Christopher Crouch Modernism

- In his text, Foster discusses the development of art and theory since the 1960s, and the relation between prewar and postwar avant-gardes, criticizing and questioning the idea of artist as Ethnographer.

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

“Modernism was the answer to the world’s woes.” (Heller, 2012). In a way, this was true. The modernism movement in graphic design started after World War 1, influencing the world after a time of war and hardship - just when it was vulnerable and needed it most. Modern artists of the time had the opinion that art and design should echo life in the consitutional revolution and communicate with a modern audience through deeper ideas and values in their design and art works. The Modernist movement broke away from traditions in thinking, society and art. A new era was starting. The Modernism movement eventually developed into two parts - the “high” modernism and the “low” modernism. High modernism represents the intellectuals and low modernism was based to the everyday person. Low modernism also focused on mass production and accesibility whereas high modernism focused on the ideas and values they were trying to communicate and influence through their work. The movement was moving away from traditional thinking in art and society, giving a new beginning to the world of design. This was because design was needed to relate to the every day audience as well as having a deeper meaning, so two streams were created. Modernism ignored the previous tendency to only use realism in art, deeming it unnecessary and irrelevant. In fine arts high modernism was mostly geometrical abstraction and expressionism whilst low is the practical set of guides for new influences on society. But which

As science was evolving, art and architecture were too forming new ideas and styles. Starting with Einstein, Newton, and Heisenberg- in regard to quantum physics and leaping into architectural advances, it is agreed that this was a revolutionary time for all who lived in this era. That being said, Cubism, Futurism, and Fauvism are important styles in modernistic art. Whether it is literature, poetry, song, or dance, these principles helped to shape the future and individual approach to create our own perspective. The abstract styles discussed, paved the way for Nonobjective art to make its mark on humanity and to make us feel and see uniquely. Not to mention, architecture and the International style that later developed, teaching us modern design. The international style gave us unique structures, distinctly showcasing new synthetic materials, floor plans, and roofs. As one can see, modernistic art provides just as an important part of our everyday life as

It is interesting to consider Sarah Goldhagen’s text “Coda: Reconceptualizing the Modern”, a systematic categorization of the branches of modernism which developed concurrently during the beginning of the twentieth century, through the lens of George Kubler’s seminal essay “The Shape of Time.” It is interesting not only because Goldhagen serves to substantiate Kubler’s polemical argument, in summary, that the evolution of art and science is a process which depends on incremental physical and perceptual developments, but because she uses modernism, which is typically considered a paradigm shift relative to the history of history, to depict the ebb and flow of social, political and cultural changes that occur in the development of modern aesthetics.

But just as every painting is not a piece of artwork, Demachy argued that not every photograph could be art either. Instead, he proposed that we look beyond mediums to see how artworks share a kinship of sorts in their ability to find beauty in the “ugly and commonplace” by being a “transcription...of nature.” As Demachy points out, the rise of popular photography should not undermine photography’s potential for art making, just as the availability of charcoal and paint sets had not threaten painting’s

By analyzing various articles that provides various viewpoint on the phenomenon of Modernism and its relationship to modernist architectures during the 1920s and 1930s, linkages, similarities and differences between how each author define modern architecture can be observed. These varying viewpoints encourages not only the identification of ‘Traditional’ and ‘Art Deco’ movements but also the critical understanding of modern architecture’s evolution and its relation to the societal beliefs, authority, resource and function during the Interwar Period.

The Pop art movement began in 1952, when a group of artists, architects and critics called “The Independent Group” from London met each other to talk about ideas such as, turning mass culture’s into fine art, the found object (objet trouvé), as well as science and technology. As Britain was still recovering from the severity of their postwar, citizens from there were equivocally looking into American popular culture. That’s how “The Independent Group” became so fascinated into the rich world pop culture and could see a future for it from the British

Although photography became acknowledged as a legitimate form of artistic pursuit by the early part of the 20th century, photography was considered a minor art form. This level was regardless of photography’s significant impact on perception and visual culture. Instead, the evaluation was premised on the fact that photography, as a medium had no historical precedent, and if any parallel was to be drawn, the parallel would be with that of printmaking. From the point of view of the Academy of Art, art was fixed in concept and form, because art reflects the values that are eternal. While this position allowed for the emergence of new styles, which were historically contingent on one another, it did not readily allow for new forms and media.

Kirk Varnedoe’s A Fine Disregard:What Makes Modern Art Modern purpose is to explore the changes in society and life that helped to foster the modernist movement (“Kirk Varnedoe”). The innovation that was modern art is also examined in this book along with an effort to delve into understanding the complex meanings behind the movement (“Kirk Varnedoe”). The value of this work is that Varnedoe was not only a Stanford professor who taught the History of Art, but he, “served for thirteen years as Chief Curator of Painting and Sculpture at the Museum of Modern Art,” a prestigious museum for Modern Art in New York City (“Kirk Varnedoe”). This work is also limited like the previous work in that it is written to encompass and describe each Modern art movement and what, “Makes Modern Art Modern,” so it is not specifically focusing on Dadaism and it’s individual meaning and purpose.

The “art and life” aspects of the interwar avant-garde are an advanced socially trivial form of art which to a bigger extent is symbolic of the visual setting of the human community. It is the art of expressionism in any artistic work which greatly influence its adaptation by the target audience. It has been evidently claimed that most artistic works of the early twentieth century have had a number of varied themes all encompassing the political environment of the time. The interwar avant-garde is a direct expression of the modernism in a society marked with low levels of civilization. It is indeed the expressive nature of artistic works that we claim high levels of civilization in our human society. This is the reason why art is quite

This paper outlines, argues and evaluates the key ideas used in debates about modernism and postmodernism. In order to understand and evaluate the key ideas the terms modernism and postmodernism had to be defined. I found much difficulty in finding a clear and concise definition of the two terms and so I researched and formed a train of thoughts into one definition. Modernism, beginning in the late nineteenth century and early twentieth century within Europe and America, was a movement mainly pioneered by artists who focused on the separation of their craft from the status quo of the society during that period mainly by the use of experimentation with content, form and materials (Long & Wall, 2012). Many believe that the basic principles of modernism can be derived from the Idea of Progress, which emerged in the 18th century Age of Enlightenment with the idea that people themselves could develop and change their society. (http://en.wikipedia.org/wiki/Modernization_theory, 2014). The post modernism term was much harder to explain and so in addition to outlining and evaluating the key ideas of postmodernism I have also highlighted the works and examples of the theorist Jean Baudrillard and the artist Marcel Duchamp, among others, to further explain the term post modernism. This paper is separated into five subtopics where I go in-depth into each category so as to give a fair analysis and evaluation on both modernism and post modernism.

In this essay tittle I’m going to discuss the paths traditional recognitions between painting, photography and filmmaking blurred the lines and challenged between each other. New times and developments call for a rethinking of the essence of art. Changing not only the relationship of man to the world, but his vision of the artist, the viewer and the work of the whole, there is a need for new methods of communication, new forms of art. In the world of cultural practices have not yet removed the question of whether all can become the object of art. The old borders have already disappeared, new boundaries are still unclear. Hence, the activity of artists turns to explore fresh areas in the art world by adapting into a modern

To preface this argument, it is vital to highlight the origins of Pop and happenings within it. Analyzing the concepts and stylistic choices behind major Pop artists like Andy Warhol, Claes Oldenburg, and more specifically Roy Lichtenstein and his comic-style art, such as Drowning Girl, reveals evidence of the effect of the cultural shift of the 1960s on the art world, which helped to birth the Pop art movement. This analysis will begin with taking a look at Abstract Expressionism and its