Greenberg: Modernism Modernist Painting Forum Lectures (Washington, D. C.: Voice of America), 1960Arts Yearbook 4, 1961 (unrevised)Art and Literature, Spring 1965 (slightly revised)The New Art: A Critical Anthology, ed. Gregory Battcock, 1966Peinture-cahiers théoriques, no. 8-9, I974 (titled "La peinture moderniste")Esthetics Contemporary, ed. Richard Kostelanetz, 1978Modern Art and Modernism: A Critical Anthology. ed. Greenberg's first essay on modernism, clarifying many of the ideas implicit in "Avant-Garde and Kitsch", his groundbreaking essay written two decades earlier. ... the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. The essay is notable for its illuminating (and largely undeveloped) observations about the nature and history of pictures, let alone Greenberg's mid-life perception of the character and importance of the avant-garde. Postscript (1978)
The easy guide to design movements: Modernism | Graphic design With the advances of technology Modernism began to break through at the end of the 19th century into the beginning to the 20th century. Western society began to develop new ways to shape human culture and improve the constructed environment. Modernism covered many creative disciplines from design and art to influencing architecture, music and literature. Influential designers of this period range from Walter Gropius from the Bauhaus to the modern architect Le Corbusier, both men were fascinated with all disciplines of design and it reflected greatly in their work. 'Function should always dictate form' Modernism particularly inspired fine art, it saw a break in the world of the 'ism' - these art styles include Impressionism, Cubism, Fauvism, Futurism, Brutalism and Surrealism. Graphic Design and Typefaces Modernism especially changed the thinking process for communications, graphic design and typography, the style of design shifted drastically from the prior 19th century approach.
Postmodern art Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. There are several characteristics which lend art to being postmodern; these include bricolage, the use of words prominently as the central artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular culture.[1][2] Use of the term[edit] The predominant term for art produced since the 1950s is "contemporary art". As well as describing certain tendencies of contemporary art, postmodern has also been used to denote a phase of modern art. As with all uses of the term postmodern there are critics of its application. Dada[edit]
Marcel Duchamp Marcel Duchamp (French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism[1][2] and conceptual art,[3] although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[4][5][6][7] Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.[8] Importance[edit] Early life[edit] Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists.
Modernism Origin of the word Etymologically, modernism means an exaggerated love of what is modern, an infatuation for modern ideas , "the abuse of what is modern", as the Abbé Gaudaud explains (La Foi catholique, I, 1908, p. 248). The modern ideas of which we speak are not as old as the period called "modern times". Though Protestantism has generated them little by little, it did not understand from the beginning that such would be its sequel. During the early years of the present century, especially about 1905 and 1906, the tendency to innovation which troubled the Italian dioceses , and especially the ranks of the young clergy , was taxed with modernism. Theory of theological Modernism The essential error of Modernism A full definition of modernism would be rather difficult. Such are the fundamental tendencies. It will be advisable for us to quote a full critique of such supernatural knowledge as an example of the mode of procedure. Catholic and Modernist notions of dogma compared
Robert Hughes on the modernist movement | Art and design Modernism is a weasel of a word, whose meanings slip and slide. They always have. Not that one should use "modernism" and "always" in the same sentence. Nobody talked or thought about modernism in the middle ages - the idea of a battle between "new" and "established" cultural forms was not an issue then. Modernism is something old that we look back on, not without nostalgia. That certainly wasn't the modernité Charles Baudelaire was thinking of in 1863 when, in The Painter of Modern Life, he described "modernity" as an exaltation of "the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable". Once, movements and works that no longer seem to match up with modernism as we understand it used to call themselves modernist. It's no accident that the exhibition's delimiting years should be the starting dates of two catastrophic world wars, 1914 and 1939. Or else, we say that Europe, dire as its condition is, can actually be improved.
Abstract expressionism Style[edit] Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings. Mark Tobey, Canticle, 1954. Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate. Although the abstract expressionist school spread quickly throughout the United States, the major centers of this style were New York City and the San Francisco Bay area of California.
Jonathan Jones on how Duchamp's urinal revolutionised modern culture The object in Tate Modern is white and shiny, cast in porcelain, its slender upper part curving outward as it descends to a receiving bowl - into which I urinate. It's just a brief walk from here in the fifth-floor men's loo to Marcel Duchamp's Fountain, an object sealed in a plastic display case on a plinth that is nevertheless almost identical to the receptacle into which I've just pissed. This museum treasure is no more or less than Duchamp described it to his sister in a letter of spring 1917: une pissotière en porcelaine. The eminent New Yorkers who ran the American Society of Independent Artists decided in April 1917 that it wasn't. The next month, a little magazine called The Blind Man, which was co-edited by Duchamp, defended Mr Mutt's Fountain: "Whether Mr Mutt with his own hands made the fountain or not has no importance. These words resonate as excitingly, provocatively, philosophically today as they did in the early 20th century. Duchamp grew up with art.
A Brief Guide to Modernism "That's not it at all, that's not what I meant at all"—from "The Love Song of J. Alfred Prufrock," by T. S. The English novelist Virginia Woolf declared that human nature underwent a fundamental change "on or about December 1910." "On or about 1910," just as the automobile and airplane were beginning to accelerate the pace of human life, and Einstein's ideas were transforming our perception of the universe, there was an explosion of innovation and creative energy that shook every field of artistic endeavor. The excitement, however, came to a terrible climax in 1914 with the start of the First World War, which wiped out a generation of young men in Europe, catapulted Russia into a catastrophic revolution, and sowed the seeds for even worse conflagrations in the decades to follow. Ezra Pound, the most aggressively modern of these poets, made "Make it new!" William Carlos Williams wrote in "plain American which cats and dogs can read," to use a phrase of Marianne Moore.
Tron Legacy: A Postmodern Reinterpretation Br. TJ and I went to see Tron Legacy, a sequel 27 years in the making. As a child Tron was of one of my all time favorite movies (and still is to this day). While Br. TJ’s review focuses on the typology of Kevin Flynn (Jeff Bridges’ central character), my review covers more the postmodern turn in the sequel. Warning: Spoilers Abounding Ahead Plot Summary [Note: If you’ve already seen the film, skip to Postmodern Ideas below]. Tron Legacy takes place twenty years (in the movie timeline) since the first Tron. The plot of the original Tron (1982) centered on the character of Kevin Flynn (played brilliantly by the great Jeff Bridges). The game however is no game but a real world of danger and intrigue. As Tron Legacy begins, Flynn has risen to head of Encom. Flynn, along with Tron and his grid clone Clu, sets about creating a new grid world, one of freedom and enlightenment. Back in the “real world”, we see Flynn with his young son Kevin. Postmodern Ideas The Dark Side of Modernity Quorra Flynn
Roy Lichtenstein Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the basic premise of pop art through parody.[2] Favoring the comic strip as his main inspiration, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting".[3] His paintings were exhibited at the Leo Castelli Gallery in New York City. Whaam! Early years[edit] Career[edit] Cap de Barcelona, sculpture, mixed media, Barcelona Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. Later work[edit]
Modern Art in West Asia: From Colonial to Post-colonial Period | Thematic Essay Old Baghdad, 1972 Hafiz al-Droubi (Iraqi, 1914–1991) Oil on canvas, approx. 66 7/8 x 78 3/4 in. (170 x 200 cm) Baghdad Museum of Modern Art (listed as missing during 2003 invasion) In 1942, Hafiz al-Droubi became the first artist to open a freelance studio in Baghdad. He studied in Rome in 1936 and earned a government scholarship to attend Goldsmiths College in London. A pioneer of modern Iraqi art, he was a co-founder of the first Iraqi art society and a member of the prominent Pioneers. He is known for establishing the Impressionists Group in 1953, which, in spite of its name, was credited with encouraging experimentation in a variety of Western styles and techniques. Woman-Bird, 1975 Mona Saudi (Jordanian, born 1945) Marble, 32 3/4 x 15 x 5 1/8 in. (83 x 38 x 13 cm) Collection Institut du Monde Arabe, Paris Jordanian sculptor Mona Saudi graduated from the École Supérieure des Beaux-Arts in Paris in 1973.