Arsifa Deliyana

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Week 10 Contemporary Art

Modernism

In the week 10 of Visual Cultures class, I have learned about Contemporary Art. It talks about art transformation into modernism and post-modernism. Contemporary Art contrast the traditional art as critique to Realism. It is nascence of rejection of tradition and all previous art practices: visual arts, music, performing arts, etc. Themes in contemporary art: race, gender, place, class, and sexuality being center topic today.

Human create and follow the development of era. Individuals toward to the future where now on we know SMART (Science, Math, Research & Technology). They are living and experimenting to get better future.  Nowadays, yes, people live in post-modernism era. Everything are just played. In contrasting, it did not happen in modernism era, where people are in linear progress. Progress in linear is we do things for a reason. Modernism is the ultimate form, unity truth for all. It beliefs that This is the way things are. No questioning of contradictions about how we live and how we react in society. As modernism says “form follows function”.

In the class, we introduced into three different terms correlated each other, they are: 1) Modern, of the Now, of the moment; 2) Modernization, process – industrial & social revolutions; 3)Modernity, is created through modernization. In the term modernism itself, we identify the things with originality and genius, autonomy, and formalism. It covers the meaning of mass productive collective and gives bad connotations of individualism. Narratives, progress copy-truth are in one in the modernism works. The style included in modernism is cubism, futurism, surrealism, constructivism, impressionism, fauvism, and expressionism.

Cubism – Pablo Picasso

The painting besides is Les Demoiselles d’Avignon made by Pablo Picasso 1907. This Picasso’s work marks a radical break from traditional composition and perspective in painting. It depicts five naked women with figures composed of flat, splintered planes and faces inspired by Iberian sculpture and African masks. The compressed space the figures inhabit appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned tabletop. These strategies would be significant in Picasso’s subsequent development of Cubism, charted in this gallery with a selection of the increasingly fragmented compositions he created in this period.

Picasso unveiled the monumental painting in his Paris studio after months of revision. The Avignon of the work’s title is a reference to a street in Barcelona famed for its brothel. In Picasso’s preparatory studies for the work, the figure at the left was a man, but the artist eliminated this anecdotal detail in the final painting.

 

References:

https://fadmusbi.wordpress.com/

http://www.moma.org/collection/object.php?object_id=79766

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