Saint Ferdinand College

COLLEGE OF CRIMINOLOGY
City of Ilagan, Isabela

“ART APPRECIATION”
Module 10
Lesson 10: Caught in between: Modern and Contemporary Arts
Prepared by: Jamil C. Laddit, LPT

Introduction:
The history of art is one of the most difficult tasks to pin down. As what previous
chapters have shown, significant ideas, canons and tradition, preferences and
dominance of styles, media and mode of production were the definitive
characteristics that segment art history into identifiable periods and movements; identifiable,
but not necessarily precise. It is important to note that the periods and movements of art are
themselves testament to the connection of art and culture in everyday life. As in examined and
analyzed in context, it becomes increasingly apparent that art is not detached from; rather, it is
embedded in the affairs of the society in which it exists. It offers a glimpse as to the beliefs of
specific eras and how these beliefs were translated into how people saw themselves and the
world and how they choose to come into terms with it – all in flux.
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, nut also beyond it.

CAUGHT IN BETWEEN: MODERN AND CONTEMPORARY ART

 Contemporary it is an interpretation of the “present” of “today” or what “now” it also

hinged on the word “art”
Let’s distinguished contemporary and modern art
 Modern and contemporary art are synonymous however, not in the case when these
terms are used in the context of art. They refer to two different periods, approaches, and
functions of art.
 Modern art is becoming increasingly complex, it required an art that could
accommodate such range and breadth.it basically described as “anything goes” between
1860’s to late 1970’s creative’s celebrated the novel opportunities in art, from the
materials to its manipulation and ways of seeing and thinking about art.
 Devotion of artists to a strict narrative was often illustrated in their figurative works,
however, these Artists gave their nod to abstraction.
 Artists were committed to developing a language of their own-original but
representative, meaning the artists drew the world but in his own terms and it was no
wonder that with in this period grew a vast number of different movements.
 Tthe period that ensued was touted contemporary art, compared to the dense
taxonomy of modern art, contemporary art had fewer –isms under its wing . this is due
to the fact that it is still unfolding. Contemporary art can be traced from the 1970s to the
present
There is a reason behind this cut off:
1. 1970s saw the emergence of postmodernism
2. 1970s saw the decline of the clearer identified artistic movements
Social Context:in between Modern and Contemporary Art
 At the beginning of 20th century the social, political, and cultural context continued to
provoke the artist to create.
 The multiplicity of perspectives brought to light a more difficult terrain to map out in
terms of clear and distinct movements because what compelled artists’ works were not
prevailing medium, technique, or style but it was the themes and concerns they
addressed.
 Contemporary art was heavily driven by ideas and theories and the blurring notions of
what is considered as an art. It was the idea that was more important than its visual
articulation
 There were several movements that were caught in between the succession of modern
and contemporary
 Abstract expressionism took the basic tenets of abstraction and combined with it with
gestural techniques, mark-making and a rugged spontaneity in its visual articulation. it
has the ability to convey and elicit emotion.
There are two major styles emerged from abstract expressionism:
1. Action painting-the processed of creation shows physicality,direction and the actions
made the drips and strokes possible 2. Color fields- it emphasizes 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 landscape.

Figure 10.1
Willem de Kooning’s Women III
 In early 1960s onwards creating energy was at the center of “op art” optical art. Op art
relied on creating illusion to inform the experience of art work using colors,patterns,
and other perspective tricks of artist, work under this op art showed a certain kind of
dynamism, other artists expanded their works to include other materials such as nails
Plexiglass and Metal rods
 Figure 10.2
Zebras by Victor Vasarely
 In early 1950s onwards kinetic art arises, components of this artwork are sculptural,
mobiles and motor driven machines.
 Kinetic art was an example of how art and technology can be brought together. Artists
known on this craft were Naum Gabo,Alexander Calder,Jjean Tinguely, Bridget Riley
and Nicolas Schoffe most gained attention kinetic artist is Theo Jansen with his massive
sculptures or beasts .he uses plastic tubes and pvc pipes
 In Japan, during 1950s to 1970s termed gutai were introduced which means embodiment
or concreteness it preceded the later forms of performance and conceptual art
 The goal was not only to explore the materiality of the implements used in the
performance but also to hold a deeper desire to make sense of the relationship between
the body, movements, and the spirit of their interaction during the process of creation.
 The founder of gutai art association or gutai group was Yoshihara Jiro in 1952

Figure 10.3
“Challenge to the mud” by Kazuo Shiraga
 In the early 1960s another movement was intoduced the minimalism (in New York). It
was seen as the extreme type of abstraction that favored geometric shapes , color fields,
and the use of objects and material that had an industrial the sparse.
  Some of the artist of this movements are Agnes martin, Sol Lewitt, Dan Flavin, Carl
Andre
and

Donald Judd

Figure 10.4
Summer by Agnes Martin
 The other movement is pop art which was emerged in 1950s-1960s. One of the most
identifiable and relatable movements in art history
 They turned to commodities designed and made for the masses, particularly drawing
inspiration and material from ads, packaging, comic books, and movie posters and pop
music. Its aim is to elevate popular culture as something as far with fine art. Against,
this pop art uses very banal and low object and subject matters lacking the elevated aura
that other believed art required.

Figure 10.5
Marilyn Monroe by Andy Warhol
  Contemporary art develops the transition of traditional notion of what art is;from
paintings and sculptures to the more experimental formats.
 These include film, photography, video, performance installations, and site specific
works and earth works. Combinations of concepts, subjects, materials, techniques, and
method of creation, experience and even analysis are intact in a contemporary artworks.
 Compared to the other periods it can be argued that contemporary art is the most
socially aware and involved form of art.
Other Contemporary art movements.

Figure10.6
1. Neo-Pop Art (1980)-materials used is ready-made EX.JEFF KOON’S PUPPY
2. Photorealism- drawings and paintings are so immaculate in their precision that it starts
to look like it is photo w/out reference to the artist who created it.
3. Conceptualism-idea and concept is the most important aspect of the work
4. Performance art-related to conceptual art.the heart of this movement is its idea or
message.
5. Installation art-it is immersive considered as site-specific and may be temporary or
ephemeral in nature.

Figure 10.7
“Cadillac Ranch” 1974
6. Earth art or land art-natural environment or specific site or space is transformed, it is
different from environmental art.

Figure 10.8
The Art History Archive

7. Street Art-related to graffiti art as it is a by-product of the rise of graffiti commonly

found in the public sphere.

Figure 10.9
Bansky, “Sweeping it Under the Carpet.” (Hoxton)
For more information visit the link below:

https://www.theartist.me/art/difference-between-modern-and-contemporary-
art/.
References:
 The Human Image in the Arts, Fernandez, 2009, pp. 65-76
 Art Perception and Appreciation, Ortiz et al., 1976, pp. 98-121
 Arts Appreciatin, Caslib,Jr. et al., 2018, pp. 128-143