What is modernism essay | rjharrod/ Fine Art BA (Hons)

Soon, mainstream Pop-art would usher in postmodernism proper, as American TV networks focused on the 1968 Tet Offensive and the chaotic Democratic Convention in Chicago.

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Which is why postmodernism champions art by Third World, Feminist and Minority artists.

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This focus on surface is a reoccurring feature of postmodernist art, and sometimes goes over the top with melodramatic, dazzling, even shocking imagery.

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In addition, there have been dozens of artistic splinter groups, as well as one or two anti-postmodernist schools whose members have endeavoured to produce the sort of art that Michelangelo or Picasso would have been proud of.

Although postmodernism has evolved since Pop-art, a key objective remains instant recognition.
Which is why a lot of "postmodernist art" is known as "Conceptual Art" or "Conceptualism".

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Thus Pop-art - the first postmodernist movement - made art out of ordinary consumer items (hamburgers, tins of soup, packets of soap powder, comic strips) that were instantly recognizable by Joe Public.

In response, many postmodernist artists, curators and other professionals have taken the opportunity to turn art into an

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Pop-artists and others went even further in their attempts to democratize art, by printing their "art" on mugs, paper bags, and T-shirts: a method which incidentally exemplifies the postmodernist desire to undermine the originality and authenticity of art.

By contrast, postmodernists - who favour a more 'democratic' idea of art - see

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As Lyotard argues, aesthetic judgment is the appropriate model forthe problem of justice in postmodern experience because we areconfronted with a plurality of games and rules without a conceptunder which to unify them. Judgment must therefore be reflectiverather than determining. Furthermore, judgment must be aestheticinsofar as it does not produce denotative knowledge about adeterminable state of affairs, but refers to the way our facultiesinteract with each other as we move from one mode of phrasing toanother, i.e. the denotative, the prescriptive, the performative, thepolitical, the cognitive, the artistic, etc. In Kantian terms, thisinteraction registers as an aesthetic feeling. Where Kant emphasizesthe feeling of the beautiful as a harmonious interaction betweenimagination and understanding, Lyotard stresses the mode in whichfaculties (imagination and reason,) are in disharmony, i.e. thefeeling of the sublime. For Kant, the sublime occurs when ourfaculties of sensible presentation are overwhelmed by impressions ofabsolute power and magnitude, and reason is thrown back upon its ownpower to conceive Ideas (such as the moral law) which surpass thesensible world. For Lyotard, however, the postmodern sublime occurswhen we are affected by a multitude of unpresentables withoutreference to reason as their unifying origin. Justice, then, wouldnot be a definable rule, but an ability to move and judge among rulesin their heterogeneity and multiplicity. In this respect, it would bemore akin to the production of art than a moral judgment in Kant'ssense.