My (brief) Thoughts on Postmodernism, Art and Culture
Postmodernism. (It's my cultural context)
Postmodernism is a rather general term but a useful one for describing and referring to a broad range of cultural and critical movements and ideas that have, and are, influencing contemporary society and visual art since the '70's.
In stark contrast to modernism, Postmodernism is strongly associated with pluralism; the past, present and future are considered from a variety of viewpoints. Consequently, previously accepted ideas, existing knowledge, social and cultural structures are challenged and questioned. Many of the ideas currently associated with postmodernism have been developed by cultural theorists and particularly those associated with Marxism, feminism and psychoanalytic theory. (My work and research for this project will stem from Freud's psychoanalytic ideas on the uncanny as well as later contributors to this theory such as Jentsch and Lacan.)
Other postmodern tendencies have been fuelled by concerns about issues such as war, the environment, globalization, power, consumerism, sexism and racism. As a consequence there is often anxiety, uncertainty and a fear of the future. ( I believe that this is where the uncanny, disquieting or unsettling aesthetic in so much contemporary art (and drawing) stems from.)
Postmodern Art.
The pluralistic nature of postmodern art means that it takes many different forms and explores wide-ranging themes and ideas. Much of this art includes themes, ideas, materials, and forms which challenge accepted traditions in our western culture and society. As a result postmodern art has helped to break down and blur the boundaries between medias, styles, cultural origins and has encouraged positive attitudes to diversity; embracing many forms of artistic expression not previously valued in the west. Many contemporary artists influenced by postmodernism create work that draws attention to the constructed nature of visual imagery and the values and ideas they communicate. This frequently involves using strategies that actively encourage the viewer to find multiple,conflicting or alternative meanings in the work. This is often achieved by appropriation, re-working images or creating layered and fragmented images. ( I intend to consciously include and explore these postmodern facets in my own work for this project, all the while seeking to create 'the uncanny'; which is, of course, a highly subjective response. However, there are particular elements and occasions when uncanny responses are more likely to be elicited. More on this in my next posting.)
Postmodernism is a rather general term but a useful one for describing and referring to a broad range of cultural and critical movements and ideas that have, and are, influencing contemporary society and visual art since the '70's.
In stark contrast to modernism, Postmodernism is strongly associated with pluralism; the past, present and future are considered from a variety of viewpoints. Consequently, previously accepted ideas, existing knowledge, social and cultural structures are challenged and questioned. Many of the ideas currently associated with postmodernism have been developed by cultural theorists and particularly those associated with Marxism, feminism and psychoanalytic theory. (My work and research for this project will stem from Freud's psychoanalytic ideas on the uncanny as well as later contributors to this theory such as Jentsch and Lacan.)
Other postmodern tendencies have been fuelled by concerns about issues such as war, the environment, globalization, power, consumerism, sexism and racism. As a consequence there is often anxiety, uncertainty and a fear of the future. ( I believe that this is where the uncanny, disquieting or unsettling aesthetic in so much contemporary art (and drawing) stems from.)
Postmodern Art.
The pluralistic nature of postmodern art means that it takes many different forms and explores wide-ranging themes and ideas. Much of this art includes themes, ideas, materials, and forms which challenge accepted traditions in our western culture and society. As a result postmodern art has helped to break down and blur the boundaries between medias, styles, cultural origins and has encouraged positive attitudes to diversity; embracing many forms of artistic expression not previously valued in the west. Many contemporary artists influenced by postmodernism create work that draws attention to the constructed nature of visual imagery and the values and ideas they communicate. This frequently involves using strategies that actively encourage the viewer to find multiple,conflicting or alternative meanings in the work. This is often achieved by appropriation, re-working images or creating layered and fragmented images. ( I intend to consciously include and explore these postmodern facets in my own work for this project, all the while seeking to create 'the uncanny'; which is, of course, a highly subjective response. However, there are particular elements and occasions when uncanny responses are more likely to be elicited. More on this in my next posting.)
There is no work yet. I am researching and I have been reading;
Introducing Postmodernism.
Beginning Postmodernism.
Interpretive Frameworks for Contemporary Art.
posted by maria edney at 2:50 AM
4 Comments:
Your phrase ‘fear of the future’ has stayed with me and I have been pondering what that means to me. Here are my rambling thoughts – probably of no use but having got this far…
The ills of today’s society have changed from the ills of post Second World War Europe when postmodernism began to emerge. It seems to me that today’s ills include an inability to enjoy the moment and a frantic race after elusive goals created by ‘wanting it all’. Our crazy society has privileged children who are time-tabled 24 hours a day resulting in dissatisfaction and no time to just ‘hang’, whilst underprivileged children have nothing to do and so find themselves getting into trouble for inappropriate behaviour.
The enlightenment ideal of enjoying the moment/living in the present, and the existentialist search for the meaning of life [yes, shades of Monty Python] have given way to postmodernism. But the postmodernist era in which we live has many contradictions. Theoretical physicists and mathematicians such as Stephen Hawking are searching for the ‘Theory of Everything’ - a theory that will explain how our world came to be, how we evolved and why. This search for scientific truth is, to me, the same as the search for spiritual truth/belief – both disciplines are looking for the answer – pretty similar to enlightenment really, so what has really changed?
Postmodernism, I think I’m right in saying, rejects the search for the meaning of life as pointless – is this because in searching we deny everything else? That is, does the search mean we spend no time in the present, looking always to the future? But spending time in the present is the enlightenment ideal again.
The overlaps in philosophical theories make it difficult for me, in my ignorance, to understand how they differ.
The breaking down of boundaries is a direct result of globalisation – a very small example is the proliferation of television and radio presenters from all regions. At one time it was only well-spoken southerners who got those jobs. Regional companies such as Yorkshire TV have changed all that. That’s great – equal opportunities. That is the goal in gender, race and age too. Postmodern society has much to recommend it, so why are we so fearful of the future? Are we afraid of where it will all lead, afraid of the harm we are doing to our world and what will result?
In the breaking down of boundaries etc we have also sacrificed our peace of mind. In the aftermath of the tearing down of the Berlin Wall and the reunification of Germany we see the reality of a country struggling to combine two different cultures and economies. After the ‘glorious’ liberation of Iraq we despair at the continuing troubles there. When I travelled through Iran in the seventies the people I met were terrified of the Shah and his secret police. I was delighted when he was deposed, but what followed proved even worse. So often replacing one thing with another is either ultimately futile or a step backwards. Is this despair a feature of postmodernism?
I wonder if it is the speed of the change that makes it unworkable? If we were to stand back and look at the ups and downs as in a graph, would the trend line be going steadily up?
And just how does this relate to art? As you say there is a freedom to use anything, ideas from all cultures are there to be poached or incorporated, nothing is ‘out of bounds’ in terms of taste and anyone can have their work seen via the internet at least. Where will you start given such a free range?
I like your idea of looking at the uncanny. I have been looking at a book called Non Assembled Materials [ pub 1986, Brussels by Atelier 90-71386-06-6] and it made me think of your project.
The items included in this book must satisfy three characteristics:
• to depend on the law of gravity;
• to be considered in their ‘free state’;
• to be placed in a ‘non assembled materials’ situation.
[I think that means they are assembled but are presented in an unexpected situation.]
Artists represented are Tony Cragg, Richard Long plus lots of Belgian artists. One example of work is a ‘carpet’ made of sand with different colours creating the border. Another is a photograph of 4 serpents arranged in a particular way by use of a thermal field – ie heat lamps.
I can’t believe that this will have been any real use to you, but I felt you deserved a response to your well-thought out project. I look forward to seeing your work.
Hi Lynda, thanks for your mammoth response. I would like to reply to your thinking with regard to the blurring or breaking down of barriers. I am interested in this facet of postmodernism only as it relates to art. To my way of thinking, this blurring has occured not as a result of globalisation but as the result of the legitimation of art and creative responses to challenge traditional, western systems of legitimation and cultural values generally. As for the meaning of life, best ask the Knights That Go Ni! ( My mother really does smell of elderberries!)
I think a lot must be to do with awareness of what other people are doing.
Communications are so good these days that we are likely to know about artwork the world over, unlike a hundred years ago when you had to travel to see it, or wait for it to come to you. So everything is more accessible now.
Without cross fertilisation the styles of art stayed very distinct but with increased awareness the boundaries blur.
So whilst I don't disagree with you about challenging traditional ideas etc I think globalisation has played a part?
That may be true (?) but I see 'globalisation' as a trend in trade and industry. The emphasis must be with communication, visual especially. Although this tradition of exposure to the artforms of other cultures(in the visual arts anyway) goes back a long way. I'm thinking about works like Demoiselle D'avignon (1906- ish, can't remember exactly!)at this point which is of course modernist and not postmodernist. Anyhow, I digress, because my point about legitimisation refers to the validity and value of artworks from marginalised groups and cultures. This is where the 'blurring' in the postmodern (art) sense lies. Exposure to the art of other cultures does not increase it's validity or worth to western culture. It is this (western)artificially constructed heirarchy regarding the value and worth of art that is becoming broken-down and hence blurred. This has brought about significant changes in the way art is made and interpreted. Similarly many of the theories and ideas around postmodernism have encouraged varied forms of expression and embrace diverse and non-traditional perspectives, more blurring! Basically I think postmodern art challenges cultural traditions and values.
All this said my ccofd is not about postmodernism per se!!!! It is about the deliberate use of disquitening and unsettling (uncanny) aesthetics and how this relates to postmodern culture and must surely be related to meaning and intent in much postmodern art? Just theorising at this point? Don't really know this for sure, still exploring? what do you think about the uncanny, in the Freudian sense?
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