Modernism and Post Modernism

Modernism refers to the era during the late 19^th and early 20^th century during which art found a new representation and reflection of life. In other words, “The new aesthetic demanded a new relationship between art and life, a sanctioning of the present, and a merging of the fine arts and crafts” (Chadwick 253). It was an era of various movements that reformed the way life was reflected and brought together the fine arts with tangible crafts. This era included movements such as impressionism, cubism, futurism, constructivism, dada-ism, surrealism, expressionism, and abstract expressionism. A main point to note when it comes to Feminist Art Modernism is that it strived to spark of growth of the feminist voice in the art field, and attack any resistance towards women’s progressions and equality. The treatment, or rather mistreatment of women was to become clearer than ever in this era.

Women artists in Europe played a critical role in influencing the techniques and development of modernism. France and England, in particular played an important role. “The work of Vanessa Bell, Roger Fry, Duncan Grant, Wyndham Lewis, and others associated with Fry’s Omega Workshops was equally concerned with fusing a pictorial language derived from the decorative arts with a new content associated with the formal lessons Fry deduced from Post-Impressionism” (Chadwick 256). These workshops became incredibly important in that it provided a medium through which artists were able to explore decorative, sculptive, crafty art forms. “Their innovative significance lay in the fact that they were modeled on haute couture fashion experiments in Paris and, like the Arts and Crafts movement in the previous century, they sought to challenge the Victorian distinction between high and low art, or between art and craft” (Chadwick 257).

The Tub by Vanessa Bell, 1917

Cracow by Vanessa Bell, 1913

Abstract art forms can be seen in Cracow by Vanessa Bell. Evidently, Bell had rejected the Victorian narrative painting forms to explore new, bold forms. She turned to abstraction using unique brush strokes. Her abstract work was later used in fashion designs, as well, creating abstract forms and textiles on fabrics. Some say that her tragic life influenced her wild and innovative artistic personality. Furthermore, as can be seen by The Tub, Bell uses many forms of styles adapted from Picasso. She exhibits an energetic and bold brush stroke pattern as well as a vibrant use of colors. In this work, Vanessa Bell exhibits a woman who seems to be shamefully covering her body while doing her hair. This brings back the image of the woman being the subject and objectified based on the male gaze. In other words, the subject in this painting reacts to her nudity in a shameful way, acting as the subject, knowing that she will have upon her the males’ gaze. Vanessa Bell’s work was exhibited in the London and Paris exhibitions, where it gained much attention and was able to influence many artists and designers.

Couverture by Sonia Delaunay, 1911

In addition, Sonia Delaunay, a Russian artist who moved to Paris in 1905 “synthesized Post-Impressionism, early Matisse, and Russian folk art in paintings” (Chadwick 260). Sonia Delaunay, still incorporating Russian peasant designs and folk culture, moved away from painting and explored modernity. She came out with her first “completely abstract work… a piece quilt influenced by Russian peasants’ designs” in 1911, called Couverture. Her work displayed her knowledge of early Cubist paintings and later initiated her to explore different textiles, embroideries, surface textures, and colors. Her husband, Robert Delaunay, believed that “it was through textiles that [Sonia] Delaunay learned to use color freely” (Chadwick 262). Her work also influenced many feminist artists of her time and later to come.

As the era of modernism continued, the representation of the female body found a new wave of expression. Artists such as Georgia O’Keeffe, Emily Carr, Frida Kahlo, Leonor Fini, and more played an important role in the development of the modernist approach to representing the female body. “Marginalized in the aesthetic and political debates swirling around modern art movements in the early decades of the twentieth century, many women turned to the female body as the primary subject of a woman’s experience” (Chadwick 282).

The Blue Room by Suzanne Valadon, 1923

One specific artist that sticks out in my mind is SuzanneValadon. Her artwork called The Blue Room, released in 1923 tackles the male gaze from every corner. She represented the female body, not as a nude, gentle, lavish figure that was controlled by the male gaze. Instead she gave her subjects control of their own. This is quite evident with the cigarette that Suzanne Valadon chose to place in her subject’s mouth. Also, the subject is clothed instead of painted in nudity like the art that was dominating Western art at the time. Furthermore, Valadon “placed her figures in specific domestic settings, surrounding them with images of domesticity and community…” (Chadwick 285).

The Broken Column by Frida Kahlo, 1944

Moreover, Frida Kahlo exhibits surrealist paintings that expressed the realities of her life. Her paintings expressed her tragedies and deepest emotions, embedded in her unconscious mind. She quite literally painted her feelings. With her multiple miscarriages, cheating husband, physical trauma and injuries, she expressed her pain and experiences through art. A prime example of this artwork is The Broken Column in 1944. She paints herself with tears streaming down her eyes, yet a stern face. Her body is exposed and trapped inside a cast or brace like mechanism. Also, her spine is a broken column and her body is pinned by nails. This artwork, especially, incorporates Kahlo’s pain and sufferings.

Moving towards Post-Modernism, which both adapts as well as rejects some modernist ideologies, we see feminist artists questioning many narratives that were encouraged during the modernism period. Post modernism allowed the viewer to give meaning to a piece of artwork instead of the artist releasing a piece of artwork for the sole purpose of spreading a message. Post modernism focused on artist authenticity and viewer personalization.

Furthermore, Post Modernism movements demanded that women receive the credit for their works. Not only that, but it also demanded that women artists be portrayed in exhibits and museums. It was a time for change, and a time to deter the male dominance in art fields.

 

Untitled (Your Gaze Hits The Side Of My Face) by Barbara Kruger, 1981

Speaking of male dominance and the inferior attributes opposed on women, Post Modernism attacked such notions. Artists such as Barbara Kruger used texts in her artwork as a means to “destabilize the positioning of woman as object. She emphasizes the ways in which language manipulated and undermines the assumption of masculine control over language and viewing, by refusing to complete the cycle of meaning, and by shifting pronouns in order to expose the positioning of woman as ‘other’” (Chadwick 382). This notion of disposing of or attacking the objectification of women through male perceptions can be seen quite vividly in Barbara Kruger’s Untitled piece, released in 1981. This artwork challenges the male gaze in that is assumes and confronts the masculine role of the spectator, using words. The stern gaze of the statue and the phrase “your gaze hits the side of my face” shows that women no longer are allowing themselves to be objectified or perceived through the views of men. It presents the male gaze as irrelevant.

By,
Tanvi Singh

Works Cited:

“Postmodern Art - Modern Art Terms and Concepts.” The Art Story, www.theartstory.org/definition-postmodernism.htm.

Chadwick, Whitney. Women, Art, and Society. Thames & Hudson, 2007.