The Craft of the Cover

2628 WordsJul 13, 201811 Pages
There is nothing new under the sun. This could be considered to be the unofficial credo of the Postmodern movement, and it wouldn’t be an inaccurate statement to make. There are few universal themes; the pursuit of love, the satisfaction found in hard work, the youthful struggle against the status quo, the hatred of oppression and control being among those most often quoted, and there are only so many ways to package and repackage these messages in a fashion readymade for public consumption. Pop culture is like a melting pot for these ideas. It is a cultural stew brimming with themes and Grand Narratives. And yet the Postmodernists scorn the idea that there can be new themes discovered, and new modes of presenting those themes in a…show more content…
Understandably, this could be construed as laziness on the part of the artists. In David Harvey’s writings on Postmodernity, he discusses the chaos and superficiality that has accompanied our modern condition. Modernism had a certain idealism accompanying it, and Postmodernists, Harvey argues, have attempted to co-opt that idealism while at the same time diminishing the accomplishments of Modernism. “As even Jencks admits, Postmodernists have taken over all the achievements of the Modernists in architectural design, although they have certainly altered aesthetics and appearances in at least superficial ways” (Harvey, 179). This of course is the exact same practice that modern musicians are engaging in, claiming the musical achievements of those that came before and dressing them up in a new aesthetically appealing way. Harvey goes on to make the argument that this co-optation is occurring because of essentially a lack of imagination, or desire, in the Postmodernists in creating new Grand Narratives. It seems more sensible to me to see the latter [Postmodernism] as a particular kind of crisis in the former [Modernism], one that emphasizes the fragmentary, the ephemeral, and the chaotic side of Baudelaire’s
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