The Modernist era brought with it industrial, social, cultural and psychological shifts in ideologies, practice and systems. Traditional art forms were to be reworked in an upsurge of innovation which moved forward at great speed. As art and the innovation of art progressed into the 21st century cultural criticism dominated. Postmodernist thought radicalized the traditional and modernist concepts of art criticism. Art forms, social, economic and political structures were to be re-examined through many cultural critics. Frederic Jameson’s theory of Postmodernism, which he analysed through historical and cultural contexts, was revolutionary. Jameson explored Postmodernism as a result of and progression of capitalism. However as capitalism dynamically progresses into the 21st century it is possible to assume that Jameson’s theories of Postmodernism acting as a core part of a social construct of capitalism may have become stagnant without revision; it is also possible to assume that his theory could be applied to a Modernist viewpoint rather than the 21st century. In order to explore this issue, this essay will analyse the evolution of artistic interpretations of the classical sculpture The Winged Victory of Samothrace (190 BC) through different movements and centuries. For the purposes of this essay the sculpture will be referred to as The Winged Victory from here on. Firstly this essay will analyse The Winged Victory in its original context. It will then analyse Boccioni’s reactionary sculpture Uniques Forms of Continuity in Space, which will be referred to as Unique Forms from here on. This essay will also analyse Rolls-Royce’s The Spirit of Ecstasy hood ornament, exploring it a possible imitation of The Winged Victory. Lastly this...
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...of Seeing. 1972. BBC and Penguin Books: UK
Clough, P. T. 2000. Autoaffection: Unconscious Thought in the Age of Technology. [online book] USA: Univetsity of Minnosota Press. Available from http://site.ebrary.com/lib/qmuc [Accessed 15 April 2011]
Hans, B. 1994. Idea of Postmodern; A History. [online book] USA: Routledge. Available from http://site.ebrary.com/lib/qmuc [Accessed 16 April 2011]
Harrison, S. 2001. Pop Art and the Origins of Post-Modernism. [online book] USA: Cambridge University Press. Available from: http://site.ebrary.com/lib/qmuc [Accessed 01 May 2011]
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Silverman, H. J. Postmodernism – Philosophy and the Arts. Routledge: London
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
Jameson, Frederick. "Postmodernism, or The Cultural Logic of Late Capitalism" New Left Review. 146 (July-August 1984) Rpt in Storming the Reality Studio. Larry McCaffrey, ed. Durham, NC: Duke UP, 1992.
Throughout the years there have been frequent cultural movements in the arts, one of them being postmodernism. This term is well-known as a description of an era, broad and multifaceted movement, postmodernism represents the departure from Modernism, Postmodernism describes a recognized use of the earlier time styles alongside the strong notion in the arts, architecture, literary criticisms, literature, cultures, and recognized use of the earlier time styles, that emerged later in the 19th and
"Modern art." Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2011. Web. 02 Dec. 2011. .
Postmodern literature contains an authoritative point of view as it expresses the “real” and the “unreal”. The authoritative viewpoint hides within the representation of words and the form of the text. Jean Baudrillard speaks of the masking of view in his essay, “Postmodernism and Consumer Society”, when he says, “This, feigning or dissimilating leaves the reality principle inta...
...o understanding and appreciating Greek art is significant, but as seen through the writings of Gazda, Marvin and Ellen, the practice of appreciating Greek sculpture as presented by the conservative historians is of detriment to the writings and perceptions of historians, as well as the general education of the public. Unfortunately, due to the popularity of the abovementioned historians during their times of writings, methodology including Kopienkritik has remained a valued and prevalent approach to judging and analysing of both Greek and Roman sculpture, despite increased criticism. All of these factors serve to undermine the validity of the construct, and show that while the construct may have suited and served the purposes of those who created it, it does nothing to legitimately further proper and rational history of Greek and more specifically, Roman sculpture.
Postmodernism movement started in the 1960’s, carrying on until present. James Morley defined the postmodernism movement as “a rejection of the sovereign autonomous individual with an emphasis upon anarchic collective anonymous experience.” In other words, postmodernism rejects what has been established and makes emphasis on combined revolutionary experiences. Postmodernism can be said it is the "derivate" of modernism; it follows most of the same ideas than modernism but resist the very idea of boundaries. According to our lecture notes “Dominant culture uses perception against others to maintain authority.”
-Eco, Umberto, “Lowbrow Highbrow, Highbrow Lowbrow” in Pop Art: The Critical Dialogue, ed. Carol Anne Mashun (Ann Arbor & London: UMI Research Press, 1989)
Pop art got its name from Lawrence Alloway, who was a British art critic in 1950’s. The name “Pop Art” reflected on the “familiar imagery of the contemporary urban environment” (kleiner, 981). This art form was popular for its bold and simple looks plus its bright and vibrant colors. An example of this type of art is the oil painting done by Andy Warhol, “Marilyn Diptych” (Warhol, Marilyn Diptych) in 1962. The Pop art movement became known in the mid-1950 and continued as main type of art form until the late 1960’s. The Pop art movement, was a movement where medium played a huge part in the society, with it reflecting on advertisements, comic strips and even celebrities, like Marilyn. This movement also has a large background and artist that are deeply connected.
... The use of strong and bright light in Cubism, for example, points to Post Impressionism's role in influencing and affecting the art movement and its contribution in shaping how art is produced and critiqued based on the standards that it had set. Conclusion History repeats itself, and this is reflected in how Post Impressionism’s similarities with the earlier Impressionism act as proof of the cyclical nature of new things surfacing as a reaction to the old existing conditions. Impressionism and Post Impression gave the world a fine list of painters and an equally excellent collection of masterpieces which, when placed side by side, reveals the similarities of Post Impressionism and Impressionism and reflects the connection and relation of one art movement with the other. Works Cited Collischan, J. & Co., Ltd. (2010).
...“Some Common Themes and Ideas within the Field of Postmodern Thought: A handout for HIS 389,” last modified May 13,2013,
The term ‘Western art’ is mostly associated with art of western Europe, however, is used generally to describe art that has roots that date back to or are based on western Europe art traditions. In a general sense, Western arts are the “literary performing and visual arts of Europe and regions that share a European cultural tradition, including the United States and Canada.” The history of western art is broken up into periods that include Medieval, Byzantine, Romanesque, Renaissance, Baroque, Rococo, Neoclassicism, Romanticism, Realism, Impressionism, Modernism and Post-Modernism. It is impossible to determine an exact point where they begin and end, or to account for the variety of art styles produced within these periods, and so they name and exact periods of their affluence are continually debated.
Postmodernism attempts to call into question or challenge the notion of a single absolute unified master narrative without simply replacing it with another. It is a paradoxical, recursive, and problematic method of critique.
In the 1960s, E.H. Gombrich stated that, as humans, we have an epistemological need to classify things, particularly in the realm of art. However, the Western-Centric master-narrative of Art History has been exposed as flawed in its exclusion of many regions of the world, as well as its dependence on periodization. Adding to the problematic nature of this approach to the history of visual works, this linear framework of the evolution of art has hit a snag at the end of post-modernism, resulting in the scholarly debate over what comes next. In our globalized society, it has become increasingly difficult to make a distinction between art movements even in terms of location. This has resulted in an essential, yet deceptively complicated question: