Peter Aspey
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22 Postmodernity is a highly contentious subject. Many theorists have attempted to define the term; Lyotard (1979), stated that postmodernity at its simplest is “incredulity towards all metanarratives.” A metanarrative in a literal sense is a ‘big story’, religion and science being examples of such fantastic metanarratives.
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Postmodernity first acquired prominence in the 1970s within the academic community and is consistently used to describe the current times we live in. It is a convenient umbrella term that is used to describe new directions in a manner of visual arts (postmodernism), social sciences, culture and politics. The postmodern era followed on from the era of modernity, which saw the industrialization of production as a result of huge developments in both science and technology. Berman (1983) described modernity as a time when people looked forwards to a future that was full of promise as a result of advancements in science and spirituality; there was a general belief that eventually there would be answers to the fundamental questions of life through philosophical or scientific enlightenment. They believed that it was just a matter of time. In The Postmodern Condition, Lyotard (1979) attributes these developments as having “altered the game rules for science, literature, and the arts” which ultimately would signal the beginning of a new era of skepticism of everything that came before it known as postmodernism. The first key concept of postmodernity that this paper will analyze is the end of the metanarrative. When writing about Lyotard’s La Condition Postmoderne, Boyne and Rattansi (1990) explain that Lyotard alleges that all grand ideologies of western society, as well as our obsession with ‘ends’ are now defunct as a result of developments in technology and the increasing reliance on rationalization and the power of reason. After the postmodern turn, western people were no longer inspired to live a fulfilling life by ideologies like religion or politics; they became motivated by the conspicuous consumption of goods. This change reflects a shift in the economies of western countries to a more service based economy, as opposed to the manufacturing based economies of earlier centuries.
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The second key concept to be analyzed is postmodernism and the end of art. Crowther (1990) comments on A. Danto’s (1987) argument that in the period between 1904 and 1964 modern art was trying to discover its own purpose, which is accredited to the establishment of more artistic movements in this period than in the last half millennium. All of these movements proposed different definitions of what art was at its purist form, labeling the other movements as not art. Danto claims this search ended in 1964, specifically at Andy Warhol’s Stable Gallery show where he first unveiled his installation Brillo Boxes [see appendices, figure 1.] For Danto this was the definitive end because Warhol’s boxes were practically identical to supermarket purchased Brillo boxes. THE MAJOR FAULT: RADICALS The major fault with the most radical postmodern theorists ideas is that eventually they have to discredit their own ideas because ultimately they are proving something does or doesn’t have meaning. With the end of metanarratives, postmodernists theorized about their replacement with localized narratives as opposed to the behemoth grand narratives that came before. Lyotard characterized these local narratives as being works of art and imagination, which fight back against the universal history prescribed by the grand narratives of modernist history. MINI NARRATIVES MODERNIST HISTORY
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The second key concept to be analyzed is Danto’s (1987) argument that in the perio purpose, which is accredited to the esta half millennium. All of these movement labeling the other movements as not art. Stable Gallery show where he first unvei this was the definitive end because Warh boxes, the installation challenged the qu unambiguous fashion. Danto (Crowther 1 created a demand and a market for art th been discovered; artists could only look Danto’s theory argues that creativity and never been done before, but Crowther (1 an existing style and in turn exposes som everything that ever came before it, allo arts and utilize newer techniques to crea masses. One key feature of postmodernis of images to achieve a new result or a fan In the 1980s the postmodern style reache statements. The postmodernist style wa subversive elements began to disappear
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Postmodernism is like a coll The radical theorists (such as Baudrillard postmodern turn to “divergent trails” thro personal cultu
s postmodernism and the end of art. Crowther (1990) comments on A. od between 1904 and 1964 modern art was trying to discover its own ablishment of more artistic movements in this period than in the last ts proposed different definitions of what art was at its purist form, . Danto claims this search ended in 1964, specifically at Andy Warhol’s iled his installation Brillo Boxes [see appendices, figure 1.] For Danto hol’s boxes were practically identical to supermarket purchased Brillo uestion of what distinguishes art from everyday objects in a brutally 1990 pg. 238) proposes that this sudden breakthrough in modern art hat was innovative and fresh. However now the true essence of art had backwards and retread old ground through pastiche to go forwards. d innovation are terms that can only be attributed to things that have 1990) argues that these labels can also be attained by art that refines mething new of some value. Postmodernism is like a collage made of owing artists to take what they like from previous movements in the ate something that can break the boundaries between high art and the sm within visual culture especially is subversion, the misappropriation ntastic new use for the common people. ed mainstream culture and the decade became known for its vivid style as adopted by the booming consumerist economy and ultimately the r through a cloud of money and fame.
lage of what came before it. d) writing about this new era attributed the ugh “different disciplines and various new ural terrains.”
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Reykjavik It has been shown therefore that postmodernism is a highly contentious subject. This essay has identified the key concepts associated with postmodernism and why it has proven such a problematic term for academics and critics alike. Postmodernism is a recent movement within visual culture, philosophy and politics and it will undoubtedly be subjected to more analysis as the movement progresses through time. concepts identified in this paper were skepticism towards grand narratives. This key concept was based on the fact that they were rendered obsolete by the advancement of technology and science. Second was the end of art, or the end of arts journey to discover what constitutes the label of ‘art’.
III Postmodernity first acquired prominence in the 1970s within the academic community and is consistently used to describe the current times we live in. It is a convenient umbrella term that is used to describe new directions in a manner of visual arts (postmodernism), social sciences, culture and politics. The postmodern era followed on from the era of modernity, which saw the industrialization of production as a result of huge developments in both science and technology. Berman (1983) described modernity as a time when people looked forwards to a future that was full of promise as a result of advancements in science and spirituality; there was a general belief that eventually there would be answers to the fundamental questions of life through philosophical or scientific enlightenment.
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With the end of metanarratives, postmodernists
theorized about their replacement with localized narratives as opposed to the behemoth grand narratives that came before. Lyotard characterized these local narratives as being works of art and imagination, which fight back against the universal history prescribed by the grand narratives of modernist history. The advent of the Internet and social networking has given these mini narratives the ability to span the entire globe, making state borders less relevant than in the early 20th century. Social networking especially has effected visual culture in the 21st century, with sites like Instagram allowing users to share photographs and artwork from mobile devices from anywhere with an internet connection. This change is also reflected in the global brands whose logos are instantly recognized by people living in countries on opposite sides of the planet and the supermarkets that can be found in towns all across the country. The rise of this turbocapitalism has spawned corporations larger than some Countries. The second key concept to be analyzed is postmodernism and the end of art. Crowther (1990) comments on A. Danto’s (1987) argument that in the period between 1904 and 1964 modern art was trying to discover its own purpose, which is accredited to the establishment of more artistic movements in this period than in the last half millennium. All of these movements proposed different definitions of what art was at its purist form, labeling the other movements as not art. Danto claims this search ended in 1964, specifically at Andy Warhol’s Stable Gallery show where he first unveiled his Brillo Boxes.
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Postmodernity first acquired prominence in the 1970s within the academic community and is consistently used to describe the current times we live in. It is a convenient umbrella term that is used to describe new directions in a manner of visual arts (postmodernism), social sciences, culture and politics. The postmodern era followed on from the era of modernity, which saw the industrialization of production as a result of huge developments in both science and technology. Berman (1983) described modernity as a time when people looked forwards to a future that was full of promise as a result of advancements in science and spirituality. There was a general belief that eventually there would be answers to the fundamental questions of life through philosophical or scientific enlightenment. They believed that it was just a matter of time. The old ideologies no longer applied to a life that was entirely relayed through the mass media.
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