Modern Art Vs Expressionism

1536 Words7 Pages
structure of feeling, a set of assumption and practice that clearly marks a number of critiques of the modern project if not a breaking point with the just-past. Architecture claims to have a date for the death of modern architecture, 15th July 1972, in Missouri a prize winning complex of modern blocks of flats that had won awards as ‘modern design’ some 20 years earlier , had to be demolished when it proved to be unsuitable to live in (Plate 6,7). Such an action proclaims the death of International Style of modernist architecture, the end of buildings as machine for living in as suggested by Le Corbusier . Of course it would be wrong from our side to strictly state that what stands before the decade 1960-1970 is modern and what is after is…show more content…
Art is to be understood through the notion of accumulation rather than progress. Brunelleschi in the XIV century invented the linear perspective, to some extent we could conclude that without him we wouldn’t have had all what came after him, we wouldn’t have had Renaissance, we wouldn’t have had Expressionism neither abstractionism. Without pointillism we wouldn’t have had impressionism, and yet we don’t dare to label the process of artistic evolution as progress. Why is so? Because art before being connected is independent, art is gifted of an independent beauty which transcends the epoch it was conceived in, and it is enough to itself. Art survives while history dies. For this reason for instance Michael Cunningham’s novel The Hours is a moment of postmodern art more than a copy of earlier art. The novel echoes Woolf’s Mrs. Dalloway, there is the similar cast of characters, and a similar plot, a woman named Clarissa has to buy flowers for her party, but she is Clarissa Vaughan and she lives in New York at the end of the Twentieth century. The devise Cunningham uses, stream of consciousness, time disorder, events unfolding through the prism of one single day, mirrors that of Woolf, but it is the acknowledge of our finitude what most the novel is concern of. We go back to one of the main claim of Postmodernist theory, the death of the subject and the loss of aura called on board by Benjamin, the unicity of the artistic production, replaced by propaganda, industrial reproduction, repetition of already existing images. I sustain Foucault’s theory but not Benjamin’s. His prophecy didn’t come true, art didn’t lose its aura, in the era of mass reproduction the value of the original is proportional to the availability of the reproduced piece, it is the artist to have lost his aura on behalf of the consumer and his belief that anything
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