Postmodernism photography

One way of saying this is: defined by time-World War II was a watershed: except for the realistic art that appeared in the early 20th century to the 1940s, it was collectively called "modernist art"; Known as "post-modernism" art after World War II, the characteristics of its artistic thought have been summarized by American art historian L Smith as: "From extreme egoism to relative objectivity, works from almost freehand brushwork to mass production, from hostility to industrial technology to interest in it and explore its possibility". Another view holds that "postmodern art" is not a literary movement in the general sense, but a general term for many art schools with anti-modernist artistic ideas and creative methods, and advocates the combination with new achievements in the era of scientific and technological revolution. It flourished in the United States in the 1960s, and then spread to other countries in the world. From the essence of his art view, it is the reflection of existentialism, Freudianism, mass society theory, anthropology, phenomenological theory, structuralism and Mark Liuen's thought that science determines everything in the art field. Postmodern artists are generally dissatisfied with the capitalist social system, and their works are the products of various crises in capitalist society in the era of information society and new technological revolution. It reflects the psychological alienation of contemporary people and the resulting feelings of world-weariness, doubt, decadence and resistance. On the surface, it is a denial and rebellion against modernism, but their essential thoughts are interlinked, and the core of their philosophical thoughts is idealism and metaphysics.

A new genre of "postmodern photography" naturally appeared in the photography art in this period. This genre appeared later than other plastic arts 10 years, entered the American film industry in the late 1970s, and then gradually spread around the world. The photography art of this photography art school "inherits" the aesthetic concept of pre-modernism with the creative subject as the center and the creative subject as the starting point, but it also attaches importance to the observation of social realistic problems and uses works to talk with life. Secondly, photographers of this school don't pay much attention to the ontological characteristics of photography, and think that photography and art are just a style to express themselves. They only pay attention to their own personality, but ignore their own personality. In the eyes of postmodern photographers, there is no clear boundary between photography and art, German artist G richter once said, "Photographs are the most perfect paintings". Therefore, postmodern photographers tend to paint in their photography creation. When photography enters the digital age, this feature is more obvious. In their creation, they use realistic scenery images as their artistic language vocabulary to make "statues" and express them with greater freedom. Postmodern photographers don't talk to life itself like documentary photographers, nor are they divorced from reality like modernist photographers when they express their views to the society with their own works. The photographer's interpretation of his photographic works is absolutely personal, regardless of the corresponding relationship between the image of the picture and the life scene. The theme of this kind of photography is often obscure, symbolic and dependent, and its meaning is obscure and tortuous. L Simmons, a post-modern female photographer, has a picture of a slim girl with a house on her back. Her creative purpose is to satirize and attack comfortable middle-class women. Although some works are based on life, their significance is definitely a direct expression of the photographer's personal life concept, moral concept and value orientation. Therefore, the theme and content of post-modern photography creation are quite arbitrary.

In the eyes of postmodern photographers, there is no "forbidden area" and "taboo area" in the content, and the style is neither elegant nor vulgar-even "sex" and "sex" can directly enter the picture. For example, J Sodek's Connection of Love in 1985, new york Tedwell by A. modica in 1987, House by D. Wernerowitz in 1988, and Towering by J. Kongs in 1990. Its performance and works, whether indirect or direct; Whether it is white dew or obscure, we can't simply equate them with general "pornographic" photography popular in society. In the eyes of postmodern photographers, sex and sexuality are the existence of society and the composition of human nature, and there is no need to avoid them. These artistic features are the direct reflection of social thoughts such as existentialism, anthropology, phenomenology and Freudianism.