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Essay / Research Paper Abstract
In eight pages this paper discusses how the ideologies of modernism and postmodernism are represented by the masters of cubism and graffiti art forms, with “Family of Saltimbanques,” “Les Desmoiselles d’Avignon,” and “Guernica” among the works examined. Twelve sources are listed in the bibliography.
Page Count:
8 pages (~225 words per page)
File: TG61_TGpicbank.rtf
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Unformatted sample text from the term paper:
nineteenth-century industrialization and the atrocities of a world war. It replaced Enlightenment reason and order with uncertainty and chaos. It was more psychological than rational, and determined by
mans internal reactions to external forces. Modernism is as much about the artist as it is about the art. Postmodernism, not surprisingly, opposed the ideologies of modernism, and
it repurposed traditional artistic styles in non-traditional or unconventional ways. It favors deconstruction and encourages conflict. Postmodernist art demands attention while the artist usually craves anonymity and often
uses a pseudonym to conceal his identity. Despite their different approaches, both modernist and postmodernist art addresses political, social, and cultural issues of their respective times. Two distinctive
representatives of modernism and postmodernism are the cubist paintings of the Spanish master Pablo Picasso (1881-1973) and the graffiti street stencilings of the enigmatic British "art terrorist" known simply as
Banksy (1974?- ).1 Their works provide a deeper understanding of modernist and postmodernist ideologies and how artistic expression is shaped by these philosophies. In his 1925 essay entitled "La
deshumanicazion del arte," Spanish philosopher Jos? Ortega y Gasset observed, "Modern art divides the public into two classes, those who understand it and those who do not understand it -
That is to say, those who are artists and those who are not. The new art is an artistic art."2 This clearly lays the aesthetic foundation for modernism
as an artist-centered medium. Postmodernism, however, remains an elusive concept, but American modernist theorist Clement Greenberg attempted to define it as "the lowering of aesthetic standards caused by the
democratization of culture under industrialism."3 Modernism became synonymous with twentieth-century individual and scientific innovation, and cubism became its artistic vessel, reflecting "a new vision of man and his relationship
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