1. postmodernism AVI 4M1

2. First, some background:

3. Eurocentric view of the world.

4. Kant: Art is concerned with Truth and Beauty, and is universally understood. Art is an ennobling thing; Truth and Beauty enter the soul of the receptive viewer and make him/her nobler. Background: The traditional notion of Western Art: Hegel: Liberal progressivism: history (Art included) is linear; things inevitably get better. By this way of thinking, Art improves through history. European civilization was considered to be the best.

5. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty;

6. Art makes the viewer nobler through Truth and Beauty; The Death of Socrates, David

7. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty; - There was one, agreed-upon notion of art; one story; a male story;

8. - There was one, agreed-upon notion of art; -one story; -a male story; Augustus, Roman sculpture

9. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty; - There was one, agreed-upon notion of art; one story; a male story; - Art is earnest, formal and serious;

10. Michelangelo Buonarroti, David

11. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty; - There was one, agreed-upon notion of art; one story; a male story; - Art is earnest, formal and serious; - High Art (fine art) is distinct from low art (craft and folk art).

12. “High Art” “Low Art”

13. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty; - There was one, agreed-upon notion of art; one story; a male story; - Art is earnest, formal and serious; - High Art (fine art) is distinct from low art (craft and folk art). - Art can be analyzed by using the Elements and Principles of Design.

14. - Art can be analyzed by using the Elements and Principles of Design Gericault, Raft of the Medusa.

15. Background: Traditional View of Western Art: - Art makes the viewer nobler through Truth and Beauty; - There was one, agreed-upon notion of art; one story; a male story; - Art is earnest, formal and serious; - High Art (fine art) is distinct from low art (craft and folk art). - Art can be analyzed by using the Elements and Principles of Design. Art was made by primarily men, trained in a male- dominated tradition. Art was usually made for and paid for by men in the “Establishment” (the nobility, the wealthy, the Church, the government, etc).

16. Michelangelo Buonarroti, Pieta, 1499, marble Who made this? When /where was it made? What is its message? For whom was it made?

17. Background: Modernism: While Modernist art was no longer always made for the Establishment, Avant Garde / Modernist Art hadn’t really changed that much…. -Art still makes the viewer nobler: through the Truth of the Artist’s vision; - Still one, agreed-upon notion of art; one story; the male artist’s story; - Art is still earnest, formal and serious; -High Art (fine art) is still distinct from low art (craft and folk art). -Art can still be analyzed by using the Elements and Principles of Design.

18. Who made this? When /where was it made? What is its message? For whom was it made? Piet Mondrian, Composition in Red, Yellow, Blue and Black, 1922, oil on canvas

19. Modernism had two threads: Cold ModernismHot Modernism Expressionism Cubism Abstract Expressionism Dadaism Surrealism Pop Art detached; earnest; serious; formal; high/low art Playful, ironic, subversive of serious earnestness; no high/low art Visual/ optical: the Elements and Principles of Design fit Idea-based / Conceptual: the Elements and Principles of Design don’t fit!

20. Hot Modernism Dadaism Surrealism Pop Art Playful, ironic, subversive of serious earnestness; no high/low art Idea-based / Conceptual: the Elements and Principles of Design don’t fit!

21. Hot Modernism’s use of: readymades / found objects; chance; humour / Irony; the centrality of the concept, redefined what art could be… And lead to and lead to a new tradition in art now known as…

22. postmodernism New forms of Art-making became the norm: - Time-based art: performance, video art, installation art; - Conceptual art (art that may not have any physical form, but rather is purely an idea); Gary Kosuth, One and Three Chairs, 1965

23. The biggest change is that the white, male notion of art is no longer the only one; there are now many stories - as many stories as there are artists and viewers. Feminist Developing World Gay / Lesbian African- American

25. Judy Chicago, The Dinner Party

26. Barbara Kruger, You Construct Intricate Rituals

27. Joyce Wieland, Reason Over Passion

28. Luis Cruz Azaceta, Car

29. Barbara Kruger, You Construct Intricate Rituals

30. Betty Saar, The Liberation of Aunt Jemima Who made this? When /where was it made? What is its message? For whom was it made?

32. Background: Postmodernism: -Art does not make viewers nobler: it rather engages their intellect and imagination; - there is no agreed-upon notion of art; there are many stories; - Art is often playful, ironic, satirical; -There is no clear distinction between high art and low art; -The Elements and Principles of Design no longer apply as they don’t address conceptual content or context..

33. Deconstruction is necessary in Post Modern art: Context is the key to deconstruction: context refers to the conditions surrounding a person or thing. Deconstruction means ‘taking apart’ art in order to interpret it. Artworks are meant to be decoded and read. Since there is no agreed-upon story anymore, many meanings can be derived.

34. Context In Post Modernism we consider the context of the artwork, the artist and the viewer / critic and how all these contexts interact to create meanings.

35. Context of the Artwork: >Title >Medium >Date (historical context) >Style >Size >Location >Content of artwork Context of the Artist: >Gender / Race / Sexual orientation > Philosophy / goals / movement > Historical context > Geographical context Context of the Viewer / Critic: >Gender / Race / Sexual orientation > Philosophy / agenda > Historical context > Geographical context Deconstruction: