Abstract:
Although we can perceive postwar art as one that reacts to forms and ideas perpetuated by Modernism, curiously enough, it is tantamount to a series of similar mechanisms both in terms of ideas and of the forms represented. This paper surveys and analyzes theories related to familiarity and strangeness in art theory from the 1970s, from the shipwreck of modernism, through hyperrealism and post-industrial art, to the thematic turn induced by the postmodern state, new ways of institutionalization, and new attempts on the definition of contemporary art, such as the interlocking vistas of meta-, alter-, pseudo- and digimodern.
