African Films Shine Zanzibar International Film Festival

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If modernism had tried to anchor in consciousness a centre which could no longer hold—the conscience of the heroic, socially alienated artist—postmodernism had shown us an even darker side of modernity and the aporias of the aesthetic. It had shown that there is nothing for consciousness to be anchored to: no universal ground of truth, justice, or reason, so that consciousness itself is thus “decentred,” no longer origin, author, location of intentional agency but a function through which impersonal forces pass and intersect—Dover Beach displaced by an international airport lounge.
—Patricia Waugh, British educator. “Stalemates? Feminists, Postmodernists and Unfinished Issues in Modern Aesthetics,” The Politics of Pleasure: Aesthetics and Cultural Theory, ed. Stephen Regan, Open University Press (1992)

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Like the international avant-garde, rock-and-roll is the creative product of a rebellious youth culture trying to reach a mass audience. Its artists embrace technological innovation. Their lives and personal styles are often counterculture. Many rock groups have appropriated creative strategies of modern art history: Some stage acts can be seen as Neo-Dada performance, others have lifted ideas from the Surrealists, the Situationists, and other art groups. Although pop music has its individual stars like Elvis and Madonna, most rock musicians, like the international avant-garde, work collaboratively, in bands. But however much a rock-and-roll group may initially appeal to a specific youth subculture, its potential for vast global audiences is different from that of fine art, which remains within the arcane reaches of high culture.
—Mary Anne Staniszewski, U. S. art critic, educator. Believing Is Seeing: Creating the Culture of Art, ch. 10, Penguin (1995)