9 Caught in Between: Modern and
Contemporary Art
The history of artis one of the most difficult tasks to pin down. As what previous
chapters have shown, significant ideas, canons and
dominance of styles, media, and mode of production wer
that segment art history into identifiable periods and movers
necessarily precise. Its important to note that the periods and movements of art are
themselves testament to the connection of art and inthe everyday life. As it
is examined and analyzed in context, it becomes increasingly apparent that art is not
detached from; rather, itis embedded in the affairs of the society in which it exists. It
offers a glimpse as fo the beliefs of specific eras and how these beliefs were transiated
into how people saw themselves and the world and how they chose to come into terms
with it—all in flux
fable, but not
This lesson attempts to provide a glimpse of contemporary art and how it was
‘understood, defined, and represented, not only within the bounds of the art world, but
also beyond it
See
Let's Get Started
Back-Track: Pop Art
Pop art as a movement drew inspiration, sources, and even materials from
‘commercial culture, making it one of the most identifable and relatable movements
inatt history,
Based on what you kn
‘you think will be a good insy
an artwork. Describe how you will make use of this item and what your concept is
bbehind the work. Explain the selection in class.
‘about pop art, select one item from your bag that
Let's Get Down to Business
Defining the Contemporary
The term “contemporary” seems simple and
Worward enough to define.
There is this assumption that it need not be asked:
her, that it must already be
complexity of defining the te
Views on the interpret
these are often ideas
hinged on the word “a
of “today,” or what the “now” means—
rd contemporary. Even more so, is when itis
becomes a bit fuzzy
1291
ra
There are museums, for example, that include name of artists, art forms, oF
artworks in their institution's name, but seem to champion works that arguably fall
under an earlier period. For example, the Institute of Contemporary Art in London
which was founded in 1947 includes in its mandate “the promotion of art that came to
be from that year onwards.” Clearly the timeline is abit skewe
the assumption is that
Museum of
rolling basis and was placed under the
Contemporary Art
30
Cui
Another source of confusion is the fact the
“contemporary” are considered synonymous,
these terms are used i
the context of art. Thoroin, they
by dite
that art served. To better make sense of contemporary art, perhaps itis be:
back to its predecessor, modern art.
‘Modem art saw the digression of artists away from past conventions and traditions
land toward freedom, There is the famous adage of ‘anything goes.
‘becoming increasingly complex, itrequired an art that could accommodate:
‘opportunities in art, from the my
they were engaged in. This period saw
Ing with the encouraging environment made
and px
language of thi
drew the
has been estab)
unfolding
Effectively, this period can be traced from the 1970s to the present. There is a
reason behind this cutoff. The cutoff was hinged
1. The 1970:
that whate
the emergence of “postmod
lowed was s
2. The 1970s saw the decline of the clearer identiied artistic movements.
In Between Modem and Contemporary Art
Reaping the benefits and drawbacks of the dramatic changes that occurred at the
beginning of the twentieth century, the social, politcal, and cultural context led
to provoke the artist to create, There is a potent source of reference for his works so
1
31that he may continue to question the existing and emergent values of society. This
‘multiplicity of perspectives brought to light a more diffic
of clear and distinct movements because what compelled artists’ works were not
prevailing medium, technique, or style; rather, it was the themes and concems they
‘addressed. And the conversation was no longer limited to geographic locales, but
became increasingly a global conversation
“Ast may be spoil for choice. In a world where nothing is seasonal
‘any more, there is no home base from which to opers
can be seen as responding to a number
structures of means and techniques, si
within society. Typically none is resolved.” (Tam
more widely understood as
)
Contemporary art was heavily driven by ideas and theories, and the even the
blurring of notions of what is and can be considered as “ar.” wth the involvement of
television, photography, cinema, digital technology, performance, and even objects of
the everyday. Itwas the idea that was more important than its visual articulation,
There were several art movements that were caught in between the succession
of modern and contemporary art. These movements laid the groundwork for the
transition into contemporaneity. Reeling after the war, one of the early movements
‘was abstract expressionism (early 1940s to mid-1960s) which took the basic tenets of
snniques, mark-making, and a rugged
those residing in the subconscious. Two major
painting and color fields. Action painting underscored the process of creation in that
it showed the physicality, direction and most offen, the spontaneity of the actions that
made the drips and strokes possible. On the other hand, color fields emphasized
the emotional power of colors. From the vivid demarcations to the more toned-down
transitions, these bands of color were akin to the effect of landscapes.
Creating energy was at the center of “op art” or optical art (early 1960s onward).
‘Much like what was discussed in the lesson on elements of at that dimension can be
implied even on a two-dimensional surface or plane, op art relied on creating an illusion
toinform the experience ofthe artwork using color, pattern, and other perspective tricks
that artists had on their sleeves. From making it seem like a section was protruding
‘out or receded in the background, to creating movement, works under this movement
showed a certain kind of dynamism. It inspired several artists in diferent countries
to create their own iteration of op art: Hungarian artist Victor Vasarely, British artists
Bridget Riley and Peter Sedgley, American Richard Anuszkiowicz, and Israeli Yaacov
132
‘Agar. Other artists expanded their works to include other materials such as nails,
plexiglass, and metal rods, including Jesus Soto, Guenther Uecker, Enrico Castellani,
and Carlos Cruz-Diez
The quest for actual movement in the works created were responded to by
kinetic art (early 1950s onward). Hamessing the current and direction of the wind,
‘components of the artwork which was predominantly sculptural, most were mobiles
{and even motor-driven machines, was an example of how art and technology can be
brought together. Atists known for creating kinetic art were Naum Gabo, Alexander
Calder, Jean Tinguely, Bridget Riley, and Nicolas Schoffer. One of the mi
kinetic artist to gain attention is Theo Jansen with his massive sculptures or
he likes to refer to them. Using plastic tubes and PVC pipes, he has created several
lite forms that took over the seaside.
{In Japan during the
sense of dynamism were
platforms that were grounded on movement and
‘and conceptual art. The goal was not only to explore the materiality ofthe implements
used in the performance, but also to hold a deeper desire to make sense
relationship that
ting. The founder of the
152. Other known gutai
ra, Murakami Saburo, and
Gutai Art Association or Gutai Group wi
artists were Tanaka Atsuko, Saburé Murakami, Kanay
Shozo Shimamoto. Enited “Challenge to the Mud” {azo Shiraga utilized his
body, writhing in a pile of mud. The shapes formed, and the state of the mud were left
{8 is after his performance, and was kept as part of the exhibition as a kind of action-
painting. This is one the most important examples of gutai,
nnimalism which cropped up in the early 1960s in
New York, and saw artists the boundaries of various media. It was seen as an
extreme type of red geo
objects and materials that had an “industri
Another movement
“The new art favored the cool over the ‘dramatic: their sculptures were:
frequently fabricated from industrial materials and emphasized anonymity over
the expressive excess of Abstract Expressionism. Painters and sculptors avoided
‘overt symbolism and emotional content, but instead called attention to the
materiality of the works.” (Wolf n.d.)
‘Another assumption was that its subtext was deference
Presented as itself, without ions or embellishments. It also had a very utopic
‘ura about it, Some of the key figures in this movement were Agnes Martin, Robert
Morris, Sol LeWitt, Dan Flavin, Carl Andre, and Donald Juda.
1. a8 a thing was
133ites designed and made for
3 and material from ads, packaging, comic
‘books, movies and mi and pop music. The aim was to also elevate popular
culture as something at par with fine art. A defining feature was the discussions on the
hierarchy (and divide between) of “high culture” and “low culture" “fine art” and “iow
art”
The following was an excerpt from a letter written by Richard Hamiton, a pop
atst, addressed to his friends Peter and Alison Smithson
watched, heard, and read! Hence, th
the masses, particulary d
“Pop artis: popular (designed for a mass audience), transient (short-term
solution), expendable (easily forgotten), low cost, mass produced, young (aimed
at youth), witty, sexy, gimmicky, glamorous, big business.” (Hamilton, 1957)
Perhaps, one of the most
banal and “low” objects and
ical statements against pop art was its use of very
1 elevated aura that other
to the life it purportedly talked about. Some of
pop art is Andy Warhol, James Rosenquist, Claes Oldenburg, Richard Hamilton, Tom
Wesselman, Ed Ruscha and Roy Lichtenstein, with a number of them coming from
careers in the commercial art as illustrators, graphic designers, and even
painters. Its because of this that their works had a seamless quality about it,
But perhaps the most pertinent movement that solidified the move to contemporary
art was postmodernism. By the very name, it was a nudge to formalize
included conceptual art, neo-expressionism, feminist art, and the Young British
Atists of the 1990s, among others,
Grounded on skepticism aboutideals and grand narratives, itwas rootedin analytic
philosophy during the mid- to late twentieth century, which highlighted the importance
of individual experience and was often steeped in complexity and contradiction. AS
an upshot, formerly established rules, barriers, and distinctions were abolished. In a
134
‘creativity was in its most free—with an “anything goes” disposition,
nly taste but also former sensibilities and styles, Their awareness of
them to copy or be governed by them, but to borrow, ertique, and
heads. During this time, some of the guiding principles were the:
‘and even interdisciplinary tis important to note that
there were attempts to overturn the notion that all progress was postive, the hierarchy
that art has @ definitive goal. In relation to the last one, one emergent
INderscored in the experience and engagement with art and that was
viewer. Here, the idea of the sole authorship of the artist is put
isthe intention of the artist during the time of creation—the end-all
'@ appreciation of work because it is where the sole meaning lie—is
‘Some of the sub-movements under this broad umbrella were minimalism,
Conceptual art. video art, performance ar, installation art, and even feminist art
Although they were widely accepted and recognized to be formal movements during
the 1970s, they were in fact already in existence as early as the 1920s,
Contemporary Art
We can observe that there were overlaps with the acceptance and practice of
these movements, They were not only overlapping with each other, but they were
embedded in a social order that was in fact somewhat "disor
‘works, and earth works. Even these for
‘and dynamic, and otherwise “unheard of
techniques, and methods of creat
cther periods, it can be argued
involved form of art. The subject matt
heated, and even controver
Other Contemporary Art Movements
‘Neo-Pop Art
In the 1960s, there was a renewed interest in pop art specifically to Andy
Warhol's works and his contemporaries. What made Im pop art was,
that it appropriated some of the first ideas of Dada in which ready-made materials
‘were used for the artwork. Dada was a movement that was very much against the
1351 i, often using popular c1
le , Madonna, and Michael Jackson, among many others,
Some of the artists involved in the revival of pop art was K;
Edwards, Jeff Koons, Keith Haring, Mark Kostabi, and Damien
Compared to their predecessors, they were more front abou
the world through the works.
Figure 18. set oe
In Koon's "Puppy." he
sculptural work—a_ giant
\d banality: lowers, a puppy (West High
cards, and Chia pets. This work articulates his expl
‘exist between the mass or popular and the elite culture,
Photorealism
RE SERoG
(0 real life, conceptualism
y. This movement also brought to the fore.
‘as museums and galleries where works
F conceptual artists are Jenny Holzer.
st, and Al Wei We
conceptual
work. When an a
the idea or concept
1967)
Performance Art
Performance artis
how a specific context is made in
fleshed out
Installation Art
Yayoi Kusama, and Dale Chihuly.Pi LT TTT TTT TER
i
‘An example of a public installation art is the "Cadillac Ranch,” comprised of 10
Cadillacs of different models ranging from 1949 to 1964. Buried nose-
tant from each other and forming @
From its original site along Interstate 40, it was moved in 1997 to its new spot two mi
westward along the interstate, The cars underwent several changes, from the frst time.
fed as a kind or 2 spin-off of installation art, earth art (or
1e natural environment or a specific site or space is transformed
lervention into a specific landscape or terrain, Earth
art in a sense that it does not focus on the subject.
landscape manipulation and the
rom the ground or vegetation (rocks or twigs). Artists
visto, Richard Long, Andy Goldsworthy,
and Jeanne-Claude.
138
Street Art
This art movement is related to gr
in the 1980s. Artworks
‘out of common objects and
mmonly found in the public sphere, various
People who have access to them have formed the impression and perception of the
These works operate underi
and do not enjoy the invigilated en
tances since they are unsanctioned
‘open space, there are no governing rules in
interaction. Known street art
Basquiat, Keith Har and Banksy. Banksy's popular
by the creation of a
Figure 20 Banksy. “Seep Under he Carpet" Hoxton)
Let's Wrap It Up
‘Some of the artists and movements discussed are examples.
h array of
century is steeped
though some of the movements discussed may have
being practiced, new artists with their own cr
9 art are changing the landscape once again.
surprising if in the future, art
diverse movements that attempt to come into terms with himself, society, and the
World in which he lives,
139Let's Work on This
‘To check your understanding of the lesson, answer the following essay
‘questions:
1. What do you think are the most important contrib
art as a period and the numerous movements und
today?
contemporary
the lives of men
2. Out ofall the movements mentioned and discussed," what do you think
are no longer relevant nowadays?
Let's Make it Happen
With the different art movements across history, what do you think does the
future hold for art and art production? Looking into the next 20 years, what do you
think are the new trends that wil emerge?
‘Create your own art movement and describe its main tenets. Give ita name.
What does this movement attempt to do? What are the concems or questions |
ill t attempt to answer? Imagine what kind of materials/media and techniques wil
be used to create and realize the concepts behind artists’ works. Write your answers
in the space provided on the next page.
140
References
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Guggenheim. (n.d). “Dada.” Accessed December 10, 2017. Retrieved from hit
\worw.quagenheim.orglartworkimovementiDada
Hamilton, R. (1982). Collected Words: 1953-1982. London: Thames and Hudson.
. S. (2017). “Postmodem Art Definition Overview and Analysis.” In The Art
Stony: Modern Art Insight. Accessed November 3, 2017. Retrieved from http://
‘nw theartstory orgidefinition-postmodernism him.
Pantelic,K. (2016). “What Is Contemporary Art and How Can We Define It Today?" In
Widewails. Accessed November 3, 2017. Retrieved from https:/iwww.widewalls,
‘chiwhat-is-contemporary-att
Richman-Abdou, K. (2017). “Art History: What Is Contemporary Art?" In My Modern
‘Met, Accessed May 11, 2017. Retrieved from http:/imymodernmet. comiwhat is
‘contemporary-art-definition/,
Smith, S. (2014). “Forty Years of the Cadillac Ranch.” In Texas Monthly. Accessed
November 13, 2017. Retrieved from https:/hwww.texasmonthly. comitravelforty:
years-of-he-cadilac-ranchy
Tamplin, R. (Ed). (1991). The Arts: A History of Expression in the 20th Century.
England: Harrap Ltd
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