Jean Baudrillard Post-modernist provocateur and cultural theorist who blamed consumerism for destroying reality
Times Online, March 7, 2007, Viewed 13 April 2011
http://www.timesonline.co.uk/tol/comment/obituarie
Thursday, 14 April 2011
Jean Baudrillard
The online article focuses on Jean Baudrillard who analysed diverse subjects within Post-modernism. One of these subjects is the rise of consumerism, he suggests a “hyper reality” is created as buyers feel at ease and free of risk and anxiety when shopping.
Jean Baudrillard Post-modernist provocateur and cultural theorist who blamed consumerism for destroying reality
Times Online, March 7, 2007, Viewed 13 April 2011
http://www.timesonline.co.uk/tol/comment/obituaries/article1483898.ece?token=null&offset=12&page=2
Jean Baudrillard Post-modernist provocateur and cultural theorist who blamed consumerism for destroying reality
Times Online, March 7, 2007, Viewed 13 April 2011
http://www.timesonline.co.uk/tol/comment/obituarie
New food culture or a new threat?
This articles focuses on small shops such as butchers and bakers which are threatened by the increase of supermarket branches opening, for example this article concentrates on Waitrose. Smaller shops fear they will eventually be put out of business as it is suggested that public prefer shopping for groceries with recognisable labels.
Barkham, P.
New food culture or a new threat? Waitrose targets towns, The Guardian, Saturday 17 May 2008,http://www.guardian.co.uk/business/2008/may/17/johnlewis.supermarkets , viewed April 13 2011
Barkham, P.
New food culture or a new threat? Waitrose targets towns, The Guardian, Saturday 17 May 2008,http://www.guardian.co.uk/business/2008/may/17/joh
Malls in the Post-modern Cities
This article focuses on concept of the modern shopping mall. With the rise of consumerism society has seen a steady increase in the popularity of the shopping mall as a ’hang out’ destinations for families and youths.
Cotrau, D.
Malls and the Holy Trinity of Teens: Pleasure, Leisure and Consumption in Transylvania.
Journal for the study of Religions and Ideologies; December 2008, Vol,7, Issue 21, p3-19
EBSCOhost, Article, viewed 11 April 2011
Wednesday, 13 April 2011
The Subversion of Gravity in Jackson Pollock's Abstractions
Cernuschi, C, & Herczynski, A 2008, The Subversion of Gravity in Jackson Pollock's Abstractions, Art Bulletin, 90, 4, pp. 616-639, Academic Search Complete, EBSCOhost, viewed 13 April 2011.
The article looks at the implementation of the poured technique and the reorientation of artistic activity from the wall to the floor as the most original and influential contributions of painter Jackson Pollock to the history of art. Art critic Rosalind Krauss views Pollock's deployment of horizontality as a medium as representing a radical regression from the intellectual, disembodied, optical way of perceiving the world that stems from humanity's vertical posture. According to the article, the technique allows for maximum control of the paint.
Reinventing Subversion, Ceramics: Art & Perception
DeBlasi, T 2008, Reinventing Subversion, Ceramics: Art & Perception, 74, pp. 71-74, Humanities International Complete, EBSCOhost, viewed 13 April 2011.
The article features painter and ceramist Caroline Cheng. She has become a force in developing new art talent while preserving ceramic techniques. The underlying concept of her work is seeing the traditional anew and re-examining the relationships of China's long history and traditions in the context of their usefulness. When dealing with social commentary, her work has been described as sarcastic and irreverent. Her approach in "Mao As Ho Chi Minh" is reasoned and subdued, creating a work of reserve and calm. It was accomplished through the use of muted colours and orderly placement of medium-toned patterns.
Warhol and the negative dialectics of subversion
Murray, M 2005, Nothing happening: Warhol and the negative dialectics of subversion, European Journal of American Culture, 24, 1, pp. 61-83, Academic Search Complete, EBSCOhost, viewed 13 April 2011.
Andy Warhol is associated with pop art,which is often thought of as an American,populist,commercial,superficial and ahistorical cultural form. Yet both Warhol and pop have historical and intellectual influences that are European,elitist and political. These influences remain largely unexamined, although something of them is registered in a common critical sense that Warhol's art satirizes capitalism. This paper seeks to reconsider Warhol's work with reference to neglected aspects of it.
Postmodern Artists
http://www.understandingduchamp.com/
Marcel Duchamp, creator of 'The Fountain' he created a series of 'ready mades' by altering them slightly. He goes on to justify the use of ready mades as he says it does not matter if the piece was not made by whoever, it is the fact that he chose it himself and decided to use it himself. The website states: At the time nobody understood what Duchamp was talking about but 50 years later everyday objects would be common place in art.
The people who did in-fact use the everyday objects are the postmodernists we know today.
Tuesday, 12 April 2011
Stephen R. C. Hicks is the introduction to the Newberry Manifesto
can be found at: http://www.michaelnewberry.com/av/post/post.html viewed 11/04/11
talks about Leonardo, Michelangelo, Raphael, Rembrandt, Vermeer as establishing icons within the very beginning of art and form, them moves through to the middle of the nineteenth century talking about naturalism and the rise of philosophical theories of skepticism and irrationalism then moves on to the twentieth century so define artists such as Pollock, Picasso, Munch and Hopper as the end of modernism and rules the artical off with Marcel Duchamp and his autographed urinal.
Ascent of the Market
Firat, A, Dholakia, N, Consuming People, Chapter 6: (Post) modernity and consumption. 1998, p70-71, 22p, EBSCOhost, viewed 30 March 2011
Monday, 11 April 2011
Introduction: Modernism after Postmodernity
The article examines the linear chronology of the modern and postmodern art. According to French philosopher Jean-François Lyotard, any work of art needs to be postmodern before it becomes modern. In his book "The Postmodern Condition," Lyotard expressed his European reluctancy to fall in line with certain American triumphalism about postmodern
Introduction: Modernism after Postmodernity
The article examines the linear chronology of the modern and postmodern art. According to French philosopher Jean-François Lyotard, any work of art needs to be postmodern before it becomes modern. In his book "The Postmodern Condition," Lyotard expressed his European reluctancy to fall in line with certain American triumphalism about postmodern
Introduction: Modernism after Postmodernity
The article examines the linear chronology of the modern and postmodern art. According to French philosopher Jean-François Lyotard, any work of art needs to be postmodern before it becomes modern. In his book "The Postmodern Condition," Lyotard expressed his European reluctancy to fall in line with certain American triumphalism about postmodern
In love with Puppy: flowers, architecture, art, and the art of irony
Jeff Koons's installation, Puppy, symbolizes the move from modernism to postmodernism in contemporary Basque culture. It constitutes a break from the modernist aesthetics of artists such as Jorge Oteiza and Eduardo Chillida. The article argues that Puppy can only be understood from an ironic perspective. The subversive potential of irony in Basque culture is contextualized in this article
The Death of Postmodernism And Beyond
The article presents the author's argument that a new paradigm of authority and knowledge formed through technological advances and social forces has replaced post-modernism. Belief in post-modernism is supplanted with the belief in critical realism, asserted the author. He exemplify this by exposing the contradicting terms in the Postmodern Fiction taught in universities. A comparison between post-modernism, modernism and romanticism is considered.
AVANT-GARDE AESTHETICS: KITSCH, INTENSITY AND THE WORK OF ART
The article explores the idea that the aesthetic and political ambitions of avant-garde art have become irrelevant under the conditions of postmodernity. American art critic Clement Greenberg emphasizes the physical or sensorial aspect of experiencing art. Media theorist Lev Manovich conceives avant-garde as a force of progress and innovation. French philosopher Jean-François Lyotard's work cautions against aesthetics theories which seek to reduce artwork to a single meaning or value.
APOCALYPTIC THINKING NOW: THE ENDS OF POSTMODERNISM
"Postmodernism", like a host of other similar terms christened with the same prefix, such as "Post-Impressionism" and "Post-Expressionism", employs a reactive rhetorical device or strategy, betraying what I call a "naming anxiety". Postmodernism gets a bad press. It is attacked from all sides. Both the right and the left deny its reality or reinterpret postmodernism as an epiphenomenon - the cultural logic of late capitalism, or a kind of secondary narcissism, or a neoliberal "free trade" global capitalism such as that promoted by the World Trade Organization. Postmodernism is also appropriated for different purposes by those who examine a certain politics, aesethics, and epistemology. Many standard accounts of postmodernism take no notice of apocalyptic thinking - its different cultural expressions - or the importance of time, especially in relation to Being.
Postmodernism, and Spatial Configurations in Jameson and Lefebvre
This article focuses on the relationship between Marxist sociology and postmodernist theory. The author explores this through Fredric Jameson's "Postmodernism, or the Cultural Logic of Late Capitalism" and the spatial theory of Henri Lefebvre. She argues that Jameson's coined term and idea "culturally-dominant" is not as valid as Lefebvre's analysis of urban space, both pertaining to postmodernism. Topics include space and postmodernism, spatial systems of Jameson and Lefebvre, and the comparative method of analysis.
Popular Culture after Postmodernism: Borat, Family Guy, The Office, and the Awkwardness of Being Earnest
The article discusses the awkwardness of being earnest as well as the implications and generation of awkwardness. It states that earnestness and awkwardness are contingencies of postmodernism in the context of sociocultural moment and that they are identified by performatism and generative anthropology. It also states that earnestness is a mild expression and that it may turn awkward as it creates intensity and social breakdown.
Lupton, E, & Lupton, J 2007, all together now
The article discusses the concept of universal design. Universal design is now emerging as a communitarian visual language and environmental ethos enmeshed in a world stretched and tested by an unprecedented range of people. In the post-postmodern society, people may no longer believe in utopia, but many are drawn to the idea of commonality. People seek to build an information commons for openly sharing ideas, and people try to discover what makes human beings alike as well as what makes each one of us unique.
Evolutionary aesthetics: rethinking the role of function in art and design
In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to be brought into everyday life.
Postmodernism? London's V&A museum attempts a definition
can be found at :http://www.guardian.co.uk/artanddesign/2011/feb/28/postmodernism-retrospective-london-v-and-a
An artical written by Mark Brown, talking about the V&A's style and subversion exhibition which will be held until 2012. Talks about Derek Jarman's Last of England and Ridley Scott's Blade Runner, Karl Lagerfeld and Vivienne WestwoodJeff Koons, Andy Warhol, Jenny Holzer. Discusses the perception of the definition of post-modernism "Postmodernism is tricky because of its enormous variety and lack of distinctive look. Some people even consider it a term of abuse. Or praise."
Banksy- Simpsons opening credits
An opening done on the simpsons done with BANKSY. Just showing the irony and subversion used within the simpsons. Especially as the irony of this opening is that they are subverting themselves in their own show, with the help of BANKSY who is well known for his subversion in his art.
Alchemy of the Word and the Image: Towards a New "Iconographics"
Postmodern TV, Video and Film
Conner, SC. (1997) 'Postmodern TV, Video and Film', in Conner, SC (ed.) Postmodernist Culture. Oxford:Blackwell Publishers, pp. 182-204.
In this chapter of the book it shows how TV and Film surpass modernist movements, by not focusing on any particular artist and their struggle to create art and by the reproductivity of the film industry and television and being part of a mass-cultural entertainment. And also through television repeating shows, and especially music channels, where a music video can be played several times in a day. It also suggests that you can analyze our culture through films and television with what is going on in the time the film is made. It says that film is not self sufficient in itself as art, but relies on ordinary people to come and watch which funds it rather than through the arts, although the arts is an essential part of film. The most obvious feature that makes film postmodern is that of retro films where the main point of the films is the story and not the time and place it is set.
http://www.youtube.com/watch?v=XSR0Xady02o&feature=related
A 3d mapping of a building promoting the film The Tourist.
Postmodern Media Cultures Jonathan Bignall
Postmodern Media Cultures, Edinburgh University Press (24 May 2000)
From Postmodernism to Mutation: How the Twentieth Century Draws to a Close
Analyzes the term and idea of postmodernism as it applies to fields of knowledge and behavior such as the cinema, fashion, novels and urban life. Definition of postmodernism as everything culturally happening after the decline of the 1968 period; Postmodernism and its association with plurality, expansion, multi-usage and intertwining of academic tone and mass media materials
The Information Superhighway and Post-modernity
Examines the social and cultural implications of the converging technologies known as the Information Superhighway. Draws together arguments from key commentators and critics to identify possibilities and potential dangers related to quality of life, social justice, and politics. Aims to help educators move beyond current instrumental perspectives (technology as a resource).
From Postmodernism to Mutation
Analyzes the term and idea of postmodernism as it applies to fields of knowledge and behavior such as the cinema, fashion, novels and urban life. Definition of postmodernism as everything culturally happening after the decline of the 1968 period; Postmodernism and its association with plurality, expansion, multi-usage and intertwining of academic tone and mass media materials.
Making the Future Past Perfect
Discusses the replacement of history by the postmodern age nostalgia as the way of responding and understanding personal and national past. Emphasis of entertainment media productions of the 1980s and early 1990s; Depiction of nostalgia by the media; Necessity of revising the past to re-determine the present; Reason behind the stress on family values.
Gill, P 1997, Technostalia: Making the Future Past Perfect, Camera Obscura, 14, 40/41, p. 163, Academic Search Complete, EBSCOhost, viewed 5 April 2011
Modernism, Postmodernism and Global standards setting
This paper discusses the key features of modernism and postmodernism, and critiques global standards setting from a postmodern theoretical perspective. The main areas of critique consist of the possibility of the creation of yet another totalizing discourse or grand narrative; debates around the particular and the universal; issues around representation; and power, knowledge and discursive formations.
Williams, L, & Sewpaul, V 2004, Modernism, postmodernism and global standards setting, Social Work Education, 23, 5, pp. 555-565, SocINDEX with Full Text, EBSCOhost, viewed 4 April 2011.
Monday, 4 April 2011
Chaos Theory and Postmodernism
To understand postmodernism, one must first know what came before it. However, the standard definition is social patterns characteristic to postindustrial societies. To get a better understanding of post modernism, there are two other competing social patterns that still exist today. They are pre-modernism and modernism.
Snell, J 2009, CHAOS THEORY AND POST MODERNISM, Education, 130, 2, pp. 274-276, Academic Search Complete, EBSCOhost, viewed 4 April 2011
A Study of Pop Design Movements from the Perspectives of Postmodernism
Fredric Jameson used the production model as a standard to divide art and he said postmodern culture is the mixture of noble culture and popular culture (commercial culture) and the boundary between both of them didn't exist. The different kinds of cultures mix together to be the diversified, eclectic and reproductive post modern art which includes popular culture and consumption culture. Pop design derived from pure art.
Li-Chun, H, Chao Hsi, H, & Pen-Yi, C 2009, A Study of Pop Design Movements from the Perspectives of Postmodernism, International Journal of the Humanities, 7, 3, pp. 151-163, Humanities International Complete, EBSCOhost, viewed 4 April 2011
Social history update encountering postmodernism
Discusses the significance of post-modernists' challenging of conventions in historical thinking and writing. Criticisms on historical relativism and theoretical relativism; Post-modernists' passion for a certain amount of terminological obscurantism as part of a new drive toward political purity; Post-modernism's relation to the growing interest in cultural factors and cultural evidence in social history
Stearns, PN 1990, Social history update encountering postmodernism, Journal of Social History, 24, 2, p. 449, SocINDEX with Full Text, EBSCOhost, viewed 4 April 2011
Study of Image Design in Animation
Liu Minghua, ML. 2010 'Study of Image Design in Animation'. Asian Social Science, 6(4), pp. 39-43, [Online]. Available at: http://ehis.ebscohost.com/eds/detail?sid=6a7e57b5-e255-4203-9422-5100c3d315f7%40sessionmgr115&vid=7&hid=115&bdata=JnNpdGU9ZWRzLWxpdmU%3d#db=a9h&AN=49175188 (Accessed: 4 April 2011)
This extract is about different cultures aspects of their own animation style. The style for each culture can be traced to the cultures traditional art scene, so using culturally traditional styles of art to create an art work that uses modern technology.
"4. Local characteristics of the image design in animation
Considering the art design styles in numerous Chinese and western animation films, animation artists of all
nations put their hands to local traditional artistic forms and absorb quintessence of indigenous culture and
particular artistic manifestation means to create animation artistic styles of their own and to continuously enrich
their animation artistic styles and forms.
4.1 Local characteristics of Chinese animation
After undergoing cultural accumulation and inheritance for thousands of years, the traditional Chinese fine arts
have formed rich and unique expressive system with local characteristics, which deserves further research and
discussion by current animation creators. Expressive forms of the traditional Chinese fine arts include all sorts of
traditional Chinese operas, relevant masks and costumes, all sorts of consummate and excellent technology, such
as ceramic craft, knitting, knitting and dyeing, embroider, puppet, types of facial makeup, sculpture, bamboo &
rattan knitting, dough figurine fabrication, lacquer painting, toy fabrication and scissor-cut, etc. Scissor-cut,
shadow puppet and new year picture are plane expressive art forms of two dimensions, which have concise but
not stiff modeling, exaggerated but not monstrous, full of changes in unification, bold and exaggerated in image,
and humorous but not constrained to realistic situation. The audience may experience the feeling and thinking of
creators in clear and explicit composition and modeling. For example, the film "Avanti's Story" borrowed the
traditional Chinese design element --- puppet--- for expression. In this film, the creator employed wire-pull or
straining beam as a pull, with various lifelike forms, vivid and interesting patterns, extremely exquisite
conception, including integration of several modeling arts, such as scissor-cut, industrial arts and painting, etc.
All these traditional artistic forms can be rationally applied into image design of animation.
Individualized expressive language and expressive painting form in Chinese animation art design are quite rich,
such as painting with exact delineation and enriched colours in single-Ping Tu, Chinese ink animation in lacquer
painting, children's drawing, doodle, caricature, petrogram and wall painting all have a style of their own. Local
culture establishes a kind of harmonious cultural ecological relationship, which is exactly the resource to be
borrowed by modern animation artistic language and the soil it is going to reply on. For instance, the films
"Golden Conch" and "Mr. Pig eats watermelon" adopt the expressive forms of Chinese shadow puppet and
scissor-cut. These animation films express traditional Chinese folk arts as being bright and colorful, with strong
nationalistic style. The works "Pride General" expresses the national feature and finds a path to bring into full
play its peculiar national style in terms of characteristics of the characters and expression of motion and language,
etc, which does not only correspond with the appreciation habits and aesthetic requirements of the public, but
also enriches the treasure house of the world culture, widely welcomed and favorably received by the public. In
terms of the forms of painting, in addition to traditional forms of oil painting, sketch, watercolour and crayon,
such materials as metal, paper, mud, stem leaves of plants, plastics, rubber, glass and skin and hair of animals are
all used for animation. The diversification of the design style of fine arts contains excellent elements of
traditional Chinese culture.
4.2 Local characteristics of American animation
In the current world, American animation films also account for a large portion of the global animation market.
The characteristics of American animation image are as follows: careful painting of the scene, which is enough
for requirement of the plot. Usually, the image design of characters is excellent in modeling, distinct in
personification, whereas under the new technology, roles of animation are more life-like, which attain perfect
visual effect. "Ice Age" is reproduction of an already perfect works. Local design style of animation in America
has an effect on creation thought and modeling style of animation design in quite a lot of nations in the world.
4.3 Local characteristics of Japanese animation
Compared with heroism in American animation works, Japanese animation works focus more on the small and
exquisite characteristics of the works, and furthermore, the meticulous Japanese culture is also the peculiarity of
Japanese animation. Generally speaking, the characteristics of Japanese animation can be generalized as follows:
exquisite painting, meticulous role, modeling and scene design, resorting to hyper-reality imagination space to
satisfy illusion of the audience to realize what is impossible, and impaling the imaginary nerve of the audience.
In the aspect of character roles, most heroes have a fine figure of a man, handsome, and most heroines are with
long hair, oval face, exaggerated big eyes and a similarly exaggerated small nose, as well as a beautiful build.
For example, considering all aspects of life, such as Japanese costume, food and drink, tea-making, product
design and performance art, the film "Doraemon" can reflect the fact that Japanese people concentrate on
exquisite and meticulous culture, which, in turn, is reflected in creation of its animation. Having been popular for
several decades, this film can well reflect such an issue that is still widely and well received. This works mainly
narrates a machinery cat called Doraemon who comes from the 22nd Century and, entrusted by its master,
employs a lot of mysterious props in the future to help its master Mahavira back in the 20thCentury."
Contrasting Utopias: Toward a Theoretical Framework for Modernism
Tucker, S 2010, Contrasting Utopias: Toward a Theoretical Framework for Modernism, the Avant-Garde, and Postmodernism, Interdisciplinary Humanities, 27, 2, pp. 60-78, Academic Search Complete, EBSCOhost, viewed 2 April 2011.
When Did Postmodernism Begin?
McHale, B 2008, 1966 Nervous Breakdown; or, When Did Postmodernism Begin?, Modern Language Quarterly pp. 391-413 Duke University Press Education Research Complete, EBSCOhost, viewed 2 April 2011.
Friday, 1 April 2011
Jencks Design at the Maggie Centre.
Charles Jencks - His Design at the Gallery of Modern Art, Edinburgh.
Barbara Kruger "Your body is a battleground"
Roy Lichtenstein "Drowning Girl" 1963
Rene Magritte "Treachery of Images"
Charles Jencks - A Post Modern landscape Artist who done Landform Ueda at the Gallery of Modern Art in Edinburgh. Based on a strange attractor and the flow of earth and traffic. (www.charlesjencks.com)
Post Modern Architects:
Aldo Ross
James Stirling
Charles Moore
Charles Jencks - From America now lives in Scotland. Has designed Landforms such as The Gallery of Modern Art, Edinburgh. Designed the Garden at the Maggie Centre in Glasgow. His sculpture were based on human DNA and was made of Aluminium
Andy Warhol Post Modernism Artist
Post Modern Art - An Art Movement of rebellion which contradicts with Modernism. Movements such as Conceptual Art, Installation Art and Video.
Graphic Design in the Postmodern Era
Appignanesi, R and Garratt, C. (2007) ‘Introducing Postmodernism’,
Keedy, M. (1998) ‘Graphic Design in the Postmodern Era’, Emigre 47. [Online]. Available at: http://www.emigre.com/Editorial.php?sect=1&id=20(Accessed: 19 March 2011).
Keedy, M. (1998) ‘Graphic Design in the Postmodern Era’, Emigre 47. [Online]. Available at: http://www.emigre.com/Editorial.php?sect=1&id=20(Accessed: 19 March 2011).
‘Charles Jencks and the historiography of Post-Modernism’, The Journal of Architecture
Key Texts relating to Postmodernism and Visual Culture:
Haddad, E. (2009) ‘Charles Jencks and the historiography of Post-Modernism’, The Journal of Architecture, Volume 14 (4) pp 493-504.
Haddad, E. (2009) ‘Charles Jencks and the historiography of Post-Modernism’, The Journal of Architecture, Volume 14 (4) pp 493-504.
Ironies of Postmodernism: Fate of Baudrillard's Fatalism
Gane, Mike (1990)
Economy & Society; Aug90, Vol. 19 Issue 3, p314, 20p
Ironies of Postmodernism: Fate of Baudrillard's Fatalism [online]
Available at : http://ehis.ebscohost.com/eds/pdfviewer/pdfviewer?sid=23d7559c-9987-4bed-b47a-6d0d5d85124c%40sessionmgr104&vid=4&hid=102
Accessed: 4.00pm 30th March
This journal states that Baudrillard refused to be labeled as a postmodernist, it goes on to say that ironies were discussed with respect to marxist and feminist readings- in light of the possibility that it may be these that are infact post modern.
key pointers
'postmodernity must be considered partially in terms of the difficulty of describing it'
'the move into the beyond, free from the ghosts and all the master thinkers of times past'
'postmodernism is the restoration of a past culture'
'to bring back all past cultures, to bring back everything that one has destroyed injoy and which one is reconstructed sadness in order to try and live, to survive .... all the remains to be done is to play the pieces'
'playing with the pieces that is postmodernism'
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