The emergence of Modernism dates back to the mid 19th century, a time when there was a search for new ways of expression. Radical changes were not only being made in art but in the industrial revolution, sciences, literature, and philosophy as well. According to The Guerrilla Girls’ Beside Companion to the History of Western Art, modernism can be defined as the combination of several movements including “…impressionism, postimpressionism, fauvism, cubism, futurism, constructivism, dada-ism, surrealism, expressionism, abstract expressionism, etc” (59). In many ways, it was European women artists who emerged and laid the foundation of the limitless boundaries of modernism and post-modernism.
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| Portrait of Marianne von Werefkin 1909 |
During the early 20th century, Abstraction in painting and sculpture developed. It extended the ideas of Impressionism while rejecting its limitations through the use of vivid colors, geometric forms, and unnatural distorted effects in order to express art in a different way. German expressionist painter Gabriele Münter influenced the new aesthetic that was arising and demanded a new relationship between the fine arts and crafts and life. In 1909 her piece Portrait of Marianne von Werefkin, inspired by Russian painter Wassily Kandinsky, she simplified the colors and shapes as she bounded her portraits around “dark contour lines” thus furthering the steps towards “greater abstraction” (Chadwick 255). The importance of Münter's approach to art was her determination to work in a highly original stylized way as opposed to following in the footsteps of her partner, Kandinsky, as he moved more toward pure abstraction and defined it as the "new" art.
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| Couverture 1911 |
Another important abstract European woman artist was Sonia Delaunay. Despite not receiving the appropriate credit for her work (husband Robert Delaunay received most of the recognition during his lifetime), she was able to create unique arrangements taking inspiration from Russian peasants and Cubist paintings alike (which led her to the creation of Couverture 1911). Through her own work, she was able to reform and redefine "surface structure". Her painting Simultaneous Contrasts 1912 displays “…the dynamics of surface design which then became her primary concern” (Chadwick 261). Delaunay taught herself the ability to use her colors freely and in reaction to the static trends of fashion, she designed simultaneous dresses which "...translated the principles of abstraction to and defined modernity for, a broad public" (Chadwick 262). Her contribution to not only art but fashion as well spread quickly as she influenced clothing to be "...a signifier for revolutionary modernism" (Chadwick 262). The importance of Delaunay's innovative-self was that she was able to constantly come up with new ways to reinvent art forms which helped to bridge art and life together.
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| Sonia Delaunay's Dress Redesigned |
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| Simultaneous Contrasts 1912 |
Prevalent since the mid 20th century, Post-Modernism became notable for completely overthrowing modernism. Modernism was the beginning of many new approaches to art and was meant solely for the elite to appreciate and comprehend. Meanwhile, post-modernism was a period of uncertainty which very much included people of all backgrounds and genders to participate in. Post-modernist artists would often raise more questions than answers through their art and sculptures. As a response to modernism’s simple and original pieces, many post-modernist artists began pushing boundaries even further into the unknown, which intentionally circulated a lot of questions that left its participants either in awe or utter confusion.
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| I shop therefore I am 1987 |
Women artists have always contributed to the many themes brought up by post-modernism as it gave them the stage necessary to critique or inform others of even present-day issues such as racism, feminism, sexism, consumerism, etc. using several different art forms. For instance, Barbara Kruger is notable for her 1987 (untitled) piece I shop therefore I am. As stated by Chadwick, "She emphasizes the ways in which language manipulates and undermines the assumption of masculine control over language and viewing..," (382). It was ironically posed to critique her society. Within the short phrase, she calls into question the many flaws of society dealing with gender, culture, politics, and even the economy. Using bold and alarming graphics she is able to grab the attention of her audience in order to pose an idea (or question) about reconsidering the ironic phrase momentarily. Kruger understands the magazine-like effect of her piece is essential in conveying her rebellion against society.
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| Cornered 1989 |
Another influential artist of the post-modernism period is Adrian Piper. She is notable for tackling issues within society dealing with cultural biases and racism. Within her video installation Cornered (1989) she challenges “…unacknowledged or unrecognized racism, while at the same time exposing cultural assumptions about whiteness or blackness…” as she herself is speaking directly to the audience quite literally cornered (Chadwick 396). As a person who identifies as black, Piper then “…interrogates a range of possible viewer responses to this assertion and explores the impact of a history of interracial sexual relations on American beliefs about racial identity” (Chadwick 396). Piper, using a postmodernist approach, raises many questions about society and why it is the way it is and rather than answering all the questions herself, she allows for her audience to think for themselves.
Works Cited:
- Chadwick, Whitney. Women, Art, and Society. Thames & Hudson, 2007.
- Guerrilla Girls, The Guerrilla Girls’ Bedside Companion to the History of Western Art. New York, NY: Penguin Group, 1998.
Links Cited:
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