post mdoe elcture
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Postmodernism
De,inition
• postmodernism Term applied to a wide range of cultural analysis and production since the early 1970s. Whilst there are different attitudes to what postmodernism is, it is generally referred to as a signi=icant shift in attitude away from the certainties of a modernism based on progress. The cultural traits usually associated with postmodern cultural production include the acceptance of many styles, the importance of surface and the playful adoption of different styles through parody and pastiche.
If Modernism is roughly from 1860-‐1960Then logically Postmodernism is 1960s -‐ Today(Though some critics state Postmodernism is over and we have entered a phase of Post-‐Postmodernism)
Modernism:• Initially born out of optimism, an aspirational
reaction to World War 1, with a view to harnessing technology to improve people’s lives
• Ends up doctrinaire, almost blind obedience to rules, above all
– Form Follows Function
Postmodernism• A reaction to these rules• Starts as a critique of the International Style
– Robert Venturi, Learning from Las Vegas, 1972– Ideas developed by Charles Jencks, 1977
• Only rule is that there are no rules• Celebrates what might otherwise be termed kitsch
If Modernism equates with:• Simpli=ied aesthetic• Utopian ideals• Truth to materials• Form follows Function
Then Postmodernism involves:• Complexity• Chaos• Bricolage (mixing up of styles and materials)• Parody, pastiche and irony
Postmodernism• Postmodernism has an attitude of questioning conventions (especially
those set out by Modernism)• Postmodern aesthetic = multiplicity of styles & approaches• Theme of ‘double coding’, borrowing, or ‘quoting’ from a number of
historical styles• Knowing juxtapositions, or ‘postmodernist irony’• Questioning old limitations• Space for marginalised discourse:
– Women, sexual diversity & multiculturalism
Le Corbusier, Chapel of Notre Dame du Haut, Ronchamp, 1953 – 5
Le Corbusier, Maisons Jaoul, Neuilly sur Seine, 1954 – 6
Robert Venturi:‘I like elements which are hybrid rather than “pure”, compromising rather than “clean”, distorted rather than “straight-‐forward”, ambiguous rather than “articulated”, perverse as well as impersonal….’
Las Vegas
Mies Van der Rohe and Philip Johnson, Seagram Building, New York, 1957
Philip Johnson, Sony Plaza (former AT&T Building), New York, 1978 -‐ 84
Ron Herron/Archigram, Walking City in New York, 1964
Renzo Piano and Richard Rogers, Pompidou Centre, Paris, 1972 -‐ 77
James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1977 -‐ 1983
Michael Graves, Kettle, for Alessi, 1985
Philippe Starck, Juicy Salif, 1990
Ettore Sotsass (for Memphis Group), Carlton Bookcase, 1981
SEX Boutique, Kings Road London, 1975 (Vivienne Westwood on left)
Hussein Chalayan, After Words, 2000 – 2001
Hussein Chalayan, spring/summer ’07 collection
Hussein Chalayan, Veiled and Unveiled/ Chador, 1998
Mark Rothko, Murals for Four Seasons Restaurant, Seagram Building, 1957, now in Tate Modern
Andy Warhol, Campbell’s Soup Cans, 1962
Roy Lichtenstein, Drowning Girl, 1963
Jeff Koons, Dirty -‐ Jeff on top, 1992
Jeff Koons, Michael Jackson and Bubbles, 1988
Marcel Duchamp (1887 -‐ 1968), Fountain, 1917
Marcel Duchamp (1887 -‐ 1968), L.H.O.O.Q, 1919
Michael Craig-‐Martin, An Oak Tree, 1973
David Shrigley
Damien Hirst, Mother and Child Divided, 1993
Tracey Emin, Everyone I have ever slept with 1963 -‐ 95, 1995
Tracey Emin My Bed 1998
Sarah Lucas, Au Naturel, 1994
Jake and Dinos Chapman, Zygotic acceleration, biogenetic, de-‐sublimated libidinal model X 1000,1995
Jake (1966 -‐ ) and Dinos (1962 -‐ ) Chapman, Zygotic acceleration, biogenetic, de-‐sublimated libidinal model (enlarged X 1000), 1995
Jake and Dinos Chapman, Fuck Face, 1995
Jake and Dinos Chapman, Works from the Chapman Family Collection, 2002
Chris O,ili No Woman, No Cry 1998
Chris O,ili, Holy Virgin Mary, 1996
Chris O,ili, Captain Shit and the Legend of the Black Stars , 1997
Chris O,ili, Shithead
Martin Creed Work No. 227: The lights going on and off 2000
Martin Creed, Work No. 81 a one inch cube of maskingtape in the middle of every wall in a building, 1993
Mark Wallinger, Sleeper
Helmut Krone for Doyle Dane Berbach, Think Small, advert for Volkswagen, 1959
Tony Kaye/Ogilvy & Mather, Dunlop, 1993
Langlands and Bell, The House
David Carson, Ray Gun, double page spread
David Carson, Don’t mistake legibility for communication
Barbara Kruger, I shop therefore I am, 1987,
Selfridges, Buy Me. I’ll change your life,
Andy Warhol, Campbell’s Soup Can, 1964
Andy Warhol, Turquoise Marilyn, 1964
Rachel Whiteread (1963 -‐ ), House, 1993
The K.L.F. (Kopyright Liberation Front) (Bill Drummond (1953 -‐ ) and Jimmy Cauty (1956 -‐ ))
The K Foundation, Nailed to the Wall (1994)
The K Foundation, Movie Still from Watch the K Foundation Burn a Million Quid (1994)
Richard Long, A Line Made by Walking, 1967
Richard Long (1945 -‐ ), A Smell of Sulphur in the Wind, 1994 (divided by Bill Drummond)
Bill Drummond at work on A Smell of Sulphur in the Wind
SUMMARY• Postmodern attitude of questioning conventions (esp. Modernism)• Postmodern aesthetic = multiplicity of styles & approaches• Shift in thought & theory investigating ‘crisis in con=idence’• Space for ‘new voices’