Brutalism Research Paper

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

Aestheticism was a popular dogma in the late 1800s that centered on the belief that art should exist for beauty alone. This doctrine is defined as an “exaggerated devotion to art, music, or poetry, with indifference to practical matters” and “the acceptance of artistic beauty and taste as a fundamental standard, ethical and other standards being secondary” (“Aestheticism,” def. 1 and 2). In Oscar Wilde’s sole novel, The Picture of Dorian Gray, aestheticism is a fashionable belief accepted by society at the time. Oscar Wilde uses the moral deterioration and ultimate destruction of Dorian Gray in The Picture of Dorian Gray to emphasize the negative effects of society’s preoccupation with aesthetics and offer a moral for the reader.

Pursuit of various visions of social justice probably accounts for most human misery. What's more, the historical pattern that has emerged has been one whereby one form of injustice is replaced by one that is far worse. Russia's 1917 revolution expelling the Czars, and their injustices, ushered in Lenin, Stalin and a succession of brutal dictators who murdered tens of millions in the name of the proletariat revolution. The injustices of Chiang Kai-shek were replaced with those of Mao Tse-tung; Castro's ousting of Batista or Ayatollah Khomeini's toppling of the Shah of Iran produced regimes far more brutal. In Africa, after independence, the injustices of colonial powers

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

With the social difficulties and economic unrest the 1970’s marked the end of brutalist architecture. Brutalist

Legislative issues is one technique for illuminating clashes, and savagery is another. In each group it is key to have governmental issues and viciousness with a specific end goal to convey society to an ordinary stage.. Political brutality is the thing that keeps pleasant, monetary and political request, keeps up a general public, and protects natives when guided by relief. Alleviation of political viciousness goes in the degree that it can reach in advance of it ends up noticeably unjustified, where relief is sidestepping outrageous circumstances. Brutality is here and there mandatory to run a political framework; notwithstanding, having savagery achieve the purpose of fear based oppression is outrageous. For this situation, psychological

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

The mistrust of the world which is at the center of modernism can be attributed to the world wars and the psychological effect that it had on the individual. The horrors and violence altered public perceptions of life, a change that is evident within writers of the time period. The focus of writing shifted from the outward world to inner thoughts and feelings and overall representation of an individual’s stream of consciousness which are themes associated with modern text. In “Impact of Modernism”, focuses on the idea that world needed new outlets for expression and in finding them rejected the tradition that was already there with the quote, “Many modernists believed that by rejecting tradition they could discover radically new ways of making art.” (Impact) .The world no longer had the beauty it once did so a a discovery of new arts were needed. The mind of an individual became that new found inspiration and beauty that modern writers needed and for that reason it was one of the main focuses of modern

Mina Loy, a futurist and modernist poet, uses graphic and uncensored depictions to portray art as a violent force. I believe from the excerpt of poems read in class from Loy’s book The Lost Lunar Baedeker, she conceptualizes art in her poems through futuristic themes of speed, violence, rejection of the past, and urban scenes. Her poems are an insight into the modernist movement and a revolt against traditional views that embrace a new prospective on the importance of art during the movement. Loy depicts speed in her poems “Brancusi’s Golden Bird.” “Oh Hell” embraces violence, the future, and rejection of the past. “Apology of Genius” describes urban scenes and the coming of the future. Futuristic images come alive in

I don’t think that Totalitaria isn’t a place for me because the government is way too controlling, I tend to defend myself and my rights and I will not learn about the outside world. My first point is that the government is too dominant over its people. The government of the “Three Wise Men” control what you do for a living, where you live based on that career, what media you’re exposed to etc. The reason this is important because people should have options of what they want to do, where they want to live, what they want to see etc. to make themselves feel fulfilled and free. My second point why I won’t fit in Totalitaria is because that I will disagree with the government soon or later and I will have to defend myself. I think this because

To fully appreciate the differences and similarities between Postmodernism and Modernism, it is required to understand exactly what they are. Modernism is the term we give to the accumulated creations and activities of designers in the early 20th century, who had the theory that traditional forms of literature, religion, social organization, and most of all, art and architecture, had become outdated in the new social, political, and economic environment of a fully industrialised world. One of the main characteristics of Modernism is self-consciousness, which typically caused exstensive experimentations of form and function. The creative process of generating work was also explored, forming new techniques in design. Modernism rejected all ideology of realism and prefers to reference and parody works of the past. Postmodernism, on the other hand, is a radical rejection of Modernist design. Taking place in the late 20th century, it is a movement in art, criticism, and architecture that disputes the majority of modernist tendencies. The Postmodernist analysis of society and culture lead to the expansion of critical theory and advanced the works of architecture, literature, and design. This entire re-evaluation of the western value system of popular culture, love, marriage, economy, that took place from the 1950s and 60s, leading to the peak of the Social Revolution in 1968, is commonly referred as Postmodernity which influenced postmodern thought, as opposed to the term

Gropius traces the growth of the New Architecture and the work of the now well-known Bauhaus, with accuracy, calls for a new artist and architect educated to new materials and approaches as well as meeting the requirements of the age. It is also mentioned in The New Architecture and the Bauhaus that the intention of the Bauhaus was not to reproduce any “style”, system or belief, but simply to exert a revitalizing impact on design. Even though the outward forms of the New Architecture differ primarily in an organic sense from the old, it is the inevitable logical product of the intellectual, social and technical conditions of our age. A gap has been made with the past, allowing us to face a new aspect of architecture corresponding to the technical civilization of the age we live in. The analysis of the dead styles has been destroyed. Furthermore, the new building throws open the walls like curtains to allow an abundance of fresh air, daylight and sunshine. Instead of securing the building ponderously into the ground, it poises them lightly, yet firmly at the same

Modernism has found new expressions in art which in turn have changed how people critic and understand art, in this essay I am going to focus more on abstract expressionism. Debates in this movement have gone as far as influencing many artists and the two well-known critics who have made this movement more remarkable and have changed the art world completely are Clement Greenberg and Ronald Rosenberg. On the writings of these two gentlemen about art I will try to draw out the differences in the idea of what abstract expressionism is and what it is supposed to be, compare and outline the similarities and the differences between the two critics.