Modernism 19547 225825073 2008-07-15T16:01:01Z NE2 1757249 Reverted edits by [[Special:Contributions/Pink!Teen|Pink!Teen]] ([[User talk:Pink!Teen|talk]]) to last version by 128.36.162.155 {{POV|date=March 2008}} {{for|Christian theological modernism|Liberal Christianity|Modernism (Roman Catholicism)}} {{for|Modernism in an American context|American modernism}} {{for|the period in sociology beginning with the industrialization|Modernity}} [[Image:Hans Hofmann's painting 'The Gate', 1959–60.jpg|thumb|right|300px|[[Hans Hofmann]], "The Gate", 1959–1960, collection: [[Solomon R. Guggenheim Museum]].]] '''Modernism''' describes an array of [[cultural movement]]s rooted in the changes in [[Western society]] in the late nineteenth and early twentieth century. The term covers a series of reforming movements in [[art]], [[Modernist architecture|architecture]], [[Modernism (music)|music]], [[Modernist literature|literature]] and the [[applied arts]] which emerged during this period. It is 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 or practical experimentation.<ref>"In the twentieth century, the social processes that bring this maelstrom into being, and keep it in a state of perpetual becoming, have come to be called 'modernization'. These world-historical processes have nourished an amazing variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them, to make their way through the maelstrom and make it their own. Over the past century, these visions and values have come to be loosely grouped together under the name of 'modernism'" (Berman 1988, 16).</ref> Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was 'holding back' [[Social progress|progress]], and replacing it with new, progressive and therefore better, ways of reaching the same end. Embracing change and the present, modernism encompasses the works of thinkers who rebelled against nineteenth century academic and historicist [[tradition]]s, believing the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated; they directly confronted the new economic, social and political conditions of an emerging fully industrialized world. Some divide the 20th Century into movements designated Modernism and [[Postmodernism]], whereas others see them as two aspects of the same movement. ==History== [[Image:Eugène Delacroix - La liberté guidant le peuple.jpg|thumb|200px|[[Eugène Delacroix]]'s ''[[Liberty Leading the People]]'', 1830, a [[romanticism|Romantic]] work of art.]]The first half of the nineteenth century for Europe was marked by a number of wars and revolutions, which reveal the rise of the ideas and doctrines now identified as [[Romanticism]]: emphasis on individual subjective experience, the [[sublime]], the supremacy of "Nature" as a subject for art, revolutionary or radical extensions of expression, and individual liberty. By mid-century, however, a synthesis of these ideas with stable governing forms had emerged, partly in reaction to the failed Romantic and democratic [[Revolutions of 1848]]. It was exemplified by [[Otto von Bismarck]]'s ''[[Realpolitik]]'' and by "practical" philosophical ideas such as [[positivism]]. Called by various names—in Great Britain it is designated the "[[Victorian era]]"—this stabilizing synthesis was rooted in the idea that reality dominates over impressions that are [[Subjectivity|subjective]]. Central to this synthesis were common assumptions and institutional frames of reference, including the religious norms found in [[Christianity]], scientific norms found in [[classical physics]], especially electromagnetism, and doctrines that asserted that the depiction of external reality from an [[Objectivity (philosophy)|objective]] standpoint was not only possible but desirable. Cultural critics and historians label this set of doctrines [[Philosophical realism|Realism]], though this term is not universal. In [[philosophy]], the [[rationalist]], [[materialist]] and [[positivist]] movements established a primacy of reason and system. Against the current ran a series of ideas, some of them direct continuations of Romantic schools of thought. Notable were the [[agrarianism|agrarian]] and revivalist movements in [[plastic arts]] and [[poetry]] (e.g. the [[Pre-Raphaelite Brotherhood]] and the philosopher [[John Ruskin]]). Rationalism also drew responses from the anti-rationalists in philosophy. In particular, [[Hegel]]'s [[dialectic]] view of civilization and history drew responses from [[Friedrich Nietzsche]] and [[Søren Kierkegaard]], who were major influences on [[Existentialism]]. 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. From the 1870s onward, the ideas that history and civilization were inherently progressive and that progress was always good came under increasing attack. Writers [[Richard Wagner|Wagner]] and [[Ibsen]] had been reviled for their own critiques of contemporary civilization and for their warnings that accelerating "progress" would lead to the creation of individuals detached from social norms and isolated from their fellow men. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, and could not move forward in its present form. Philosophers called into question the previous optimism. The work of [[Schopenhauer]] was labelled [[Pessimism|"pessimistic"]] for its idea of the "negation of the will", an idea that would be both rejected and incorporated by later thinkers such as [[Nietzsche]]. Two of the most significant thinkers of the period were, in biology, [[Charles Darwin]], and in political science, [[Karl Marx]]. Darwin's theory of [[evolution]] by natural selection undermined the religious certainty of the general public, and the sense of human uniqueness of the [[intelligentsia]]. The notion that human beings were driven by the same impulses as "lower animals" proved to be difficult to reconcile with the idea of an ennobling [[spirituality]]. Karl Marx seemed to present a political version of the same proposition: that problems with the economic order were not transient, the result of specific wrong doers or temporary conditions, but were fundamentally contradictions within the "[[capitalism|capitalist]]" system. Both thinkers would spawn defenders and schools of thought that would become decisive in establishing modernism. 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]]''). Impressionist paintings demonstrated that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored [[Paris Salon]], the [[Impressionists]] organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A significant event of 1863 was the [[Salon des Refusés]], created by [[Napoleon III of France|Emperor Napoleon III]] to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by inferior artists, the work of [[Manet]] attracted tremendous attention, and opened commercial doors to the movement. [[Image:Redon spirit-waters.jpg|thumb|[[Odilon Redon]], ''Guardian Spirit of the Waters'', [[1878]], charcoal on paper, [[The Art Institute of Chicago]].]] The second school was [[Symbolism (arts)|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. The poet [[Stéphane Mallarmé]] would be of particular importance to what would occur afterwards. 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. 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. 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]]. ===Beginning, 1890–1910 === [[Image:Mondrian Comp10.jpg|thumb|200px|[[Piet Mondrian]], ''Composition No. 10'', 1939-42, oil on canvas, 80 x 73 cm, private collection.]] [[William Everdell]] has argued that Modernism began with [[Richard Dedekind]]'s [[Dedekind cut|division]] of the [[real number]] line in 1872 and [[Boltzmann]]'s [[statistical thermodynamics]] in 1874; but [[Clement Greenberg]] wrote, "What can be safely called Modernism emerged in the middle of the last century—and rather locally, in [[France]], with [[Charles Baudelaire|Baudelaire]] in literature and [[Édouard Manet|Manet]] in painting, and perhaps with [[Gustave Flaubert|Flaubert]], too, in prose fiction. (It was a while later, and not so locally, that Modernism appeared in music and architecture)."<ref>[http://www.sharecom.ca/greenberg/postmodernism.html Clement Greenberg: Modernism and Postmodernism], seventh paragraph of the essay. URL accessed on [[June 15]], [[2006]]</ref> The "[[avant-garde]]" was what Modernism was called at first, and the term remained to describe movements which identify themselves as attempting to overthrow some aspect of tradition or the status quo. <ref>Fred Orton and Griselda Pollock, ''Avant-Gardes and Partisans Reviewed''. Manchester University, 1996.</ref> In 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. 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. 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. [[Sigmund Freud]] offered a view of subjective states involving an [[unconscious mind]] full of primal impulses and counterbalancing self-imposed restrictions, a view that [[Carl Jung]] would combine with a belief in natural essence to stipulate a [[collective unconscious]] that was full of basic typologies that the conscious mind fought or embraced. Jung's view suggested that people's impulses towards breaking social norms were not the product of childishness or ignorance, but were instead essential to the nature of the human animal, the ideas of Darwin having already introduced the concept of "man, the animal" to the public mind. [[Friedrich Nietzsche]] championed a philosophy in which forces, specifically the '[[Will to power]]', were more important than facts or things. Similarly, the writings of [[Henri Bergson]] championed the vital 'life force' over static conceptions of reality. What united all these writers was a [[romanticism|romantic]] distrust of the Victorian positivism and certainty. Instead they championed, or, in the case of Freud, attempted to explain, irrational thought processes through the lens of rationality and holism. This was connected with the century-long trend to thinking in terms of holistic ideas, which would include an increased interest in the occult, and "the vital force". 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. These "modernist" landmarks include [[Arnold Schoenberg]]'s [[atonal]] ending to his [[String quartets (Schoenberg)|Second String Quartet]] in 1908, the [[expressionism|expressionist]] paintings of [[Wassily Kandinsky]] starting in 1903 and culminating with his first abstract painting and the founding of the [[Der Blaue Reiter|Blue Rider]] group in [[Munich]] in 1911, and the rise of [[cubism]] from the work of [[Picasso]] and [[Georges Braque]] in 1908. 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. All subjective reality was based, according to Freud's ideas, on the play of basic drives and instincts, through which the outside world was perceived. Ernst Mach developed a well-known philosophy of science, often called "positivism", according to which the relations of objects in nature were not guaranteed but only known through a sort of mental shorthand. 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]]. 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. Leading lights within the [[literature|literary]] wing of this movement (or, rather, these movements) include: {{col-begin}} {{col-4}} * [[Rafael Alberti]] * [[Gabriele D'Annunzio]] * [[Guillaume Apollinaire]] * [[Louis Aragon]] * [[Djuna Barnes]] * [[Basil Bunting]] * [[Mário de Sá-Carneiro]] * [[Constantine P. Cavafy]] * [[Jean Cocteau]] * [[Joseph Conrad]] {{col-4}} * [[T. S. Eliot]] * [[Paul Eluard]] * [[William Faulkner]] * [[H.D.]] * [[Hugo von Hofmannsthal]] * [[Max Jacob]] * [[James Joyce]] * [[Franz Kafka]] * [[D. H. Lawrence]] {{col-4}} * [[Wyndham Lewis]] * [[Federico García Lorca]] * [[Marianne Moore]] * [[Robert Musil]] * [[Almada Negreiros]] * [[Fernando Pessoa]] * [[Ezra Pound]] * [[Marcel Proust]] {{col-4}} * [[Pierre Reverdy]] * [[Gertrude Stein]] * [[Wallace Stevens]] * [[Tristan Tzara]] * [[Paul Valéry]] * [[Robert Walser (writer)|Robert Walser]] * [[William Carlos Williams]] * [[Virginia Woolf]] * [[William Butler Yeats]] {{col-end}} Composers such as [[Arnold Schoenberg|Schoenberg]], [[Igor Stravinsky|Stravinsky]], and [[George Antheil]] represent modernism in music. Artists such as [[Gustav Klimt]], [[Picasso]], [[Matisse]], [[Piet Mondrian|Mondrian]], and the movements [[Les Fauves]], [[Cubism]] and the [[Surrealism|Surrealists]] represent various strains of Modernism in the [[visual arts]], while [[architecture|architects]] and [[design]]ers such as [[Le Corbusier]], [[Walter Gropius]], and [[Mies van der Rohe]] brought modernist ideas into everyday [[City|urban]] life. Several figures outside of artistic modernism were influenced by artistic ideas; for example, [[John Maynard Keynes]] was friends with Woolf and other writers of the [[Bloomsbury group]]. === Explosion, 1910–1930 === [[Image:Le guitariste.jpg|thumb|right|350px|[[Pablo Picasso]], ''Le guitariste'', [[1910]], oil on canvas, 100 x 73 cm, [[Musée National d'Art Moderne]], [[Centre Georges Pompidou]], Paris.]] On the eve of the [[World War I|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. In 1913, the year of [[Einstein]]'s first paper on the General [[Theory of Relativity]], [[Niels Bohr]]'s quantized atom, [[Edmund Husserl]]'s ''[[Ideas (Husserl work)|Ideas]]'', [[Ezra Pound]]'s founding of [[Imagism]], and the New York [[Armory Show]], famed [[Russia]]n [[composer]] [[Igor Stravinsky]], working for [[Sergei Diaghilev]] and the [[Ballets Russes]], composed ''[[Rite of Spring]]'' for a ballet, choreographed by [[Vaslav Nijinsky]] that depicted [[human sacrifice]], and young painters such as [[Pablo Picasso]] and [[Henri Matisse]] were 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. These developments began to give a new meaning to what was termed 'Modernism': It embraced disruption, rejecting or moving beyond simple [[realism (arts)|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 in 'progress'. Writers like [[Charles Dickens|Dickens]] and [[Leo Tolstoy|Tolstoy]], painters like [[J. M. W. Turner|Turner]], and musicians like [[Johannes Brahms|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. 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. [[Futurism (art)|Futurism]] exemplifies this trend. In 1909, F.T. Marinetti's first manifesto was published in the Parisian newspaper ''[[Le Figaro]]''; soon afterward a group of painters ([[Giacomo Balla]], [[Umberto Boccioni]], [[Carlo Carrà]], [[Luigi Russolo]], and [[Gino Severini]]) co-signed the [[Futurist Manifesto]]. Modeled on the famous "[[Communist Manifesto]]" of the previous century, such manifestoes put forward ideas that were meant to provoke and to gather followers. Strongly influenced by Bergson and Nietzsche, Futurism was part of the general trend of Modernist rationalization of disruption. Modernist philosophy and art were still viewed as being part, and only a part, of the larger social movement. Artists such as [[Gustav Klimt|Klimt]] and [[Paul Cézanne|Cézanne]], and composers such as [[Gustav Mahler|Mahler]] and [[Richard Strauss]] were "the terrible moderns"&mdash;those farther to the avant-garde were more heard of than heard. Polemics in favour of geometric or purely abstract painting were largely confined to 'little magazines' (like [[The New Age]] in the UK) with tiny circulations. 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. However, the [[World War I|Great War]] and its subsequent events were the cataclysmic upheavals that late 19th century artists such as [[Johannes Brahms|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. Second, the birth of a machine age changed the conditions of life&mdash;machine warfare became a touchstone of the ultimate reality. Finally, the immensely traumatic nature of the experience dashed basic assumptions: Realism seemed to be bankrupt when faced with the fundamentally fantastic nature of trench warfare, as exemplified by books such as [[Erich Maria Remarque]]'s ''[[All Quiet on the Western Front]]''. Moreover, the view that mankind was making slow and steady moral progress came to seem ridiculous in the face of the senseless slaughter of the [[Great War]]. The First World War, at once, fused the harshly mechanical geometric rationality of technology with the nightmarish irrationality of myth. Thus in the 1920s, modernism, which had been such a minority taste before the war, came to define the age. Modernism was seen in Europe in such critical movements as [[Dada]], and then in constructive movements such as [[Surrealism]], as well as in smaller movements such as the [[Bloomsbury Group]]. Each of these "modernisms", as some observers labelled them at the time, stressed new methods to produce new results. Again, Impressionism was a precursor: breaking with the idea of national schools, artists and writers adopted ideas of international movements. Surrealism, [[Cubism]], [[Bauhaus]], and [[Leninism]] are all examples of movements that rapidly found adopters far beyond their original geographic base. [[Image:Spirit of St. Louis.jpg|thumb|250px|Illustration of the [[Spirit of St. Louis]]]] Exhibitions, theatre, cinema, books and buildings all served to cement in the public view the perception that the world was changing. Hostile reaction often followed, as paintings were spat upon, riots organized at the opening of works, and political figures 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 [[automobile|cars]], [[aviation|air travel]], the [[telephone]], and other technological advances. By 1930, modernism had won a place in the establishment, including the political and artistic establishment, although by this time modernism itself had changed. There was a general reaction in the 1920s against the pre-1918 modernism, which emphasized its continuity with a past while rebelling against it, and against the aspects of that period which seemed excessively mannered, irrational, and emotionalistic. The post-World War period, at first, veered either to systematization or nihilism and had, as perhaps its most [[paradigm]]atic movement, [[Dada]]. While some writers attacked the madness of the new modernism, others described it as soulless and mechanistic. Among modernists there were disputes about the importance of the public, the relationship of art to audience, and the role of art in society. Modernism comprised a series of sometimes contradictory responses to the situation as it was understood, and the attempt to wrestle universal principles from it. In the end science and scientific rationality, often taking models from the 18th Century [[Age of Enlightenment|Enlightenment]], came to be seen as the source of logic and stability, while the basic primitive sexual and unconscious drives, along with the seemingly counter-intuitive workings of the new machine age, were taken as the basic emotional substance. From these two poles, no matter how seemingly incompatible, modernists began to fashion a complete [[weltanschauung]] that could encompass every aspect of life. === Second generation, 1930–1945 === 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 day. As modernism gained traction in [[academia]], it was developing a self-conscious theory of its own importance. [[Popular culture]], which was not derived from [[high culture]] but instead from its own realities (particularly [[mass production]]) fueled much modernist innovation. 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. Another strong influence at this time was [[Marxism]]. After the generally primitivistic/irrationalist aspect of pre-World War One Modernism, which for many modernists precluded any attachment to merely political solutions, and the [[neoclassicism]] of the 1920s, as represented most famously by [[T. S. Eliot]] and Igor Stravinsky&mdash;which rejected popular solutions to modern problems&mdash;the rise of [[Fascism]], the [[Great Depression]], and the march to war helped to radicalise a generation. The Russian Revolution was the catalyst to fuse political radicalism and utopianism, with more expressly political stances. [[Bertolt Brecht]], [[W. H. Auden]], [[André Breton]], [[Louis Aragon]] and the philosophers [[Antonio Gramsci|Gramsci]] and [[Walter Benjamin]] are perhaps the most famous exemplars of this Modernist [[Marxism]]. This move to the radical left, however, was neither universal, nor definitional, and there is no particular reason to associate Modernism, fundamentally, with 'the left'. Modernists explicitly of 'the right' include [[Wyndham Lewis]], [[William Butler Yeats]], [[T. S. Eliot]], [[Ezra Pound]], the Dutch author [[Menno ter Braak]] and many others. 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. The speed of communication reserved for the stock brokers of 1890 became part of family life. 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. === After World War II === The Post war period left the capitals of Europe in upheaval with an urgency to economically and physically rebuild and to politically regroup. 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 [[United States|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. The 1940s in [[New York City]] heralded the triumph of American [[Abstract expressionism]], a modernist movement that combined lessons learned from [[Henri Matisse]], [[Pablo Picasso]], [[Surrealism]], [[Joan Miró]], [[Cubism]], [[Fauvism]], and early Modernism via great teachers in America like [[Hans Hofmann]] and [[John D. Graham]]. American artists benefited from the presence of [[Piet Mondrian]], [[Fernand Leger]], [[Max Ernst]] and the [[André Breton]] group, Pierre Matisse's gallery, and [[Peggy Guggenheim]]'s gallery ''[[The Art of This Century]]'', as well as other factors. ==== Pollock and Abstract influences ==== [[Image:No. 5, 1948.jpg|thumb|right|[[Jackson Pollock]], ''[[No. 5, 1948]]'', oil on [[fiberboard]], 244 x 122 cm. (96 x 48 in.), private collection ]] During the late 1940s [[Jackson Pollock]]'s radical approach to painting revolutionized the potential for all [[Contemporary art]] that followed him. To some extent Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like [[Pablo Picasso]]'s innovative reinventions of painting and sculpture near the turn of the century via [[Cubism]] and constructed sculpture, Pollock redefined the way art gets made. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all that came after. Artists realized that Jackson Pollock's process—the placing of unstretched raw [[canvas]] on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially blasted artmaking beyond any prior boundary. Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art. The other [[Abstract expressionists]] followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of Jackson Pollock, [[Willem de Kooning]], [[Franz Kline]], [[Mark Rothko]], [[Philip Guston]], Hans Hofmann, [[Clyfford Still]], [[Barnett Newman]], [[Ad Reinhardt]], [[Peter Voulkos]] and others opened the floodgates to the diversity and scope of all the art that followed them. Rereadings into abstract art, done by art historians such as Linda Nochlin,<ref>Nochlin, Linda, Ch.1 in: ''Women Artists at the Millennium'' (edited by C. Armstrong and C. de Zegher) MIT Press, 2006.</ref> Griselda Pollock <ref>Pollock, Griselda, ''Encounters in the Virtual Feminist Museum: Time, Space and the Archive''. Routledge, 2007.</ref> and Catherine de Zegher <ref>De Zegher, Catherine, and Teicher, Hendel (eds.), ''3 X Abstraction''. New Haven: Yale University Press. 2005.</ref> critically shows, however, that pioneer women artists who have produced major innovations in modern art had been ignored by the official accounts of its history. ==== In the 1960s after abstract expressionism==== {{main|Post-painterly abstraction|Color Field painting|Lyrical Abstraction|Arte Povera|Process Art|Western painting}} In [[Abstract art|abstract painting]] during the 1950s and 1960s several new directions like [[Hard-edge painting]] and other forms of [[Geometric abstraction]], as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical [[avant-garde]] circles. [[Clement Greenberg]] became the voice of ''Post-painterly abstraction;'' by curating an influential exhibition of new painting that toured important art museums throughout the [[United States]] in 1964. [[Color field painting]], [[Hard-edge painting]] and [[Lyrical Abstraction]]<ref>Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November-December 1969, pp.104-113.</ref> emerged as radical new directions. By the late 1960s however, [[Postminimalism]], [[Process Art]] and [[Arte Povera]]<ref>''Movers and Shakers, New York'', "Leaving C&M", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7.</ref> also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via [[Lyrical Abstraction]] and the [[Postminimalist]] movement, and in early [[Conceptual Art]].<ref>''Movers and Shakers, New York'', "Leaving C&M", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7.</ref> 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. [[Nancy Graves]], [[Ronald Davis]], [[Howard Hodgkin]], [[Larry Poons]], [[Jannis Kounellis]], [[Brice Marden]], [[Bruce Nauman]], [[Richard Tuttle]], [[Alan Saret]], [[Walter Darby Bannard]], [[Lynda Benglis]], [[Dan Christensen]], [[Larry Zox]], [[Ronnie Landfield]], [[Eva Hesse]], [[Keith Sonnier]], [[Richard Serra]], [[Sam Gilliam]], [[Mario Merz]], [[Peter Reginato]] were some of the younger artists who emerged during the era of [[Late Modernism|late modernism]] that spawned the heyday of the art of the late 1960s.<ref>Martin, Ann Ray, and Howard Junker. The New Art: It's Way, Way Out, Newsweek [[29 July]] [[1968]]: pp.3,55-63.</ref> ==== Pop Art ==== {{main|Pop Art|Western painting}} [[Image:Roy Lichtenstein Whaam.jpg|thumb|300px|right|[[Roy Lichtenstein]], ''Whaam!'' (1963)]] In 1962 the [[Sidney Janis]] Gallery mounted ''The New Realists'' the first major [[Pop Art]] group exhibition in an uptown art gallery in New York City. [[Sidney Janis]] mounted the exhibition in a 57th Street storefront near his gallery at 15 E. 57th Street. The show sent shockwaves through the [[New York School]] and reverberated worldwide. Earlier in England in 1958 the term "Pop Art" was used by [[Lawrence Alloway]] to describe paintings that celebrated consumerism of the post World War II era. 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. The early works of [[David Hockney]] and the works of [[Richard Hamilton (artist)|Richard Hamilton]] and [[Eduardo Paolozzi]] were considered seminal examples in the movement. While in the downtown scene in [[New York]]'s [[East Village, Manhattan|East Village]] 10th Street galleries artists were formulating an American version of Pop Art. [[Claes Oldenburg]] had his storefront, and the Green Gallery on 57th Street began to show [[Tom Wesselmann]] and [[James Rosenquist]]. Later [[Leo Castelli]] exhibited other American artists, including [[Andy Warhol]] and [[Roy Lichtenstein]] for most of their careers. There is a connection between the radical works of Duchamp and [[Man Ray]], the rebellious Dadaists with a sense of humor, and Pop Artists like Claes Oldenburg, Andy Warhol, and Roy Lichtenstein, whose paintings reproduce the look of [[Benday dots]], a technique used in commercial reproduction. ==== Minimalism ==== {{main|Minimalism|Western painting}} By the early 1960s Minimalism emerged as an abstract movement in art (with roots in [[geometric abstraction]] via [[Malevich]], [[the Bauhaus]] and [[Mondrian]]) which rejected the idea of relational, and subjective painting, the complexity of [[Abstract expressionist]] surfaces, and the emotional [[zeitgeist]] and polemics present in the arena of [[Action painting]]. 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. Depending on the context, minimalism might be construed as a precursor to the postmodern movement. Seen from the perspective of writers who sometimes classify it as a postmodern movement, early minimalism began and succeeded as a modernist movement to yield advanced works, but which partially abandoned this project when a few artists changed direction in favor of the [[anti-form movement]]. In the late 1960s the term [[Postminimalism]] was coined by Robert Pincus-Witten<ref>''Movers and Shakers, New York'', "Leaving C&M", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7.</ref> to describe minimalist derived art which had content and contextual overtones which minimalism rejected, and was applied to the work of [[Eva Hesse]], [[Keith Sonnier]], [[Richard Serra]] and new work by former minimalists [[Robert Smithson]], [[Robert Morris (artist)|Robert Morris]], and [[Sol Lewitt]], and Barry Le Va, and others. Minimalists like [[Donald Judd]], [[Dan Flavin]], [[Carl Andre]], [[Agnes Martin]], [[John McCracken]] and others continued to produce their late modernist paintings and sculpture for the remainder of their careers. In the 1960s the work of the avant-garde Minimalist composers [[La Monte Young]], [[Philip Glass]], [[Steve Reich]], and [[Terry Riley]] also became prominent in the New York art world. Since this time, many artists have embraced minimal or Postminimal styles and the label ''postmodern'', has been attached to them. ==== Collage, Assemblage, Installations ==== {{main|Collage|Assemblage|Installation art}} [[Image:Robert Rauschenberg's untitled 'combine', 1963.jpg|thumb|right|[[Robert Rauschenberg]] ''Untitled Combine,'' 1963]] Related to [[Abstract expressionism]] was the emergence of combined manufactured items, with artist materials, moving away from previous conventions of painting and sculpture. This trend in art is exemplified by the work of Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Pop Art and [[Installation art]], and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. [[Robert Rauschenberg]], [[Jasper Johns]], [[Larry Rivers]], [[John Chamberlain (sculptor)|John Chamberlain]], [[Claes Oldenburg]], [[George Segal (artist)|George Segal]], [[Jim Dine]], and [[Edward Kienholz]] among others were important pioneers of both abstraction and Pop Art; creating new conventions of art-making; they made acceptable in serious contemporary art circles the radical inclusion of unlikely materials as parts of their works of art. Another pioneer of Collage was [[Joseph Cornell]] whose more intimate scaled works were seen as radical; partially because of his personal iconography and partially because of his use of [[found objects]]. ==== Neo-Dada ==== {{main|Neo-Dada}} In the early 20th century [[Marcel Duchamp]] exhibited a urinal as a sculpture. His professed point was to have people look at the urinal as if it were a work of art because he said it was a work of art. He referred to his work as "[[Readymades of Marcel Duchamp|Readymades]]." ''[[Fountain (Duchamp)|Fountain]]'', was a urinal signed with the pseudonym R. Mutt, that shocked the art world in 1917. This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art, other famous examples being [[John Cage]]'s 4' 33", which is four minutes and thirty three seconds of silence, and Rauschenberg's Erased [[De Kooning]] Drawing. 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. Marcel Duchamp famously gave up "art" in favor of chess.[1] Avant-garde composer [[David Tudor]] created a piece, Reunion (1968), written jointly with Lowell Cross that features a chess game, where each move triggers a lighting effect or projection. At the premiere, the game was played between [[John Cage]] and [[Marcel Duchamp]].[2] Another trend in art which can be associated with the term [[Neo-Dada]] is the use of a number of different media together. [[Intermedia]], a term coined by [[Dick Higgins]] and meant to convey new artforms along the lines of Fluxus, [[Concrete Poetry]], [[Found objects]], [[Performance art]], and [[Computer art]]. Higgins was the publisher of the [[Something Else Press]], a Concrete poet, married to artist [[Alison Knowles]] and an admirer of Marcel Duchamp. ==== Performance and happenings ==== {{main|Performance|Happenings}} [[Image:Schneemann-Interior Scroll.gif|thumb|right |[[Carolee Schneemann]], performing her piece ''Interior Scroll'' |160px]] 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 often designed to be the creation of a new art form, combining sculpture, dance, and music or sound, often with audience participation. The works were characterized by the reductive philosophies of minimalism, and the spontaneous improvisation, and expressivity of Abstract expressionism. During the same period—the late 1950s through the mid 1960s—various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in varied specified locations, often incorporating exercises in absurdity, physicality, costuming, spontaneous [[nudity]], and various random or seemingly disconnected acts. [[Allan Kaprow]], [[Claes Oldenburg]], [[Jim Dine]], [[Red Grooms]], and [[Robert Whitman]] among others were notable creators of Happenings. ==== Fluxus ==== {{main|Fluxus}} Fluxus was named and loosely organized in 1962 by [[George Maciunas]] (1931-78), a Lithuanian-born American artist. Fluxus traces its beginnings to [[John Cage]]'s 1957 to 1959 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. Cage's students included Fluxus founding members [[Jackson Mac Low]], [[Al Hansen]], [[George Brecht]] and [[Dick Higgins]]. Fluxus encouraged a do it yourself aesthetic, and valued simplicity over complexity. Like [[Dada]] before it, Fluxus included a strong current of anti-commercialism and an [[anti-art]] sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. === Late period === {{main|Late Modernism}} Artists from many disciplines continue to work in modernist styles into the 21st century. The continuation of [[Abstract expressionism]], [[Color Field painting]], [[Lyrical Abstraction]], [[Geometric abstraction]], [[Minimalism]], [[Abstract Illusionism]], [[Process Art]], [[Pop Art]], [[Postminimalism]], and other late 20th century modernist movements in both painting and sculpture continue through the first decade of the 21st century. At the turn of the 21st century, well-established artists such as [[Sir Anthony Caro]], [[Lucian Freud]], [[Cy Twombly]], [[Robert Rauschenberg]], [[Jasper Johns]], [[Agnes Martin]], [[Al Held]], [[Ellsworth Kelly]], [[Helen Frankenthaler]], [[Frank Stella]], [[Kenneth Noland]], [[Jules Olitski]], [[Claes Oldenburg]], [[Jim Dine]], [[James Rosenquist]], [[Alex Katz]], [[Philip Pearlstein]], and younger artists like [[Brice Marden]], [[Chuck Close]], [[Sam Gilliam]], [[Isaac Witkin]], [[Sean Scully]], [[Elizabeth Murray (born 1940)|Elizabeth Murray]], [[Larry Poons]], [[Richard Serra]], [[Walter Darby Bannard]], [[Larry Zox]], [[Ronnie Landfield]], [[Ronald Davis]], [[Dan Christensen]], [[Joel Shapiro]], [[Tom Otterness]], Joan Snyder, [[Ross Bleckner]], [[Archie Rand]], [[Susan Crile]], and dozens of others continued to produce vital and influential paintings and sculpture. 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. == Goals of the movement == [[Image:Glaspaleis front-west.jpg|thumb|300px|The '[[Glaspaleis|Glass Palace]]' (1935) in the [[Netherlands]] - functional and open]] Many modernists believed that by rejecting tradition they could discover radically new ways of making art. [[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 (See [[Twelve-tone technique]]). Abstract artists, taking as their examples the Impressionists, as well as [[Paul Cézanne]] and [[Edvard Munch]], began with the assumption that [[color]] and [[shape]] formed the essential characteristics of art, not the depiction of the natural world. [[Wassily Kandinsky]], [[Piet Mondrian]], and [[Kazimir Malevich]] all believed in redefining art as the arrangement of pure color. 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 [[materialism|materialist]] to a spiritualist phase of development. [[Image:2004-09-02 1580x2800 chicago IBM building.jpg|left|thumb|175px|Ludwig Mies van der Rohe's [[330 North Wabash]] (formerly IBM Plaza) in [[Chicago]]]] {{main|International Style (architecture)}} Other modernists, especially those involved in design, had more pragmatic views. Modernist architects and designers believed that new technology rendered old styles of building obsolete. [[Le Corbusier]] thought that buildings should function as "[[machine]]s for living in", analogous to [[automobile|cars]], which he saw as machines for traveling in. Just as cars had replaced the [[horse]], so modernist design should reject the old styles and structures inherited from [[Ancient Greece]] or from the [[Middle Ages]]. Following this machine aesthetic, modernist designers typically reject decorative motifs in design, preferring to emphasize the materials used and pure geometrical forms. The [[skyscraper]], such as [[Ludwig Mies van der Rohe]]'s [[Seagram Building]] in [[New York]] (1956&ndash;1958), became the archetypal modernist building. Modernist design of houses and furniture also typically emphasized simplicity and clarity of form, open-plan interiors, and the absence of clutter. Modernism reversed the 19th century relationship of public and private: in the 19th century, public buildings were horizontally expansive for a variety of technical reasons, and private buildings emphasized verticality&mdash;to fit more private space on more and more limited land. Conversely, in the 20th century, public buildings became vertically oriented, and private buildings became organized horizontally. 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. [[Image:Bauhaus Chair Breuer.png|right|thumb|[[Wassily Chair]]]] In other arts such pragmatic considerations were less important. 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. This aspect of modernism has often seemed a reaction to [[consumerism|consumer culture]], which developed in Europe and North America in the late 19th century. Whereas most manufacturers try to make products that will be marketable by appealing to preferences and prejudices, [[high modernism|high modernists]] rejected such consumerist attitudes in order to undermine conventional thinking. The art critic [[Clement Greenberg]] expounded this theory of modernism in his essay ''[[Avant-Garde and Kitsch]]''.<ref>[[Clement Greenberg]], ''Art and Culture,'' Beacon Press, 1961</ref> Greenberg labelled the products of consumer culture "[[kitsch]]", because their design aimed simply to have maximum appeal, with any difficult features removed. For Greenberg, modernism thus formed a reaction against the development of such examples of modern consumer culture as commercial [[popular music]], [[Film|Hollywood]], and [[advertising]]. Greenberg associated this with the revolutionary rejection of [[capitalism]]. Some modernists did see themselves as part of a revolutionary culture&mdash;one that included political [[revolution]]. Others rejected conventional [[politics]] as well as artistic conventions, believing that a revolution of [[political consciousness]] had greater importance than a change in political structures. Many modernists saw themselves as apolitical. Others, such as [[T. S. Eliot]], rejected mass [[popular culture]] from a [[conservatism|conservative]] position. Indeed, one could argue that modernism in literature and art functioned to sustain an [[elitism|elite]] culture which excluded the majority of the population. == Reception and controversy == [[Image:Franz Marc-The fate of the animals-1913.jpg|thumb|right|350px|[[Franz Marc]], ''The fate of the animals'', [[1913]], oil on canvas. Displayed at the exhibition of ''[[Degenerate art|Entartete Kunst]]'' in [[Munich]], [[Nazi Germany]], [[1937]].]] The most controversial aspect of the modern movement was, and remains, its rejection of tradition. Modernism's stress on [[freedom of expression]], experimentation, [[Radicalism (historical)|radicalism]], and [[primitivism]] disregards conventional expectations. 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 [[Consonance and dissonance|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. The [[Soviet Union|Soviet]] [[Communism|Communist]] government rejected modernism after the rise of [[Stalin]] on the grounds of alleged elitism, although it had previously endorsed [[Russian Futurism|Futurism]] and [[Constructivism (art)|Constructivism]]; and the [[Nazism|Nazi]] government in [[Germany]] deemed it [[narcissism|narcissistic]] and nonsensical, as well as "Jewish" and "Negro" (see [[Anti-semitism]]). The Nazis exhibited modernist paintings alongside works by the [[mental illness|mentally ill]] in an exhibition entitled [[Degenerate art]] (Louis A. Sass (Bauer 2004) compares madness, specifically schizophrenia, and modernism in a less fascist manner by noting their shared disjunctive narratives, surreal images, and incoherence). Accusations of "formalism" could lead to the end of a career, or worse. For this reason many modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "[[Canary|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. In fact, modernism flourished mainly in consumer/capitalist societies, despite the fact that its proponents often rejected consumerism itself. However, high modernism began to merge with consumer culture after [[World War II]], especially during the 1960s. In [[United Kingdom|Britain]], a youth [[sub-culture]] even called itself "modernists", though usually shortened to [[Mod (lifestyle)|Mods]], following such representative music groups as [[The Who]] and [[The Kinks]]. The likes of [[Bob Dylan]], [[Serge Gainsbourg]] and [[The Rolling Stones]] combined popular musical traditions with modernist verse, adopting literary devices derived from [[James Joyce]], [[Samuel Beckett]], [[James Thurber]], [[T. S. Eliot]], [[Guillaume Apollinaire]], [[Allen Ginsberg]], and others. [[The Beatles]] developed along similar lines, creating various modernist musical effects on several albums, while musicians such as [[Frank Zappa]], [[Syd Barrett]] and [[Captain Beefheart]] proved even more experimental. Modernist devices also started to appear in popular cinema, and later on in [[music video]]s. 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. 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. Some writers 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, for example, art critic [[Robert Studley Forrest Hughes|Robert Hughes]], postmodernism represents an extension of modernism. "Anti-modern" or "counter-modern" movements seek to emphasize [[holism]], connection and [[spirituality]] as being remedies or antidotes to modernism. Such movements see Modernism as reductionist, and therefore subject to the failure 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'' (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 &mdash; that individual creative expression should conform to the realities of technology. Instead, they argue, individual creativity should make everyday life more emotionally acceptable. In some fields the effects of modernism have remained stronger and more persistent than in others. 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]]). Examples include the [[Museum of Modern Art]] in [[New York]], the [[Tate Modern]] in [[London]], and the [[Centre Pompidou]] in [[Paris]]. These galleries make no distinction between modernist and postmodernist phases, seeing both as developments within 'Modern Art'. ==See also== * [[Modern architecture]] * [[Modernist poetry in English]] * [[Medium specificity]] * [[International style (architecture)]] * [[Late Modernism]] * [[Postmodern art]] * [[Modern furniture]] ==References & Notes == {{Reflist}} * Armstrong, Carol and de Zegher, Catherine (eds.), ''Women Artists as the Millennium'', Cambridge Massachusetts: October Books, MIT Press, 2006. ISBN 978-0-262-01226-3. * Aspray, William & [[Philip Kitcher]], eds., ''History and Philosophy of Modern Mathematics,'' Minnesota Studies in the Philosophy of Science vol XI, Minneapolis: University of Minnesota Press, 1988 * Baker, Houston A., Jr., ''Modernism and the Harlem Renaissance,'' Chicago: University of Chicago Press, 1987 * Berman, Marshall, ''All That Is Solid Melts Into Air: The Experience of Modernity.'' Second ed. London: Penguin, 1988. ISBN 0140109625. * Bradbury, Malcolm, & James McFarlane (eds.), ''Modernism: A Guide to European Literature 1890&ndash;1930 ([[Penguin]] "Penguin Literary Criticism" series, 1978, ISBN 0-14-013832-3). * Brush, Stephen G., ''The History of Modern Science: A Guide to the Second Scientific Revolution, 1800-1950,'' Ames, IO: Iowa State U.P., 1988 * Centre George Pompidou, ''Face a l'Histoire, 1933-1996''. Flammarion, 1996. ISBN 2-85850-898-4. * Crouch, Christopher, ''Modernism in art design and architecture'', New York: St. Martins Press, 2000 * [[William Everdell|Everdell, William R.]], ''The First Moderns: Profiles in the Origins of Twentieth Century Thought,'' Chicago: University of Chicago Press, 1997 * Eysteinsson, Astradur, ''The Concept of Modernism,'' Ithaca, NY: Cornell University Press, 1992 * Hughes, Robert, ''The Shock of the New: Art and the Century of Change'' ([[Gardners Books]], 1991, ISBN 0-500-27582-3). * Kenner, Hugh, ''The Pound Era'' (1971), Berkeley, CA: U. of California Press, 1973 * Kern, Stephen, ''The Culture of Time and Space,'' Cambridge, MA: Harvard U.P., 1983 * Kolocotroni, Vassiliki ''et al'', ed.,''Modernism: An Anthology of Sources and Documents'' (Edinburgh: Edinburgh University Press, 1998). * [[Levenson, Michael]] (ed.), ''The Cambridge Companion to Modernism'' ([[Cambridge University Press]], "Cambridge Companions to Literature" series, 1999, ISBN 0-521-49866-X). * Lewis, Pericles. ''The Cambridge Introduction to Modernism'' (Cambridge: Cambridge University Press, 2007). * Nicholls, Peter, ''Modernisms: A Literary Guide'' (Hampshire and London: Macmillan, 1995). * [[Nikolaus Pevsner|Pevsner, Nikolaus]], ''Pioneers of Modern Design: From William Morris to Walter Gropius'' ([[Yale University Press]], 2005, ISBN 0-300-10571-1). * &mdash;, ''The Sources of Modern Architecture and Design'' ([[Thames & Hudson]], "[[World of Art]]" series, 1985, ISBN 0-500-20072-6). * Pollock, Griselda, ''Generations and Geographies in the Visual Arts''. (Routledge, London, 1996. ISBN 0-415-14128-1) * Pollock, Griselda, and Florence, Penny, ''Looking Back to the Future: Essays by Griselda Pollock from the 1990s''. (New York: G&B New Arts Press, 2001. ISBN 90-5701-132-8) * Sass, Louis A. (1992). ''Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought''. New York: Basic Books. Cited in Bauer, Amy (2004). "Cognition, Constraints, and Conceptual Blends in Modernist Music", in ''The Pleasure of Modernist Music''. ISBN 1-58046-143-3. * Schwartz, Sanford, ''The Matrix of Modernism: Pound, Eliot, and Early Twentieth Century Thought,'' Princeton, NJ: Princeton University Press, 1985 * Van Loo, Sofie (ed.), ''Gorge(l)''. Royal Museum of Fine Art, Antwerp, 2006. ISBN * Weston, Richard, ''Modernism'' ([[Phaidon Press]], 2001, ISBN 0-7148-4099-8). * de Zegher, Catherine, ''Inside the Visible''. (MIT Press, 1996). == External links == {{Wiktionary}} *[http://www.mastersofmodernism.com/?page=Modernism Masters of Modernism] *[http://arts.guardian.co.uk/features/story/0,,1734913,00.html J.G. Ballard on Modernism] *[http://www.haberarts.com/mytime2.htm#modern Modernism: back when it meant something] by [[John Haber]] *[http://www.press.jhu.edu/journals/modernism_modernity/index.html ''Modernism/Modernity''], official publication of the [http://msa.press.jhu.edu/index.html Modernist Studies Association] *[http://vatican.va/holy_father/pius_x/encyclicals/documents/hf_p-x_enc_19070908_pascendi-dominici-gregis_en.html Pope St. Pius X's encyclical ''Pascendi''], in which he defines Modernism as "the synthesis of all heresies". *[http://nmc.loyola.edu/intro/postmod/table.htm Modernism vs. Postmodernism] *[http://modernism.research.yale.edu/ Modernism Lab @ Yale University] {{Modernism}} [[Category:Modernism| ]] [[Category:Art movements]] [[Category:Architectural styles]] [[Category:Modern art| Modernism]] {{Link FA|af}} [[af:Modernisme]] [[ar:حداثوية]] [[be-x-old:Мадэрнізм]] [[bg:Модернизъм]] [[ca:Modernisme]] [[cs:Moderna]] [[da:Modernisme]] [[de:Moderne]] [[et:Modernism]] [[el:Μοντερνισμός]] [[es:Modernismo]] [[eo:Modernismo]] [[fa:نوگرایی]] [[fr:Modernité]] [[gl:Modernismo]] [[id:Modernisme]] [[ia:Modernismo]] [[it:modernismo artistico]] [[he:מודרניזם]] [[ka:მოდერნიზმი]] [[lv:Modernisms]] [[lt:Modernizmas]] [[ml:ആധുനികത]] [[ms:Modenisme]] [[nl:Modernisme]] [[ja:モダニズム]] [[no:Modernisme]] [[oc:Modernisme]] [[pl:Modernizm (sztuka)]] [[pt:Modernismo]] [[ro:Modernism]] [[ru:Модернизм]] [[sr:Модернизам]] [[fi:Modernismi]] [[sv:Modernism]] [[tr:Modernizm]] [[uk:Модернізм]] [[zh:現代主義]]