What is the next art movement ?

Art always mirrors culture. The art of the last century has largely mirrored the endgame of two thousand years of our focus on rationalsim - during which we developed the rational support for the things we already knew. And during the 20th century (when we developed quantum mechanics and nuclear weapons), our art showed us what results when we focus fairly exclusively on the intellectual parts of ourselves. We get color, we get shape and form, and we get shock and  irony and gimmick - but we don't get a whole lot of transcendence, or deep positive emotive or spiritual content, which have always been what most people have looked to art to provide. Frank Stella gave a series of lectures at Yale (maybe Harvard) some years back that were put into a great book titled "Working Space". In it, he says that modern art has pretty much mastered the challenges of color and form and space, but has yet to successfully include the human element, though he feels Picasso made a good stab at it.  I think this is the crux of the dilemma facing the "next great art movement". There is definitely a trend toward a recovery of drawing - of draughtsmanship - in art, and that can have great merit, but not if it's just the same old stuff, redux. Likewise, if contemporary art stays in the shallow lands of irony and gimmick and never reaches deep, then WTF? Who needs visual masturbation? I believe we are waiting for the new artists who offer us deep visions that will help us to face, understand - and transcend - the complexity of the world and its present problems. But those artists have to arise from a disciplined, studied commitment to moving forward from a known and understood history to an inspired future. No mailing it in, or rustling up a bunch of "stuff", throwing it on the floor, or gluing it together and announcing it as "art". At the moment, we seem to be in a period of flux. Turell's work is wonderful, but he is scarcely new - he's been working steadily for many decades, and I think his pieces fall in a narrow category of the art that is what we are searching for, though I love them a lot. There are realist painters doing "new" imagery, but a lot of it is S&M, and bondage - on the other hand, that IS how many people feel, isn't it? blinded, bound and helpless? So, I'm still waiting and I suspect others are too.  We'll know it when it comes, and its name will arise, because that's how these things work. But I suspect it  will be some sort of synthesis of more lyrical elements - maybe more traditional drafting - and the exciting intellectual complexities that have arisen in the last 150 years.

Wow, I love this question. What is it? "The Grid: a digital frontier. I keep dreaming of a world I thought I'd never see. And then, one day... I got in." How we get there? Art challenges technology technology inspires the art. I can only speak as to what  I want to see in our lifetime, and I think we are close. One artist in particular has given us a taste of this vision. His name is James Turrell. James experiments with light in rooms and environments. It's like something out of the movie Tron Legacy. James has created the doorways to these worlds. To the naked eye, these worlds are infinite: How badass and terrifying would it be to get stuck in his artwork? In fact, in 1980 James was sued because two visitors became disoriented and fell thinking that the light was a physical object. What can be created with light and space excites me. Perhaps, one day this will be my venture too. Why do we have to explore outer space to gain extraterrestrial experiences, when we can build them ourselves?

I like the idea of "Festivalism" as the next art movement.  I heard this term at a lecture at some point some time in the last few years.  The explosion of international biennials has influenced artists to share information faster than we can consume it.  But we do consume it.  And somehow, people translate this information into text, photographs, Facebook updates, blog posts, Quora answers, and other works of art.  Size and scope (or frieze or armory) is an obvious marker of such festivalist artwork.  Larger than large-scale installation and longer than long time-based media is popular.  Lengthy durations of city-wide exhibitions and blockbuster museum shows are massively publicized, promoted, consumed, and documented.  Though most of the world was not able to see an upside-down United States military tank in Italy, the artwork by Jennifer Allora and Guillermo Calzadilla at the 2011 Venice Biennale exists online forever.  Carsten Holler's giant museum slide can be experienced on YouTube just like the thrill of watching Avatar. The spectacular works of art translate to the smallest studio where artists unable to physically experience the work can click on a single button and see what contemporary exhibitions are presenting to the world.  Contemporary artwork combines the speed of the World Wide Web with the excitement of a kid in a candy store.  Click click click.  Consume consume consume.  The consumption of superficial information is regurgitated, appropriated, and translated into modest works of art attempting to contain the gravity of festivalism: manic collages by Wangechi Mutu absorbs print media and globalized beauty, psychedelic video by Ryan Trecartin plays with an emerging American-English discourse, and artists younger than Jesus feel the heat of the art world spotlight for a moment in time. I have no idea who said that thing about festivalism but it was said, really, and I liked it.  Artists will always like things and share it with others.  Right now, we're liking things more than we can properly investigate and research the content, but we feel compelled to share the information anyway.  Share!  Like!  Friend!  Delete!  Tweet!  The paint isn't even dry and I need to work on something else.  Just turn the iPhone off!  Omg, I told Siri to shut off and she said she can't.

I like Malcom's answer.  You never really know what the next really big art movement will be since it depends on original ideas to catalyze.  These sparks of genius cannot be predicted.  One thing you can count on is a steady stream of innovation that will likely lead to new movements.  This always happens when you get crossover talents - people who are experts in one thing then apply it to another.  Same as when you apply a new medium into the mix.  3D printing is one new thing in the toolkit that will change sculpture.  Two movements I predict stemming from this type of innovation are mixed media combining street art or digital methods. Mixed media: Street art + classic talent In my opinion, David Choe is the champion of this. Check out this one combining diverse spray paint graffiti techniques with oil paint brush control that must have been developed over tens of thousands of hours. Adding digital in this mix: Zach Booth Simpson and company provide fine examples of this. Kind of the way Calder gave life to sculptures with mobiles, Zach has pioneered a movement of interactive art installations. This could really take off and become an everyday part of our culture and at the same time populate museums.

the notion of movement is dead! A movement is supposed to take the lead in new directions in opposition to other established movements. Movements define directions but our time is becoming define more by our impossibility to resolve our economic, political, social and natural issues. We have never been so extremely divided yet in constant forms of communication. Like it is stated in the initial post, we have push everything (not only art) to the limit; but what we see is that everything has been reduced to a commerce, a market, on physical exchange instead of "spiritual" one. The activity of Art for me is supposed to re·u·ni·fy what has been broken, to achieve on a symbolic level a sense of collective unity at any level of our life. It's obvious that we actually achieve just the opposite --we have never been so divided socially, focus on competing against each other with no real empathy for the over unity of our communities. So the creative impulse that artist express is becoming out of context, with no real purpose in time of social decadence. The avant-garde we know has been recuperated and well integrated into the art market, my feeling it is time to go the opposite way, to look at the "arrière-garde" what was done before. Our future might be in our past. What we also call in art the "foundations". We know we are free to do anything in art, there are no rules, but we still have "nos repaires" (French word), our values, principals that define the reason in the first place why we need to create images that need today to be re-affirm. So the notion of movement has lost its purpose like most of what we do today.

No single movement can ever be expected again to generate the status of the AbEx or Cubist artists, or even the Pops. Minimalism showed the limits of absolutist thinking about materials. Performance art will keep plugging away with the dadaist spirit. But nothing "new" in the way of a total revision of how we see objects, for example, in paint. Painting isn't dead, it's just reached the same stage as poetry, using the same vocabulary in different arrangements. And that's capable of great beauty. I, for one, hope there remains a serious place for the art of the small and humble, not just the huge and loud or supremely fill-in-the-blank. Manet's last flowers, Cezanne's apples, a small child or old woman by Rembrandt, Kokoschka's figure and portrait watercolors, Giacometti's walking dead... some of the least pretentious works move me the most.

Next art movement? Please tell me what art movements there are now, because I do not know of any names that around nowadays. I agree with most of what is already said here. But although it would be nice and comfortable, I am not sure there will be 'a next art movement'. No big ones anyway. The art world is already surviving without any big movements for almost 50 years now. And I expect it to do just fine in the next few decades. But who knows? I'm open to anything and love to be surprised.

Infinitism is an art movement founded by Finnish artists Ilkka-Juhani Takalo-Eskola, Mika Norring and Juha Kurki 2015. It resembles theory of infinitism by Peter D. Klein in art. Love is a variety of different feelings, states, and attitudes that ranges from interpersonal affection to pleasure. It can refer to an emotion of a strong attraction and personal attachment. It can also be a virtue representing human kindness, compassion, and affection. It may also describe compassionate and affectionate actions towards other humans, one's self or animals. Non-Western traditions have also distinguished variants or symbioses of these states. This diversity of uses and meanings combined with the complexity of the feelings involved makes love unusually difficult to consistently define, compared to other emotional states.Love may be understood as a function to keep human beings together against menaces and to facilitate the continuation of the species. Love in its various forms acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. Infinitism makes love visible in an artpiece in a simple way. It is described in English sentence: "Simple law of being". It has nine elements that are easily remembered by first letters of the elements: CEMPL B LAW or "Simple B law". Elements are: 1. Communication 2. Energy 3. Music 4. Performance 5. Light 6. Beauty 7. Life 8. Aroma 9. Water This means that piece must have: Communication. The piece leads you to communicate to another human being. Energy: The piece produces energy. Music: The piece produces sound. Performance: The piece encourages human beings to express themselves. Light: The piece produces light. Beauty: The piece must be arguably beautiful. Life: The piece consist living organs. Aroma: The piece has aroma. Water: The piece consist water.

Until now every kind of art has to be perceived with our human senses: sight, hearing, taste, smell or touch. The next frontier which is not yet fully available will be to directly interact with the human brain via some not yet available technology that allows to influence or induce brain processes. This hopefully will allow to generate entirely new experiences and open up a new (and ultimately last but infinitely versatile) playing field for artists,