"Design" includes the broad area of decorative arts and crafts. Country shortcuts following names indicate countries where artists were active during periods for which they are associated with a given phenomenon. Many artist names are hyperlinked as there is not more than one link per artist/group in an entry, the order of preference is as follows: (1) Monoskop wiki page, (2) official home page/estate, (3) major collection with online presence, (4) latest retrospective exhibition with online companion/catalogue. Only those participating during the formative years of a given phenomenon are included (i.e. Links point to their online versions, some in translation. These include manifestos, key essays, magazines, but also later art-historical analyses. Links point to event websites and online versions of catalogues. In most cases, titles are kept in their original languages (English equivalents are chosen for events better known as such today). Mostly exhibitions, but also group formations, conferences, etc. Where the link is active it leads to a Monoskop page with more detailed information including bibliographies among the most extensive at the moment are Cubism, Constructivism, Conceptual art, Expanded cinema, Neoism and Sound art. Terms should not be understood as mutually exclusive: body art does not exclude performance art, performance art does not exclude conceptual art, process art does not exclude postminimalism. Preferably in its original language with an English equivalent and optionally frequent synonymous terms. The term under which a given style, movement, ism or school came to be established. Įntries are structured in the following way: In addition to the isms of modern art, the list includes movements that are usually treated as secondary to the visual art canon, such as Lettrism, Situationism, Sound art, Expanded cinema, Neoism, or Software art, and does not leave out those best represented by works made by others than Western white males either. As a result, the page brings together some 350 art styles and movements from the 1860s to the present day, as they have come to us through these four paths. To achieve greater contrast, it adds definitions from dictionaries and glossaries in several languages, as well as selected writings by artists, critics and historians, and recent retrospective exhibitions that challenge the origin myths of this or that style or movement. To further explore this strand of the datafication of art history, this page juxtaposes styles and movements as represented in the online collections of art museums. The same can be said of other attributes of artworks, pre-formatted by the database as lists of authors, materials, years of production, and so on. Although art collection databases are heirs to the art historical tradition, they adapt art to the logic of the relational database - the logic of organising data into rows and columns of items that point to each other. This allows databases to position artworks as belonging to particular styles and movements simply by designating a relation. Rather than notions supporting an argument, styles and movements become vectors along which an online collection is designed to be viewed, queried, and referenced. In contrast to the tradition of scholarly argumentation, the context in the database is given by the way its data are interconnected, where each item is defined by the set of its relations to other items. While they increasingly influence how we (and machines) see and learn about art, their protocols are rarely discussed. Online databases are often presented as neutral resources, with no acknowledgment of editorial work, and instead derive their legitimacy from the reputation of the institution. Major art museums have adopted it as an organising element of their online catalogues. Its relevance is being reaffirmed in an unexpected way, as a database column in an ever-growing number of art collections. Art historians have debated the limits and biases of style analysis and classification for decades, yet style remains "inseparable from working concepts of art and its history".
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