The British Avant-Garde: A Philosophical Analysis ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed.
It would be an oversimplification to suggest that to accept a Modernist account of modem art must imply rejection of a socio-historical view, or vice-versa (the discussion between TJ Clark and Michael Fried about Pollock (TV21) suggests that there is room for negotiation, if not for compromise). It is, however, arguable that a definition of postmodernism should take into consideration both the close interrelationship between Modernist criticism and mid-twentieth century abstract art, which together constituted the dominant hegemony in art from the late 1940s to the early 1960s (and hence the artistic context against which postmodernism in the visual arts evolved), and the social, historical and political context within which art characterised as postmodern has developed. It seems reasonable, therefore, to start by attempting to clarify the critical positions represented by Greenberg and Burgin. Greenberg, in 'Modernist Painting' (1961) and other writings, sets the development of modem art, specifically painting, in the context of the ideas of the Enlightenment philosopher Kant, who 'used logic to establish the limits of logic' (Art in Theory p.755.) Kant thereby established a precedent for ... ... middle of paper ... ...contemporary concepts and concerns.
Until the end of the modern capitalist period, society ... ... middle of paper ... ...notions of `periodization' or timing; when exactly Postmodernism emerged. It was here that I was concerned with the changing aspects of the bourgeoisie, the academic establishment (or avant-garde), technology, and, politics. I also focused on Anderson's `polarities'; the way in which Postmodernism transitioned itself in contrast to Modernism. He acknowledges the universally accepted features of the movements in general and presents them in a more explicable and comprehendable manner. He also evokes the help of renowned thinkers such as Berman and Jameson, which gives his report more validity and support, but he also exhibits the ability to respectfully pinpoint some of their omissions, i.e.
we must first identify, understand and appreciate certain fundamental assumptions inquiries, mediating contexts, surrounding the political nature of art and the role of the artist in authentic creativity. I would like to frame my discussion within the apparent struggle between two ideological contexts: modernism and postmodernism. Using Percy's diagnostic theory of literature to facilitate the discussion, we can examine how modem and postmodern assumptions attempt to shape the purpose of aesthetic creativity. Percy's approach to art is inherently modern. He is concerned with unity and truth and achieving them through the creative process.
Transcending Herbert Marcuse on Alienation, Art and the Humanities (1) ABSTRACT: This paper discusses how higher education can help us in accomplishing our humanization. It looks at the critical educational theory of Herbert Marcuse, and examines his notion of the dis-alienating power of the aesthetic imagination. In his view, aesthetic education can become the foundation of a re-humanizing critical theory. I question the epistemological underpinnings of Marcuse's educational philosophy and suggest an alternative intellectual framework for interpreting and releasing the emancipatory power of education. "Truth is ugly.
Post Modern Art belongs to the movement of post-modernism, a reaction against principles and practices established in Aesthetic Modernism and an evolution from Critical Modernism. This essay will introduce my work to show you how my practice works and to demonstrate its placement within the Post-Modern. I will show, through the discussion of the photograph as Art, how artists and academics critiqued the paradigm of Modernism to such an extent that these discussions gave birth to art movements that would free art from its traditional medium specific conventions. These discussions were based on the socio-political responsibility that art could and should have, leading art to aspire to mean more than something purely visual. I believe that photographic art’s function is to be socially and critically aware, and, used to prompt discussion about personal, sociological and cultural politics.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it.
‘Modernity, on all its sides, may be defined in terms of an aspiration to reveal the essential truth of the world’ (Boyne and Rattansi, 1990). ‘[In postmodernism] philosophical pillars are brought down, the most notable of which are the ‘unities’ of meaning, theory and the self’ (Hassard and Parker, 1993). In my opinion the above quotes neatly summarise the motivational ideas behind modernism and postmodernism as thought processes. However different the inspiration, methodology, and conclusions of classical sociological ideas such as those of Marx, Durkheim and Weber it can be said that their documentation of society into meta-narratives indicates an inherent desire to fully understand the modern world in which they lived (Morrison, 1995). This desire of modernists is summarised in the Boyne and Rattansi (1990) quote; postmodernists on the other hand do not seek to fully understand society with one direct answer and methodology but attempt to question what is happening in society with reflexivity and ambivalence; understanding how relativism shapes all sociological thought.
Often referred to as an avant-garde movement at that time, it was a loose assembly of ideas. They believed in creating a better world. Mainly consisting of left-leaning political ideology followers, they had a vision of transforming every aspect of the society through the medium of art, design, architecture, literature, etc. During the early 19th century, Europe was marked by a number of wars and revolutions, it led way and gave birth to different movements including Modernism. Modern day historians conceive, that the movement played an integral role and had a big impact in shaping the modern society we live in.
Through the analysis of particular modern day architects and their works, deconstructivism ascertains its emergence as a separate architectural form that contrasts with and challenges postmodern design principles. Deconstructivism can be characterised as an external design principle developed and evolved from postmodernist architecture. Deriving its philosophy from the works of controversial French philosopher Jacques Derrida, deconstructivism displayed an interest in the manipulation of a structure’s surface, with focuses on defying the norm and upending the metaphysical beliefs of the Western world. The emergence of deconstructivist architecture occurred during the 1980’s, initially as an art exhibition hosted by MoMA, showcasing the talent of architects globally recognised as the curators of architectural design. Deconstructivist Theory – in respect to architectural practice – aimed to create structures that characterised unpredictability and chaos in a controlled environment, distorting and dislocating typical architectural elements such as structure.