Edit]Avant-garde precursors

Radical movements and trends regarded as influential and potentially as precursors to postmodernism emerged around World War I and particularly in its aftermath. With the introduction of the use of industrial artifacts in art and techniques such as collage, avant-gardemovements such as Cubism, Dada and Surrealism questioned the nature and value of art. These movements were influenced by new artforms such as cinema and the rise of reproduction as a means of creating artworks. The ignition point for the definition of modernism,Clement Greenberg's essay, Avant-Garde and Kitsch, first published in Partisan Review in 1939, is a defence of the avant-garde in the face of popular culture.^[34] Later, Peter Bürger would make a distinction between the historical avant-garde and modernism, and critics such as Krauss, Huyssen, and Douglas Crimp, following Bürger, identified the historical avant-garde as a precursor to postmodernism. Krauss, for example, describes Pablo Picasso's use of collage as an avant-garde practice that anticipates postmodern art with its emphasis on language at the expense of autobiography.^[35] Another point of view is that avant-garde and modernist artists used similar strategies and that postmodernism repudiates both.^[36]

Edit]Dada

Main article: Dada

Marcel Duchamp, Fountain, 1917. Photograph by Alfred Steiglitz

In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. His point was to have people look at the urinal as if it were a work of art, because he said it was a work of art. He referred to his work as "Readymades". The Fountain, was a urinal signed with the pseudonym R. Mutt, that shocked the art world in 1917. This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art. It is questionable, to some, whether Duchamp—whose obsession with paradox is well known—can be called postmodernist on only the grounds that he eschews any specific medium, since paradox is not medium-specific, although it arose first in Manet's paintings.

Dadaism can be viewed as part of the modernist propensity to challenge established styles and forms, along with Surrealism, Futurism and Abstract Expressionism.^[37] From a chronological point of view Dada is located solidly within modernism, however a number of critics have held that it anticipates postmodernism, while others, such as Ihab Hassan and Steven Connor, consider it a possible changeover point between modernism and postmodernism.^[38] For example, according to McEvilly, postmodernism begins with the realization that one no longer believes in the myth of progress, and that Duchamp sensed this in 1914 when he changed his modernist practice to a postmodernist one, "abjuring aesthetic delectation, transcendent ambition, and tour de force demonstrations of formal agility in favor of aesthetic indifference, acknowledgement of the ordinary world, and the found object or readymade."^[10]

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