Easter Break 

RESEARCH FOR ESSAY

I have been reading this book by Damien Hirst and Gordon Burn. I have found it really interesting, not only for the content, which has been giving me insight into the similarities and differences between the work of Hirst and of Duchamp, but also because the layout of the book and the manner in which it is written is very expressive of post-modernism. This has been giving me inspiration as to ideas for my own essay layout, and how it could evolve into a post-modern design.

I have also started fleshing out my essay and doing other readings on Picasso, Duchamp, modernism and post-modernism. 

Easter Break

RESEARCH FOR ESSAY

I believe Shea interprets 'The Fountain' as late-modern as it was too alternative and controversial to be accepted in the early days of Modernism. From this reading, I discovered that Duchamp entered the work to the exhibition under a fake name as a social experiment, which I found really interesting. He entered the work under the name of 'Richard Mutt' along the idea of 'the death of the author'. The artwork was not accepted into the gallery as it was perceived as too inappropriate, immoral and uncomfortable to look at. He photographed the urinal, lighting it in such a way as to replicate the Virgin Mary or Buddha, in order that the audience might question what defines art. 

Although Shea does not directly state, I interpret this a Rhetorical device, which is a key aspect of post-modernism. 

Camfield talks about the work itself in its context before post-modernism. 

From this reading I leaned that the fake name that (supposedly) Duchamp registered the work under (Richard Mutt) was based off the plumbing company Mott, but that he changed it to Mutt because it was too similar (relating to Mutt and Jeff, a popular comic of the time). The fact that Mutt had connotations in the publics mind to the comic provoked the sense that it was a joke. This makes it appear to me more like an art performance, than simply an art piece. 

The two main reasons that people disliked the work were that it was immoral and that it was plagiarism, as he did not make the urinal himself, he just chose the context. 

I also learned more about the significance of the photograph taken by Alfred Stieglitz, in collaboration with Duchamp. Since the work was never allowed to be viewed in the exhibition, as it was voted off by the jury (going against the rules of the gallery itself) it was viewed by the public for the first time in this photograph in the second issue of The Blind Man with some accompany articles that were backing up the work. Not only is the way the photo was taken important, the intimate close up, the eye-level, the tension made by the angle, the light from above lighting it like Buddha, but also the painting that it is infront of. The painting that it sits infront of is Hartley's 1913 painting 'The Warriors' which includes a form that is similar to the form of the fountain, the same form that is used as a frame for Hartley's painting 'Portrait of Berlin'.

Camfield also notes that it is ironic in many ways, including that it is a female-like form used for a male function, and that is is a urinal in an art gallery on a pedestal. It is ambiguous, questions authorship, potentially religious and sexual, and simple. 

The most interesting quote I pulled from this was something that Wood recollected was said by Walter - "a lovely form has been revealed, freed from it's functional purpose." I thought this was particularly interesting, as a key aspect of modernism is that form follows function. The fountain confuses this idea. 

Camfield also discusses how there was debate about the work that the subsided. Which is, to me, an example of emergent ideas being introduced in a non-linear way. It was re-emerged in the 1960s amongst new realism, minimal art, pop art, conceptual art and a continuation of readymade art. 

Loesberg interprets the 'scuplture' as unchronologically post-modern. He believes it challenges the idea of art and introduces the idea that art can go beyond what the artist intended.
He thinks it is important that Duchamp chose a urinal as the readymade object as it brings about the question as to whether a urinal is indecent when used in everyday life, or if it only becomes indecent when put in the context of an art gallery. A quote I thought was interesting was "a urinals connection with that element of our physicality seems to deny it the ability to be aesthetically appreciated".
Another quote I found really interesting was that, at the time, there was the belief that "a joke and art are mutually exclusive".
Loesberg also discusses the discussion the work created about whether or not it was art. Loesberg believes that art is only art if it is perceived to be so, and the recognition of the fountain as art was only important because of it's initial rejection.

Looking at relationships

An example of an artist that provides context to and shows what informed Duchamps work is Pablo Picasso.

Les Demoiselles d'Avignon (1907)

This painting shows abstraction and universality.

An example of an artist which shows the practices that followed Duchamps work, or was informed by his work, is Damien Hirst. 

The Physical Impossibility of Death in the Mind of Someone Living (1991) 

Week Three

PHILLP B. MEGGS - A HISTORY OF GRAPHIC DESIGN (2012)

Massey has an online version of this book which I have been reading. It has been very interesting as it provides an overview of graphic design from 5000 BCE right through to today, and gives insight into the complexities of transition and overlaps between these different stages. It is a reminder that these movements are not simple or linear, linking back to Williams Dominant, Residual and Emergent. This book has forced me to ask questions and look deeper than the surface. Meggs has identified these stages as such:

Bridge to the 20th Century 

• Graphic design and the Industrial Revolution (1760 - 1900)
• The Arts and Crafts Movement and its Heritage (1860 - 1950)
• Art Nouveau (1680 - 1910)
• The Genisis of 20th Century Design (1890 - 1915)

The Modernist Era

• The Influence of Modern Art (1890 - 1940)
• Pictorial Modernism (1890 - 1950)
• A New Language of Form (1900 - 1950)
• The Bauhaus and the New Typography (1910- 1960)
• The Modern Movement in America (1920 - 1960)

The Age of Information

• The International Typographic Style (1930 - 2000)
• The New York School (1930 - 2000)
• Corporate Identity and Visual Symbols (1940 - 1990)
• The Conceptual Image (1950 - 2000)
• Postmodern Design (1960-2000)
• National Visions Within a Global Dialogue (1950 - 2010) 
• The Digital Revolution - And Beyond (1970 - 2010)

A visual representation of the complex nature of history.

Week Three

WHAT IS POST-MODERNISM?

This week, our aim was to read and summarise a reading by Charles Jencks, What is Post-Modernism? It was first given as a paper at a conference in America and Germany in 1985, but the version we are reading is a revised, 1996 edition. 

"Many postmodern paintings, while engaging traditional styles of realism, simultaneously draw attention to their own artifice, to the fact that 'realism' is not real. For a good example, look at the painting on the cover of this book: a 1983 oil on canvas by Carlo Maria Mariani called La Mano Ubbidisce all'Intelleto (The Hand Obeys the Understanding). The figures look quite 'realistic', reminding us of classical Romans with their toga-like drapings and laurel-leaf crowns. But the high seriousness of the subject matter is broken when we notice that the figures are painting each other. This type of humorous playfulness disgusted Modernists, who took very seriously the responsibility of art and genius to elevate culture"
-How Postmodernism Serves (My) Faith: Questioning Truth in Language, Philosophy and Art. Crystal L Downing. (pg 86)  

After my third reading of the text, I wrote up what I believed to be the main points of the reading

• Post-modernism chooses us
• Post-modernism is transcendence 
• Post-modernism is not Anti-modernism
• Post-modernism rejects the totalising arguments of modernism
• Post-modernism is an overlap of co-existing world views 
• Post-modernism has gone beyond the inadequate world view of modernism, without specifying exactly where it is going 

Fragmentation
In comparison to Modernism, post-modernism is a lot more complex, with a lot more ideas overlapping each other.

Charles Jenks 'Evolutionary Tree' is a visual representation of the transition from Modernism to post-modernism. The seemingly straight forward ideas of Modernism become complicated.

Social Relativity
Post-modernism introduced the idea of how we stand relative to others, which complicated the idea of equality.

Jackie Nickerson (born 1960) took photographs of farm workers in South Africa, Malawi and Mozambique, making comparisons between them and considering the relation between her as the photographer, and them.  

Rhetoric
Post-modernism undermined the Modernist idea of 'truth' and the 'total work of art' by making use of the Rhetoric. Making art and design that made people think, to provoke thought and response. This way, the work is not complete until it is perceived by the viewer, and even then it is subjective. This introduction of the 'death of the author' idea is one that undermines the ideas of Modernism completely.

Jenny Holzer (born 1950) creates statements that can be perceived as statements on a number of different issues, a number of different ways. It is precarious, going against the completeness and security of Modernism.

The Incomplete
Also undermining the Modernist ideas of 'the total work of art' is the post-modern idea of incomplete design and art. Post-modernists acknowledge the idea of Whakamarama.

This instalment by Anthony Gormley is incomplete until the audience participates with it, but even then it has a sense of being incomplete. To me, this work shows the idea of Whakamarama, the acknowledgment that no one can have complete knowledge of something, or someone elses position. 

Information
In comparison to the Modernist idea of technology forever advancing society, post-modernists embrace the idea of information, ideas branching off each other, limitlessly. The intangible concept of information is ever changing and growing, but works hand in hand with technology. This is an example of how post-modernism cannot exist without Modernism, as they inform each other.

Barett Lyons visual interpretation of the internet (2010).

Represent
Modernists were obsess with the idea that an objects form should follow its function. Post-modernism starts to create objects that are representative of other things and ideas beyond itself.

The Michael Graves company created some design that was representative of other things, but it is still clear how they are very much informed by modernist design, with their simplicity and geometric forms. 

I also found this interesting when researching Michael Groves. This kettle has many complaints lodged against it as people interpreted it as a representation of Hitler. This could be a reflection of, not only people beginning to make representative art and design, but also that people are starting to look for it and expect it.

End of History
In post-modernism, there may be a sense that Western Capitalism has won, and that there is no more progress to be made.

Historicism and Citation
Where Modernism wanted to disconnect itself from history, post-modernism takes old things, which are iconic or nostalgic, and makes them new. It acknowledges the past without re-creating it.

When asked to design an advertisement for Swatch Watch in the 1980s, Paula Scher based her design off an iconic 1930s Swiss tourism poster. 

Figuration
In contrast to the abstraction of Modernism, which was about reducing things to their most refined geometric shapes and colours. Post-modernism has another take on this - representing things in the form of figures, which is still similar to abstraction.

The Aashi Beer Hall designed by Phillipe Starck, can be seen to represent a flowing, golden flame, contrasting with the solid, black building below it. The building to the left, can be seen to represent a golden pint of beer with foam on the top. This figuration is similar to abstraction, but it is more complex and open to interpretation. 

Regionalism/ Specifity
Undermining the Modernist ideas of Internationalism and Universality, post-modernism creates art and design that comments on or is specific to a certain place or government, acknowledging the differences between people and places which Modernism tried to ignore.

This design by Olivero Toscani (1993), is post-modern, as it comments on specific race issues within the UK, acknowledging differences between places and perceptions. 

Disintegration
Post-modernism looks to break down the ideas of Modernism. It breaks up the pieces of Modernism, but not the whole. Where Modernism was calm and collected, post-modernism had a sense of hanging on the edge, uncertainty.

Gordon Matta - Clark Splitting. Making the splitting of a house into art, embracing destruction and separation.

Wordiness

Where Modernism could be compared to Theology, with its religious-like pursuit of an idealised, Utopian future, post-modernism could be compared to Worldliness. Worldliness is defined as of or relating to this world, as contrasted with heaven or spiritual life. Post-modernism is about right here, right now, in this world, with an uncertain future. 


After looking in-depth at these segments of post-modernism, I re-read the reading and found that Jencks had discussed these ideas in his writing. I then re-wrote my main points as I could understand the reading more. 

• It is important to define the age that we are in so that we can understand ourselves
• Modernism cannot be un-done as it accumulates 
• Post-modernism is less confident in itself than modernism
• Post-modernism chooses us, as it is a natural response to Modernism 
• Post-modernism is simultaneously the continuation of Modernity and its transcendence 
• Post-modernism could not have occurred without Modernism
• Post-modernism rejects the totalising arguments of modernism
• Post-modernism is an overlap of co-existing world views 
• Post-modernism has gone beyond the inadequate world view of modernism, without specifying exactly where it is going 

Week Two 

INITIAL IDEA FOR COMPONENT TWO

For component two of the assignment, I have decided to research Marcel Duchamps Fountain. I have chosen this case study because I think it will contain some interesting complexities that directly relate to the readings we have been doing. I beleive Fountain to be ultimately a post-modern artwork, however, it was created during the early stages of modernism, which make it very radical for the time and also a emergent idea. It is also interesting because a urinal is ultimately a modernist piece of design, the form is dictated by the function, however Duchamp places it in a post-modern context. I think there are some interesting ideas surrounding this that Duchamp himself was probably not aware of. I intend to begin research on this. 

Week Two 

MODERNISM IN DESIGN

This week our aim was to read and summarise Paul Greenhahlgs introduction to Modernism in Design. 

I followed the same process as I did for the last summary, except I found that since this reading was so much longer, I had to split it into sections in order to identify his main points. I also had to watch some videos and documentaries on Modernism in order to put this reading into more context, as I initially had a very limited understanding of Modernism. 

• Modernism became a movement that was able to be analysed with the establishment of post-modernism.
• There were two stages of modernism; the Pioneer phase, and the International phase.
• The 12 theoretic features which characterised Modernism were decompartmentalisation, social morality, truth, the total work of art, technology, function, progress, anti-historicism, abstraction, Internationalism/universality, transformation of the consciousness and theology.
• Post-modernism shone light on the idealistic and romantic nature of modernism, and also recognised some of the contradictions and flaws that existed within it.

Then I re-read the reading and had my first attempt at a summary draft:

In Modernism in Design, Greenhalgh explains that Modernism was not realised as a time-period until the worlds came into a post-modern context. Modernism, he believes, had two stages. Pioneer Modernism, which he describes as a movement away from history and tradition, which developed into International Modernism, a striving for a 'Universal Truth'. He explains how design became dictated by its function and production, and art by its form. Art and design were stripped back to their essential elements. He then explains the flaws and contradictions that existed within Modernism, that were realised with the emergence of Post-Modernism. These include the realisation that there is no 'Universal Truth' as everything is relative, and that in its aim to eliminate difference between people, it was opressing self-identity. 

In class, we worked on defining and unpacking each the 12 tenets of modernism that Greenhalgh identified

Decompartmentalisation 

In the context of the post-war turmoil, there was a desire for harmonic, human-made order. Modernism aimed to break down barriers between aspects of life and create things that were free from association.

A good example of decompartmentalisation is the Schroder house, designer in 1924 by Gerrit Reitveld. The design of the space was flexible, with no heirachy of space, collapsable walls, accessible and designed for ease of use. Each space flows into the next, breaking down the barriers between different segments of living (e.g sleeping, eating). The parts of the house which would get the most dirty are painted black, for practicality. 

Social Morality

The aim of Modernist design was to ultimately improve the conditions of the masses. Design was ordered, simple and functional, designed to be practical for mass-production. It was stripped down to the bare essentials, free from ornaments, and designed to be affordable.

Walter Gropius was a modernist architect. His work demonstrates the way that Modernist design worked towards improving life for the masses, efficiently and affordably. It was rational, functional, organised, and designed for maximum utilisation. 

Truth

Modernism was obsessed with be 'correct' and 'appropriate'. It was built on the Idealist view that there was an ultimate truth, universally applicable to everyone. 

The Total Work of Art

Modernist art and design aimed to create harmonious union. Perfection was perceived to be reached when something had only the bare necessities that it needed to function. Things needed to be long-lasting, inexpensive and sustainable.

Technology

Modernism was enthusiastic about the contributions that new technologies could make to their larger social program. They had confidence that technology made life better for the masses. 

Function

A key part of Modernism was the idea that 'form follows function'. Things were design for ease of use, rather than decoration. Aesthetics became secondary to this larger goal. This created a minimalist, straight forward, industrial aesthetic.

Here is a teapot from the late 19th century to compare to the modernist teapot. This is decorative, and has aesthetic intentions other than ease of use and reproduction. It was designed to be hand-crafted, rather than mass-produced.

This teapot, designed in 1924 by Marianne Brandt (who studied at Bauhaus), is a good example of design being centred around functionality. The design has been reduced down to fundamental geometric forms, designed to be simple, elegant and functional. The simple geometric shapes are also easy to be reproduced for mass production. 

Progress

There was a Modernist confidence that life can and will get better, and a belief that design was an important part of that improvement. They perceived change to be advance.

Anti-Historicism 

Modernism wanted to remove itself from history. It rejected the past and looked forward to a Utopian future. Art and design strived to exist outside of history, without possessing connotations as to where it came from.

This 1925 typography by Herbert Bayer (student and teacher of Bauhaus), is a good example of Modernisms attempt to remove itself from the past. Bayer wanted to move away from medieval script type typography. Instead of having both uppercase and lowercase, as they both make the same sound, he simplified his type down to only lowercase. He wanted to create something minimal and new. 

Abstraction

Modernism rejected older styles and concerns. They pursued ultimate purity. They abstracted things to their essential elements, while retaining the fundamental laws of art and design. One way they did this was by representing an idea simply through colour, which was believed to be a Universal means of communication.

This painting, Homage to the Square: Dissolving/Vanishing (1951) by Josef Albers, is centred around colour and form. This is reflective of the Modernist belief that form and colour can be reduced to their essentials and analysed separately, and that this analysis and understanding would lead to better design. It is an example of the Modernist striving for purity, to find the pure, simple essence of something.

Internationalism/Universality

Modernism rejected the ideas of nationalism, attempting to eliminate difference by seeking an ultimate truth which would transcend national borders and historic styles.

This painting by Piet Mondrian, Composition A, 1923, is an example of how Modernism attempted to achieve a Universal aesthetic language. His paintings are free from association of the outside world.

Transformation of the Consciousness

It was the goal of Modernism to pursue the masses to take on this new, modern consciousness. 

Theology

Modernism was almost religious in the way that people believed in it and followed it, with the belief that they were progressing toward a social Utopia in the future.