Modernism/Post-Modernism - Aaron Gangadin

Cracow, Vanessa Bell

1913

Modernism can be defined by many standards and artists may even describe modernism’s techniques differently than other artists. Modernism captures the essence of the times through many types of art, such as abstraction, cubism, Dadaism and even fashion.  Chadwick mentions that art historians have argued over the meaning of modernism, as well, by saying that, “modernity is more than just a desire to be ‘of the time.’” Furthermore, Chadwick continues to explain that “modernity is both linked to the desire for the new that fashion expresses so well, and culturally tied to the development of a new visual language for the twentieth century abstraction” (p. 253). Chadwick’s quote explains that modernism is based on expressing oneself in the present state, using whatever methods in art available, rather than searching for answers from the past. 

Rhythme, Sonia Delaunay

1938

Fashion was an important art and circumstance that aided women in applying techniques of design and craft to a more modern approach. During the last quarter of the 19^th century, the dress reform occurred. Reforming fashion, particularly women’s fashion, was the top priority for feminists and progressive thinkers. For instance, Chadwick describes the common standard of dress for women and as, “criminal in their manipulation and obstruction of female movement and breathing,” (p.254). While Chadwick describes women’s dress as physically restraining, she may also be hinting at a deeper connection between the choice of women’s clothing and men by using the word “criminal.” Women were always supposed to follow a guideline and held to a standard of dressing for men, no matter how painful the dress may be. On the other hand, men had an easier time selecting their apparel, and little to no painful standard to reach. Chadwick explains that the attack on apparel was more than simply fighting so women can have an easier time fitting into a dress for men. The dress reform indicated a shift of thinking, mainly that clothing was to create an identity of oneself; It meant that women had an opportunity to become more than only someone’s wife or girlfriend (p.254). 

Photograph of the Omega Workshop,

Fitzroy London

 2006

Another important event that aided women in applying the new modernistic approaches to art was the opening of the exhibition known as the Omega Workshops in Fitzroy Square, London 1913. The Omega Workshops were designed to display art in the form of fabrics, furniture, pottery, and other small items that artist would paint, tile, sew, or lacquer. Chadwick claims the Omega Workshop, “became a meeting place for ‘like-minded’ artists…and [it] sought to challenge the Victorian distinction between high and low art, or between art and craft,” (p. 257). Chadwick’s quote shows that there were places to display art, but many people still judged the art based on the artist or her status. For example, in the Victorian period, art was only a profession that men, and few women, could pursue. Men could train to become artists, while women would be allowed to practice. Those who had higher status, usually men, created art that was considered high art, while women who were not married, or practiced art full-time, created low art. Furthermore, the terms art and craft were not gender neutral in the Victorian period nor the early 20^th century. Art was directed toward the creations, usually paintings, by men, and crafts, usually household appliances like quilts, were directed toward women. The Omega Workshop sought to blur or completely erase the lines between high art and low art, and have people focus only on the art itself and not who created it.

Noon, Lee Krasner 

1947

Shadow Play, Bridget Riley

1990

Postmodernism is the opposite to modernism; Postmodernism generally began in the mid- 20^th century and it places an emphasis on skepticism and the rejection of ideologies. The feminist movement in the arts is a major movement occurring during the post-modernism period. The movement is defined as the reflection of women’s social and political consciousness. For instance, Chadwick states that the movement challenged, “patriarchal assumptions about ideologies of ‘art’ and ‘artist’,” through its constant questioning of the topic (p.344). Constantly bringing to light a topic as controversial as the oppression of women in art, creates two sides for the issue. One side will agree with the feminist movement and further question the previous patriarchal ideologies by publicly speaking against it or crating feminist art. The other side will claim that gender roles are irrelevant in the creation of art (Chadwick 345). In my opinion, gender has a tremendous role in art. Having one’s art criticized simply for one’s gender demeans and dampers all art. Thus, pretending that gender is irrelevant in the creation of art is the first problem that needs to be solved and bringing it to light is the first step towards a solution.  

- Aaron Gangadin

Works Cited:
Chadwick, Whitney. Women, Art, and Society. 5th edition, Thames & Hudson, October 12, 2012