The Development of Modern Art

Despite the fact that modernist art remained a prominent force until the late 1960s and early 1970s, by this time, changes in the context of the purpose of art was beginning. The modernists, whose focus was universalism and transcendentalism, were being challenged by those who believed that art should be explored in terms of its social context. As such, the very fabric of what was considered art began to change dramatically during this period. "Instead of stressing the purely visual, they focused on topical subjects. They also substituted relevance for novelty-the emblem of the avant-garde prized by modernists."[1]

What is perhaps most interesting about the changes that occurred in the context of postmodernism is the debate that erupted over the quality of art being produced overall. Modernists assumed that because their work was both universal and transcendental, it was of high quality. Postmodernists challenged this assumption, however, arguing that there was no basis for justifying what could be considered quality.[2] In short, the haute couture that had been developed around modernist art was present because modernist artists declared that it was; not because there was an actual basis for this assertion. This assumption was further challenged in the wake of the atrocities that were occurring in the twentieth century. As such, the utopian goal of modernist art became lost in the context of social discourse.[3]

In addition to the fact that postmodern artists sought to change the very context of what was meant by quality in art, it is also clear that these pioneers were also seeking to rebuke a utopian ideology that had been imbedded in the consciousness of the American public. During the rise of modernism, political and social leaders supported a paradigm of social development that would eventually lead all individuals to a utopian existence. As such, the artwork that was created during this time period furthered this ideology by providing rich works focused primarily on achieving the perfect form in art. Thus, the social ideology of utopia played a significant role in the development of modern art in the early and mid-twentieth century. By all accounts it is what drove the continued development of art.

Assessing the manner in which politics, economics and gender impacted the development of postmodern art, it seems feasible to assert that over the course of the postmodern period, individuals caught in the countercultural movement that swept the United States were most likely to engage in and understand postmodern art. As such, postmodern art became the art of the common man. Those seeking to comprehend the tragedies that were occurring in both the U.S. and abroad developed art as a means to help them address the context of change. Thus, middle-class political liberals seeking change in society are perhaps most typically identified with the postmodern movement. Further, women made their mark at this time asserting themselves against the gender stereotypes that had become hegemonized into social discourse.

When examined in this perspective, it becomes evident those ascribing to the postmodern ideology were those that could see the utopian ideal slipping away. Violence across the globe, the government's unrelenting willingness to used force rather than peace and the social changes that were occurring as a direct result of economic shifts all appear to have promulgated the end of disillusionment for many artists. When this occurred, those creating art sought to abandon the utopian ideal and provide for the community a clear representation of the immediate present. This method of artwork not only symbolizes a need for artists to better experience the world around them, but also for all individuals to look at the world as it truly was; rather than through s rose-colored lens which provided most citizens with a false sense of reality overall.

In an attempt to provide a broad overview of postmodern art and its overall context for development, one only needs to consider the specific works that were created during this time period. In particular, Miriam Schapiro created a number of works that incorporated fabric and acrylic. While Schapiro's Dollhouse appears to represent the culmination of the artist's efforts, three acrylic and fabric collages completed by the artist in 1983 provide a clear portrait of postmodern art. In each of these collages, basic rudiments of everyday life are included. These implements include a quit border, various aprons and a welcome mat at the centre of the piece. Clearly, Schapiro sought to attract some degree of nostalgia through her work by reminding viewers of what they had lost as a result of social changes.

While Schapiro worked in pattern a decoration painting in order to convey her message, other artists worked in different media to covey their messages. Ellyn Zimmerman who created Intersection in 1998 is one such example. This piece of artwork is classified as a sculpture and it consists of two circles of jagged stone that intersect with one another. Although the stones used in each circle are different, the material used to fill each circle appears to be similar. Arguably, the meaning of this piece is one of harmony; the author demonstrates that even though the outside of the ring is different, what is inside is the same. This is a prominent point that captures the ideology of postmodern artists attempting to understand the problems with race that had manifested in society after the Civil Rights Era.

Even though decorative art and sculpture appear to have clear meaning in the context of the postmodern art movement, the works created by artists classified under new image painting appear to be more difficult to understand. For instance, Robert Moskowitz's Moon Dog created in 1988 depicts a roughly painted black dog, howling at the moon on a brown background. Although the paining is appealing, it is extremely crude and rough in nature. For this reason, it is hypothesized that Moskowitz's work goes even further to disrupt the modernist theory. In this context, Moskowitz's art is antithetical to all of the specific constraints placed on art as a result of its pursuit of perfection. Clearly, this work deconstructs what the observer knows about art and forces him or her to look at art though a different lens.

The progression of postmodern art has also entailed the use of technology as a means for promoting social awareness of cultural changes. Between 1969 and 1971 Nam June Paik created the Virtual Video Synthesizer, which allowed real-time synchronization of seven different camera inputs. This artwork essentially used the television screen as a means to produce art. This type of postmodern art is typically referred to as media art. Obviously, this form is one that incorporates the concrete realities of society into the context of creating art. As such, the true realities of postmodern society are viewed in a new manner that makes the observer critically aware of how these technologies impact daily life.

Overall, it is clear that postmodern art is an attempt by the artist to explore forms that are antithetical to those that were prized in the context of modernism. Rather than attempt to celebrate a utopia ideology that clearly did not exist in society, postmodern artists were interested in creating art that signified the changes that had occurred in social discourse. No longer could the harsh realities of war, poverty and disease be omitted from the context of conscious awareness. For this reason, each of the artists working to change modernist perspectives were working on raising awareness of the fundamental issues that were plaguing society and every individual citizen.

Reviewing the specific works that have been considered in the context of this investigation, it becomes evident that while each of the specific artists reviewed has chosen to work in a different medium, the specific goals of the work remain the same: to bring the artwork and the observer into the present by focusing on the specific social issues that have manifested in social discourse. Even though these issues have changed somewhat between the 1970s and 1990s, in each case, the intent of the artwork is the same. What this effectively suggests is that postmodern artists are clearly focused on the impact of society and culture on the individual and the context of day-to-day life. Gone are the idealistic utopian goals that served as the creation of art during the modern period.

In the end, it seems reasonable to argue that the development of postmodern art was inevitable. As Western society passed through an era of innocence in which many scholars believed that anything was possible, the limitations of society and culture began to demonstrate that human potential was not limitless. In response to this realization, artists began exploring the specific implements of daily life that were impacting and driving social discourse. In this process, their art began to reflect the changes that were occurring and the end of disillusionment. In many respects, Robert Moskowitz's Moon Dog provides one of the most pertinent examples of how changing social discourse impacted the postmodernist movement. Art was no longer aesthetic; it was raw, harsh, edgy and real. While this reality may be difficult for modernists to grasp, it is, in most cases, an honest depiction of society and culture.

Bibliography

Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: Icon Editions, 1996.

[1]Sandler, 4.

[2]Sandler, 7.

[3]Sandler, 8.