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From Here to Modernity CCS Mini-programme 3 The Titanic - Photomontage, Stanley Tigerman, 1978, USA Andrea Peach From Here to Modernity CCS Mini-programme 3 Lectures: Monday 1-2pm Stage 2 Seminars: Tuesdays: 9.30-10.30 10.30-11.30 12.00-1.00 Stage 3 Workshops: Thursdays: 10.00-11.00 11.00-12.00 Andrea Peach SB42 SC24 SC24 From Here to Modernity CCS Mini-programme 3 Andrea Peach Assessment: Seminar Participation and Attendance Stage 2 - Written Assignment Submission date: Monday January 9th 2006 Stage 3 - Critical Notebook + Written Assignment Submission date: Friday January 20th 2006 From Here to Modernity CCS Mini-programme 3 Andrea Peach Programme Details to download: • Course programme • Lecture Notes • Assessment Criteria www.studioit.org.uk Course Readings: Outside GP20 and on Academic Reserve Lecture 1: What is and When was MODERNITY ? Modernity and Modernism Modernity and Modernism surrealism expressionism futurism cubism dadaism serialism etc... Modernism Dominant ideology throughout western industrialised world in art, design and architecture for most of the twentieth century Modernity and Modernism The social conditions and experiences that are the effects of modernisation. Technological, economic and political processes associated with the industrial revolution and its aftermath. Forth Bridge under construction c 1888 Glasgow c 1880s William Turner, Steamer in a Snowstorm, 1842 Modernity was a term first used by 19th century French poet and critic Charles Baudelaire to denote the experience of living in the new modern world Baudelaire talked about the ephemeral, the fugitive and contingent aspects of living in the new modern world. Put simply: life seemed to have speeded up All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions are swept away All that is solid melts into air Karl Marx 1848 Modernity: speed and change Modernism: gave form and symbolic expression to the consciousness of modernity Eadweard Muybridge, 1882 Giacomo Balla Girl Running on a Balcony, 1912 Etienne-Jules Marey, 1878 Boulevard Richard-Lenoir, Paris, 1861-3 The dandy, the flaneur, the hero, the stranger all figures invoked to epitomise the experience of modern life. Janet Wolff The Boulevard Montmartre 1870/79 Camille Pissarro, The Boulevard Montmartre at Night, 1897 The law of progress is immortal, just as progress itself is infinite Else Thalemann, Eiffel Tower 1930 André Kertész, Shadows of the Eiffel Tower 1929 Robert Delaunay Eiffel Tower 1910 Robert Delaunay Sun, Tower, Airplane, 1913 Fernand Léger The City, 1919 A modern man registers a hundred times more sensory impressions than an eighteenth century artist Fernand Léger 1914 Paul Citro ën, Metropolis, 1923 Georges Braque Clarinet and Bottle of Rum on a Mantelpiece 1911 Clement Greenberg art critic (1909-1994) Modern art can be related to the changing forms of modern life, even when it does not depict modernity Paul C ézanne, Montagne Sainte Victoire, c 1887 Paul C ézanne, Montagne Sainte Victoire, c 1887 The whole arrangement of my pictures is expressive … Composition is the art of arranging in a decorative manner the various elements at a painter’s disposal for the expression of his feelings. Henri Matisse Henri Matisse, Harmony in Red, 1908 Clement Greenberg Essay: Modernist Painting 1960 Formalism: based on approach which emphasises line, colour, tone, and mass at the expense of the significance of the subject matter Based on theories of Clive Bell and Roger Fry Roger Fry: modern painting as a shift away from imitation (representation) and: “a direct expression of imagined states of consciousness” - 1910 Clive Bell: “Signifcant form” in a work of art will generate an emotional response in the adequately sensitive spectator - 1909 Modernity and Modernism Modern art to me is nothing more than the expression of contemporary aims of the age that we’re living in … It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique. Jackson Pollock 1950 Jackson Pollock, Number 1A 1948, 1948 Andrea Gursky, Los Angeles , 1998 Readings: Frameworks for Modern Art - Jason Gaiger (ed) Chapter 1 ‘Art of the Twentieth Century’ Modernity and Modernism - Paul Wood (pp. 16-27) Modernist Painting - Clement Greenberg (pp. 308-314) When Was Modernism? - Raymond Williams (pp.31-35)