora a arte........)





Galleries • Weekend

Going Meta: Art after the Death of Art

• by Thomas Micchelli on August 22, 2015

by Thomas Micchelli on August 22, 2015

Justine Hill, “Paper Doll 3 (Tiki)” (2015), acrylic, pastel and pencil on canvas-wrapped wood, 40 x 24 inches (all photos by the author for Hyperallergic)

Terminology is slippery, and using it as the premise for an exhibition can be slipperier still (witness the Museum of Modern Art’s recent stumble with “atemporality” in The Forever Now: Contemporary Painting in an Atemporal World). But the concept underlying Metamodern, a group show at Denny Gallery on the Lower East Side, actually holds the potential to enrich an already strong array of works with a few additional, if speculative, layers of meaning.
“Metamodern” is a term that’s been around for a few decades, but it began to circulate more widely after the publication of “Notes on metamodernism,” an essay by Timotheus Vermeulen and Robin van den Akker that was published in the Journal of Aesthetics and Culture in 2010.
In the essay, the authors seek to distinguish what is metamodern from what is postmodern, which they view in terms of a generational shift, and how both relate to modernism:

Indeed, if, simplistically put, the modern outlook vis-à-vis idealism and ideals could be characterized as fanatic and/or naive, and the postmodern mindset as apathetic and/or skeptic, the current generation’s attitude — for it is, and very much so, an attitude tied to a generation —can be conceived of as a kind of informed naivety, a pragmatic idealism.

Brendan Smith, “Custom Light Mars Gray: Finish 3” (2014), oil on canvas over panel, 60 x 48 inches

The metamodern, therefore, “oscillates between a modern enthusiasm and a postmodern irony, between hope and melancholy, between naïveté and knowingness, empathy and apathy, unity and plurality, totality and fragmentation, purity and ambiguity.”
The fluid nature of the metamodern may sound to some like a philosophical dodge, but it feels congruent with contemporary art’s cognizance of its own power and impotence. We are too far removed from the early 20th century’s wars and revolutions to believe that art can truly be an agent of change, but we also recognize that it must be something more than hollow commentary.....-»


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