"There are no rules about investment. Sharks can be good. Artist’s dung can be good. Oil on canvas can be good. There’s a squad of conservators out there to look after anything an artist decides is art." - Charles Saatchi































Chris Ofili, The Holy Virgin Mary, 1996.





















Chris Ofili, Monkey Magic - Sex, Money, Drugs, 1999.











Crhis Ofili, Shit Head, 1993.










Pollock in front of blank canvas
As we entered into the 21st Century, we naturally "took stock" of our moment and many declared the end of the avant-garde. It had long been taken for granted that everything that can be done, has been done.
Existential angst, a sense of alienation that led to cultural upheaval, and a drive towards innovation and futurism characterized the American avant-garde after WWII.
In the postmodern era, these sentiments lost their lustre.
Pollock standing in front of
blank canvas for Mural











Hilton Kramer has explained that for some, postmodernism became "the revenge of the philistines" in that artists seemingly embraced kitsch, and low brow culture over the clean, cool, reasoned aesthetic of modernism with excessive eagerness.

Mike Kelley, Memory Ware Flat, 2000.











Before the "Great Recession" we found repeated confirmation that there was nothing left to rebel against.
Takashi Murakami, Tan Tan Bo, 2001.











Takashi Murakami, My Lonesome Cowboy, 1998.
Viewers looking at and Hiropan Milk, 1998.











Anarchy in the U.K. fanzine, UK, 1976.











Numerous critics declared that Pomo's institutional critique was too well received, and as a consequence, they dismissed Postmodernism as fad.

Takashi Murakami Louis Vuitton bag included in the traveling retrospective of the artist's work © MURAKAMI






















In 1996 Hal Foster asked in the Return of the Real "Whatever happened to Postmodernism?"
Banksy, If Graffitti Changed Anything..., London, 2011.











Many have since declared the end of Postmodernism and have tentatively called the newest artistic era, "post-postmodernism" and/ or "meta modernism."
metamodernism = works and artistic practices that oscilate between modern and postmodern perspectives
"In the wake of the myriad crises of the past two decades — of climate change, financial meltdown, and the escalation of global conflicts — we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed 'End of History.'” - Luke Turner in Metamodernism: A Brief Introduction
Marilyn Minter, Stuffed, 2003.











"We know that postmodernism, in simple terms, has been a detachment from modernism. We detached from the Constructivist’s utopias; we detached from the Expressionist’s catharsis; we detached from the Ruskin utopia of artistic moral influence. We detached from the Dada purges. We detached from the Greenbergian truth. We detached from the almighty metanarrative. Postmodernity detached us from believing that our intelligence will keep us from a return to primordial ooze. It detached us from believing that human invention of the end of the world does not have to end the world." - Stephen Knudsen in Art Pulse
Andreas Gursky, Pyongyang IV, 2007.











"The use of the prefix 'meta' here derives from Plato’s metaxis, describing an oscillation and simultaneity between and beyond diametrically opposed poles. This usage was first proposed by Dutch cultural theorists Timotheus Vermeulen and Robin van den Akker in their 2010 essay, Notes on Metamodernism." - Luke Turner
Julie Shafer, Conquest of the Vertical: 300 Miles From Eureka! 2012. Silver Gelatin pinhole photograph, 69" X 40".











Gericault, Raft of the Medusa, 1818 - 1819.
Eric Fischl, The Old Man's Boat and the Old Man's Dog, 1981.
Julie Shafer, 5 mile drive from the Fireside Lounge to 41.296111, -105.515000; Looking out the rear driver-side window, 2012. Inkjet photograph, 33 x 24 inches.











"As young protesters, [Bartlett's figures] find utopian ideals suspect; however, in their repose they are ironically taking action against threat. They are confronting the inventors of the end of the world: us. Specifically, they are facing down the strongest military in the world - a military mandated to prevent apocalypse, but also one with apocalyptic potential that could explode if not regulated by the people. School of the Americas becomes a reflection of ourselves; we still want to believe in something good, even in a world with utopian enthusiasm put into checkmate." Stephen Knudsen in Art Pulse
School Of the Americas / Wester Hemisphere Institute for Security Operations
Latin America and the SOA
Bo Bartlett, School of the Americas, 2010.