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12 May 15
Steven JosselsonModernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. via Pocket
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23 Apr 15
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Modernism flourished mainly in consumer/capitalist societies, despite the fact that its proponents often rejected consumerism itself.
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This merging of consumer and high versions of modernist culture led to a radical transformation of the meaning of "modernism". First, it implied that a movement based on the rejection of tradition had become a tradition of its own. Second, it demonstrated that the distinction between elite modernist and mass consumerist culture had lost its precision. Some writers[who?] declared that Modernism had become so institutionalized that it was now "post avant-garde", indicating that it had lost its power as a revolutionary movement.
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30 Mar 15
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traditional forms of art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and even the sciences, were becoming ill-fitted to their tasks
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outdated in the new economic, social, and political environment of an emerging fully industrialized world.
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"Make it new!"
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stream-of-consciousness novel, atonal (or pantonal) and twelve-tone music, quantum physics, genetics, neuron networks, set theory, analytic philosophy, the moving-picture show, divisionist painting and abstract art, all had precursors in the 19th century.
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use of techniques that drew attention to the processes and materials used in creating a painting, poem, building, etc
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experiments with form,
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explicitly rejected the ideology of realism
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Some commentators define Modernism as a mode of thinking
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17 Mar 15
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Among the factors that shaped Modernism were the development of modern industrial societies and the rapid growth of cities
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followed then by the horror of World War I
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09 Dec 14
pmhevia"A notable characteristic of Modernism is self-consciousness, which often led to experiments with form, along with the use of techniques that drew attention to the processes and materials used in creating a painting, poem, building, etc.[4"
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05 Jun 14
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Western society in the late 19th and early 20th centuries
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development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I.
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many modernists rejected religious belief.
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the activities and creations of those who felt the traditional forms of art, architecture, literature, religious faith, philosophy, social organization, and activities of daily life were becoming outdated in the new economic, social, and political environment of an emerging fully industrialized world
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Modernism explicitly rejected the ideology of realism
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01 May 14
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notable characteristic of Modernism is self-consciousness,
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Modernism explicitly rejected the ideology of realism[5][6][7] and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision and parody.
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affirms the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology.
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Others focus on Modernism as an aesthetic introspection. This facilitates consideration of specific reactions to the use of technology in the First World War, and anti-technological and nihilistic aspects of the works of diverse thinkers and artists spanning the period from Friedrich Nietzsche (1844–1900) to Samuel Beckett (1906–1989).[12]
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09 Mar 14
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broke the implicit contract with the general public that artists were the interpreters and representatives of bourgeois culture and ideas
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19 Feb 14
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Some commentators define Modernism as a socially progressive trend of thought that affirms the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology
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28 Nov 13
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18 Sep 13
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21 Apr 13
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18 Apr 13
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Present-day perspectives
Some commentators define Modernism as a socially progressive trend of thought that affirms the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology.[13] From this perspective, Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was 'holding back' progress, and replacing it with new ways of reaching the same end. Others focus on Modernism as an aesthetic introspection. This facilitates consideration of specific reactions to the use of technology in the First World War, and anti-technological and nihilistic aspects of the works of diverse thinkers and artists spanning the period from Friedrich Nietzsche (1844–1900) to Samuel Beckett (1906–1989).[14]
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26 Feb 13
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In particular the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I, were among the factors that shaped Modernism.
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The modernist movement, at the beginning of the 20th century, marked the first time that the term avant-garde
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rom this perspective, Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was 'holding back' progress, and replacing it with new ways of reaching the sa
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Others focus on Modernism as an aesthetic introspection.
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By 1930, Modernism had entered popular culture. With the increasing urbanization of populations, it was beginning to be looked to as the source for ideas to deal with the challenges of the d
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it was developing a self-conscious theory of its own importance.
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The post-war period left the capitals of Europe in upheaval with an urgency to economically and physically rebuild and to politically regroup
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In Paris (the former center of European culture and the former capital of the art world) the climate for art was a disaster.
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Process art as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real space.
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uring the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of contemporary art.
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Modernism is an encompassing label for a wide variety of cultural movements. Postmodernism is essentially a centralized movement that named itself, based on socio-political theory, although the term is now used in a wider sense to refer to activities from the 20th century onwards which exhibit awareness of and reinterpret the modern.[58][59][60]
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The Nazi government of Germany deemed Modernism narcissistic and nonsensical, as well as "Jewish" and "Negro"
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23 Feb 13
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synthesis of the Realist political and Romantic aesthetic ideology, was called by various names: in Great Britain it is the Victorian era
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common assumptions and institutional frames of reference, including the religious norms found in Christianity, scientific norms found in classical physics, as well as the idea that the depiction of external reality from an objective standpoint was not only possible but desirable
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Cultural critics and historians called this ideology realism, although this term is not universal. In philosophy, the rationalist, materialist and positivist movements established the primacy of reason.
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direct continuation of Romantic schools o
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art critic John Ruskin (1819–1900), who had strong feelings about the role of art in helping to improve the lives of the urban working classes, in the rapidly expanding industrial cities of Britain.
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Together these different reactions, challenged the comforting ideas of certainty derived from a belief in civilization, history, or pure reason
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from the 1870s onward, the idea that history and civilization were inherently progressive, and that progress was always good (and had no sharp breaks), came under increasing attack
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critiques of contemporary civilization
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17 Feb 13
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This movement rejected abstract expressionism and its focus on the hermeneutic and psychological interior in favor of art that depicted and often celebrated material consumer culture, advertising, and iconography of the mass production age.
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This movement rejected abstract expressionism and its focus on the hermeneutic and psychological interior in favor of art that depicted and often celebrated material consumer culture, advertising, and iconography of the mass production age.
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12 Nov 12
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03 Aug 12
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08 Jul 12
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06 Mar 12
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22 Jan 12
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Modernism
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rguably the most paradigmatic motive (motif) of modernism is the rejection of tradition
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ejected the existence of a compassionate, all-powerful Creator God
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07 Dec 11
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In the 1880s a strand of thinking began to assert that it was necessary to push aside previous norms entirely, instead of merely revising past knowledge in light of current techniques.
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if the nature of reality itself was in question, and if restrictions which had been in place around human activity were falling, then art, too, would have to radically change.
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ade the break with traditional means of organizing literature, painting, and music.
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the mind had a fundamental structure, and that subjective experience was based on the interplay of the parts of the mind.
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natural essence to stipulate a collective unconscious
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On the eve of the First World War a growing tension and unease with the social order, already seen in the Russian Revolution of 1905 and the agitation of "radical" parties, also manifested itself in artistic works in every medium which radically simplified or rejected previous practice.
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their rejection of traditional perspective a
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It embraced discontinuity, rejecting smooth change in everything from biology to fictional character development and filmmaking.
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disruption, rejecting or moving beyond simple realism in literature and art, and rejecting or dramatically altering tonality in music.
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, and therefore recast the artist as a revolutionary, overthrowing rather than enlightening.
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traditional social arrangements as hindering progress
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Exhibitions, theatre, cinema, books and buildings all served to cement in the public view the perception that the world was changing.
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22 Mar 11
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04 Feb 11
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22 Dec 10
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06 Dec 10
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"Modernity is a qualitative, not a chronological, category. Just as it cannot be reduced to abstract form, with equal necessity it must turn its back on conventional surface coherence, the appearance of harmony, the order corroborated merely by replication."[7]
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These developments began to give a new meaning to what was termed 'modernism': It embraced discontinuity, rejecting smooth change in everything from biology to fictional character development and moviemaking. It approved disruption, rejecting or moving beyond simple realism in literature and art, and rejecting or dramatically altering tonality in music. This set modernists apart from 19th century artists, who had tended to believe not only in smooth change ('evolutionary' rather than 'revolutionary') but also in the progressiveness of such change—'progress.'
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Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Associated with painters such as Frank Stella, minimalism in painting, as opposed to other areas, is a modernist movement. Minimalism is variously construed either as a precursor to postmodernism, or as a postmodern movement itself. In the latter perspective, early minimalism yielded advanced modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movement.
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During the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of contemporary art. Yves Klein in France, and in New York City, Carolee Schneemann, Yayoi Kusama, Charlotte Moorman and Yoko Ono were pioneers of performance-based works of art. Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments, radically changing the relationship between audience and performer especially in their piece Paradise Now. The Judson Dance Theater, located at the Judson Memorial Church, New York; and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others; collaborated with artists Robert Morris, Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy Klüver. Park Place Gallery was a center for musical performances by electronic composers Steve Reich, Philip Glass and other notable performance artists including Joan Jonas. These performances were intended as works of a new art form combining sculpture, dance, and music or sound, often with audience participation. They were characterized by the reductive philosophies of minimalism and the spontaneous improvisation and expressivity of abstract expressionism.
During the same period, various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in various specified locations, often incorporating exercises in absurdity, physicality, costuming, spontaneous nudity, and various random or seemingly disconnected acts. Notable creators of happenings included Allan Kaprow, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman.[28]
Allan Kaprow's performance art attempted to integrate art and life. Through Happenings, the separation between life, art, artist, and audience becomes blurred. The Happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells. One of Allan Kaprow's earliest Happenings was the "Happenings in the New York Scene," written in 1961 as the form was developing.[29]
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05 Nov 10
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From the 1870s onward, the ideas that history and civilization were inherently progressive and that progress was always good came under increasing attack.
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Darwin's theory of evolution by natural selection undermined the religious certainty
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Karl Marx argued there were fundamental contradictions within the capitalist system
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The miseries of industrial urbanism and the possibilities created by scientific examination of subjects brought changes that would shake a European civilization which had, until then, regarded itself as having a continuous and progressive line of development from the Renaissance. With the telegraph's harnessing of a new power, offering instant communication at a distance, the experience of time itself was altered.
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01 Nov 10
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30 Oct 10
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During the same period, various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in various specified locations, often incorporating exercises in absurdity, physicality, costuming, spontaneous nudity, and various random or seemingly disconnected acts.
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Allan Kaprow's performance art attempted to integrate art and life.
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09 Sep 10
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10 May 10
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In the 1890s a strand of thinking began to assert that it was necessary to push aside previous norms entirely
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, instead of merely revising past knowledge in light of current techniques.
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Gertrude Stein
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Pablo Picasso
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causing a shock with their rejection of traditional perspective as the means of structuring paintings—a step that none of the impressionists, not even Cézanne, had taken.
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17 Apr 10
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11 Apr 10
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08 Feb 10
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he new economic, social and political conditions of an emerging fully industrialized world.
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questioning of the axioms of the previous age.
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19 Oct 09
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This merging of consumer and high versions of modernist culture led to a radical transformation of the meaning of "modernism". First, it implied that a movement based on the rejection of tradition had become a tradition of its own. Second, it demonstrated that the distinction between elite modernist and mass consumerist culture had lost its precision. Some writers[who?] declared that modernism had become so institutionalized that it was now "post avant-garde", indicating that it had lost its power as a revolutionary movement. Many have interpreted this transformation as the beginning of the phase that became known as postmodernism. For others, such as art critic Robert Hughes, postmodernism represents an extension of modernism.
"Anti-modern" or "counter-modern" movements seek to emphasize holism, connection and spirituality as remedies or antidotes to modernism. Such movements see modernism as reductionist, and therefore subject to an inability to see systemic and emergent effects. Many modernists came to this viewpoint, for example Paul Hindemith in his late turn towards mysticism. Writers such as Paul H. Ray and Sherry Ruth Anderson, in The Cultural Creatives: How 50 Million People Are Changing the World (2000), Fredrick Turner in A Culture of Hope and Lester Brown in Plan B, have articulated a critique of the basic idea of modernism itself — that individual creative expression should conform to the realities of technology. Instead, they argue, individual creativity should make everyday life more emotionally acceptable.
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a trend of thought that affirms the power of human beings to create, improve, and reshape their environment, with the aid of scientific knowledge, technology and practical experimentation
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All of these separate reactions together began to be seen as offering a challenge to any comfortable ideas of certainty derived by civilization, history, or pure reason
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Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art.
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Depending on the context, minimalism might be construed as a precursor to the postmodern movement.
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Many conceptual works take the position that art is created by the viewer viewing an object or act as art, not from the intrinsic qualites of the work itself. Thus, because Fountain was exhibited, it was a sculpture.
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During the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of Contemporary art.
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During the same period—the late 1950s through the mid 1960s—various avant-garde artists created Happenings.
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Experimental Composition classes at the New School for Social Research in New York City. Many of his students were artists working in other media with little or no background in music
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However by the early 1980s the Postmodern movement in art and architecture began to establish its position through various Conceptual and Intermedia formats. Postmodernism in music and literature began to take hold even earlier, some say by the 1950s. While postmodernism implies an end to modernism many theorists and scholars realize that late modernism continues into the 21st century.
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Many modernists believed that by rejecting tradition they could discover radically new ways of making art.
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Arnold Schoenberg believed that by rejecting traditional tonal harmony, the hierarchical system of organizing works of music which had guided music making for at least a century and a half, and perhaps longer, he had discovered a wholly new way of organizing sound, based in the use of twelve-note rows
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The use of photography, which had rendered much of the representational function of visual art obsolete, strongly affected this aspect of modernism. However, these artists also believed that by rejecting the depiction of material objects they helped art move from a materialist to a spiritualist phase of development.
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Modernist architects and designers believed that new technology rendered old styles of building obsolete.
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Following this machine aesthetic, modernist designers typically reject decorative motifs in design, preferring to emphasize the materials used and pure geometrical forms.
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Modernist design of houses and furniture also typically emphasized simplicity and clarity of form, open-plan interiors, and the absence of clutter.
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Many aspects of modernist design still persist within the mainstream of contemporary architecture today, though its previous dogmatism has given way to a more playful use of decoration, historical quotation, and spatial drama.
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In literature and visual art some modernists sought to defy expectations mainly in order to make their art more vivid, or to force the audience to take the trouble to question their own preconceptions.
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The most controversial aspect of the modern movement was, and remains, its rejection of tradition
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In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects: the strange and disturbing combinations of motifs in Surrealism, or the use of extreme dissonance and atonality in modernist music. In literature this often involved the rejection of intelligible plots or characterisation in novels, or the creation of poetry that defied clear interpretation
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Two of the most disruptive thinkers of the period were, in biology, Charles Darwin and, in political science, Karl Marx.
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the > Nazi > government in > Germany > deemed it > narcissistic > and nonsensical, as well as "Jewish" and "Negro" >
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Separately, in the arts and letters, two ideas originating in France would have particular impact. The first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors (en plein air).
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The second school was > Symbolism > , marked by a belief that language is expressly symbolic in its nature and a portrayal of patriotism, and that poetry and writing should follow connections that the sheer sound and texture of the words create. >
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At the same time social, political, and economic forces were at work that would become the basis to argue for a radically different kind of art and thinking. Chief among these was steam-powered industrialization, which produced buildings that combined art and engineering in new industrial materials such as cast iron to produce railroad bridges and glass-and-iron train sheds—or the Eiffel Tower, which broke all previous limitations on how tall man-made objects could be—and at the same time offered a radically different environment in urban life.
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The breadth of the changes can be sensed in how many modern disciplines are described, in their pre-twentieth century form, as being "classical", including physics, economics, and arts such as ballet or architecture.
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"What can be safely called Modernism emerged in the middle of the last century—and rather locally, in France, with Baudelaire in literature and Manet in painting, and perhaps with Flaubert, too
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n the 1890s a strand of thinking began to assert that it was necessary to push aside previous norms entirely, instead of merely revising past knowledge in light of current techniques.
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. > The growing movement in art paralleled such developments as the Theory of Relativity in physics; the increasing integration of the internal combustion engine and industrialization; and the increased role of the social sciences in public policy.
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It was argued that, if the nature of reality itself was in question, and if restrictions which had been in place around human activity were falling, then art, too, would have to radically change. Thus, in the first fifteen years of the twentieth century a series of writers, thinkers, and artists made the break with traditional means of organizing literature, painting, and music.
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For this reason many modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "canary in the coal mine", whose repression by a government or other group with supposed authority represented a warning that individual liberties were being threatened.
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modernism flourished mainly in consumer/capitalist societies, despite the fact that its proponents often rejected consumerism itself.
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Modernist design also began to enter the mainstream of popular culture, as simplified and stylized forms became popular, often associated with dreams of a space age high-tech future.
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This merging of consumer and high versions of modernist culture led to a radical transformation of the meaning of "modernism". Firstly, it implied that a movement based on the rejection of tradition had become a tradition of its own. Secondly, it demonstrated that the distinction between elite modernist and mass consumerist culture had lost its precision.
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Visual art has made the most complete break with its past. Most major capital cities have museums devoted to 'Modern Art' as distinct from post-Renaissance art (circa 1400 to circa 1900)
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What united all these writers was a romantic distrust of the Victorian positivism and certainty.
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This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated material consumer culture, advertising, and iconography of the mass production age.
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Darwin's theory of evolution by natural selection undermined religious certainty of the general public, and the sense of human uniqueness of the intelligentsia
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In essence, the modernist movement argued that the new realities of the industrial and mechanized age were permanent and imminent, and that people should adapt their world view to accept that the new equaled the good, the true and the beautiful >.
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denounced modernism as unwholesome and immoral. At the same time, the 1920s were known as the "Jazz Age", and the public showed considerable enthusiasm for cars, air travel, the telephone, and other technological advances.
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Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art.
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In Paris > (the former center of European culture and the former capital of the art world) the climate for art was a disaster. Important collectors, dealers, and modernist artists, writers, and poets had fled Europe for > New York > and > America > . The > Surrealists > , and modern artists from every cultural center of Europe had fled the onslaught of the Nazis for safe haven in the > United States > . Many of those that didn't flee perished. A few artists, notably > Pablo Picasso > , > Henri Matisse > , and > Pierre Bonnard > , remained in > France > and survived. >
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Modernism as leading to social organization would produce inquiries into sex and the basic bondings of the nuclear, rather than extended, family. The Freudian tensions of infantile sexuality and the raising of children became more intense, because people had fewer children, and therefore a more specific relationship with each child: the theoretical, again, became the practical and even popular.
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One of the most visible changes of this period is the adoption of objects of modern production into daily life. Electricity, the telephone, the automobile—and the need to work with them, repair them and live with them—created the need for new forms of manners, and social life. The kind of disruptive moment which only a few knew in the 1880s, became a common occurrence.
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the rise of Fascism, the Great Depression, and the march to war helped to radicalise a generation.
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By 1930 The New Yorker magazine began publishing new and modern ideas by young writers and humorists like Dorothy Parker, Robert Benchley, E.B. White, S.J. Perelman, and James Thurber, amongst others. Modern ideas in art appeared in commercials and logos, the famous London Underground logo, designed by Edward Johnston in 1919, being an early example of the need for clear, easily recognizable and memorable visual symbols.
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Instead they championed, or, in the case of Freud, attempted to explain, irrational thought processes through the lens of rationality and holism.
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Out of this collision of ideals derived from Romanticism, and an attempt to find a way for knowledge to explain that which was as yet unknown, came the first wave of works, which, while their authors considered them extensions of existing trends in art, broke the implicit contract that artists were the interpreters and representatives of bourgeois culture and ideas.
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Powerfully influential in this wave of modernity were the theories of Sigmund Freud and Ernst Mach, who argued, beginning in the 1880s that the mind had a basic and fundamental structure, and that subjective experience was based on the interplay of the parts of the mind.
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This represented a break with the past, in that previously it was believed that external and absolute reality could impress itself, as it was, on an individual, as, for example, in John Locke's empiricism, with the mind beginning as a tabula rasa.
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This wave of the modern movement broke with the past in the first decade of the twentieth century, and tried to redefine various artforms in a radical manner.
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On the eve of the First World War a growing tension and unease with the social order, seen in the Russian Revolution of 1905 and the agitation of "radical" parties, also manifested itself in artistic works in every medium which radically simplified or rejected previous practice.
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. > Modernism, while it was still "progressive" increasingly saw traditional forms and traditional social arrangements as hindering progress, and therefore the artist was recast as a revolutionary, overthrowing rather than enlightening.
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in > music > . > > This set modernists apart from 19th century artists, who had tended to believe in 'progress'. Writers lik >e Dickens > and > Tolstoy > , painters like > Turner > , and musicians like > Brahms > were not 'radicals' or 'Bohemians', but were instead valued members of society who produced art that added to society, even if it were, at times, critiquing less desirable aspects of it >
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These developments began to give a new meaning to what was termed 'Modernism': It embraced disruption, rejecting or moving beyond simple > > Realism > in > literature > and > art > , and reject > in > > g or dramatically altering tonality i >n > music > . > > This set modernists apart from 19th century artists, who had tended to believe in 'progress'. Writers lik > > >e Dickens > > > and > Tolstoy > > > , painters like > > > Turner > > > , and musicians like > > > Brahms > > > were not 'radicals' or 'Bohemians', but were instead valued members of society who produced art t > > >
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Modernist primitivism and pessimism were controversial, but were not seen as representative of the Edwardian mainstream, which was more inclined towards a Victorian faith in progress and liberal optimism.
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However, the Great War and its subsequent events were the cataclysmic upheavals that late 19th century artists such as Brahms had worried about, and avant-gardists had embraced. First, the failure of the previous status quo seemed self-evident to a generation that had seen millions die fighting over scraps of earth—prior to the war, it had been argued that no one would fight such a war, since the cost was too high.
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The First World War, at once, fused the harshly mechanical geometric rationality of technology with the nightmarish irrationality of myth.
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Realism seemed to be bankrupt when faced with the fundamentally fantastic nature of trench warfare >
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Thus in the 1920s, modernism, which had been such a minority taste before the war, came to define the age.
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Each of these "modernisms", as some observers labelled them at the time, stressed new methods to produce new results.
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By 1930, modernism had won a place in the establishment, including the political and artistic establishment, although by this time modernism itself had changed
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During the late 1940s Jackson Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him.
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