The defining artistic movement of the second half of the twentieth century is known as postmodernism. Surrealism, abstract expressionism, and the Theatre of the Absurd are all examples of postmodernism in art and literature. Atypical compositions of unconventional or sometimes completely absent subjects characterize postmodern photography, making sympathy with the subject difficult or impossible. Postmodern photographers, like other postmodern artists, believe that it is possible to ignore the “rules” and still create art.
The art, literature, and music created during the 19th and early 20th centuries were dubbed “modernism” art critics and theorists. Modernism was defined a rejection of previous artistic trends like Romanticism and a proclivity toward realism. Postmodernism took this a step further questioning traditional definitions of “art.” Within the art world, both modernism and postmodernism were divisive, and even the definitions of the terms themselves are up for debate. The general public, on the other hand, was frequently perplexed these works; many viewers questioned whether they were even “art,” which some postmodernists interpreted as validation of their approach.
Abstract, or non-representational, painting was common in postmodern painting; works often appeared to be random colors or scribbles with no overarching design or meaning. The approach is similar in postmodern photography, but the medium presents unique challenges for the postmodernist. Whatever is in front of the lens is perfectly captured the camera. This means that the images must be carefully chosen in order to maintain the abstract nature of the work. However, too much artifice is incompatible with the postmodern concept.
The term “banal” is frequently applied to postmodern photography. The term “banal” refers to something that is “ordinary” or even “boring.” Because traditional photography focuses on subjects that are interesting, unusual, or beautiful, postmodern photography’s choice of mundane subject matter is obvious. The goal is to challenge the audience, whether they are art critics, academics, or casual passers-by. If the subject is ordinary or boring, the artist asks or rather forces the viewer to ask whether the image is still a work of art.
William Eggleston, a photographer, has been described as a consummate postmodernist. At a time when only black and white photography was considered “art” critics and museum curators, Eggleston worked with color images. While some questioned his choice of a common or pedestrian format, color photography’s eventual acceptance made it a valid medium for other artists to use. This demonstrates how, while postmodern art can be controversial and perplexing at times, it has benefited the practice of art as a whole.