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.You have to19 read them over and over. But critically, he said, with an engaging20 alertness. Still reading them , I said.10 [My italic.]2122 I hope you might now see part of my purpose in including the23 short art fictions at the beginnings of Chapters 2 6, and bleeding24 the italic I used to denote their fictional status into the beginning of25 this Conclusion.These were intended to draw attention to the narra-26 tive conventions always active in art criticism and art history, and to27 suggest imagined worlds beyond these fixed discursive forms that attain28 authority sometimes against the wishes of the authors themselves in29 institutions such as universities and museums.The best of contempo-30 rary art and the best of contemporary art writing continues to point to31 conventions and examines their predominance: Sherman continues this32 practice, then, across the divide that supposedly separates modernism33 from that which came after it.I now turn to the question of how that34 afterlife has been understood.353637 Modern to postmodern3839 [Cindy Sherman s].photographs depict seemingly different40 women drawn from many walks of life.It takes a little while to1 realize, with a certain shock, that these are portraits of the same196 CONCL USI ON1 woman in different guises.The.insistence upon the plastic-2 ity of human personality through the malleability of appearances3 and surfaces is striking, as is the self-referential positioning of the4 author.as subject.Cindy Sherman is considered a major fig-5 ure now in the postmodern movement.1167 The most viable sections of the Fontana [steel] plant were.8 sold off.to a consortium that included a Long Island busi-9 nessman, Japan s giant Kawasaki Steel, and Brazil s Campanhia10 Vale Rio Doce Ltd.In a mind-bending demonstration of how the11 new globalized economy works, California Steel Industries (as the12 consortium calls itself) employs a deunionized remnant of the Kaiser13 workforce under Japanese and British supervision to roll and fabri-14 cate steel slabs imported from Brazil to compete in the local market15 against Korean imports.Derelict Eagle Mountain, whose iron ores16 are 5,000 miles closer to Fontana than Brazil s, has meanwhile been17 proposed as a giant dump for the non-degradable solid waste being18 produced by the burgeoning suburbia of the inland empire.121920 Over the past twenty years, since the term postmodernism21 achieved a relatively wide currency though mainly still inside academic22 debate and the publishing industry it has been used rather more to23 refer to cultural and artistic artefacts, practices, events, and develop-24 ments than to explain the character of broader contemporary economic25 and social structures or transformations.Since the mid-1990s, however,26 the term has had to compete with at least two others globalization27 and the postcolonial that have been used to designate wholesale28 change within the organization of societies and relations between nation-29 states, regions, and continents.13 On the whole, changes in artistic30 forms and practices deemed to be postmodernist were welcomed31 and celebrated as evidence of release from previously constraining32 modernist codes and conventions, and held to be demonstrative of33 continuing innovation and creativity in the cultural sphere.This34 contrasts sharply with the connotations of both globalization and post-35 colonial which, although still suggesting liberation from inherited forms36 of social order and political oppression restrictive or imposed national37 identities and direct forms of imperial domination now also imply a38 generalization across the world of new insecurities based on, for39 example, the threat of terrorist attack and subtler, more insidious forms40 of economic and cultural subordination to predominant international1 forces and organizations.197 CONCLUSI ON1 Conventionally understood, postmodernism has become the name2 for forms of expression and representation in culture literary and3 philosophical, as well as visual arts-based which draw their resources4 eclectically from a wide range of contemporary as well as historical5 sources, using narrative and allegorical forms, mobilizing and mixing6 motifs and media from virtually any pre-existing artistic or discursive7 forms.Wilson s 20:50, then, inheritor of the Minimalist focus on situ-8 ation and the body in relation to installation-artefact, would thus qualify9 as postmodernist [Plate 9].Photographs such as those by Sherman10 have been taken as exemplary of this artistic rule-breaking.Her evoca-11 tion of types from, for example, Hollywood film or figures in high12 art paintings, as in No.228, recreate , however, as I ve said, generic13 and allusive, rather than specific, references [Plate 10].It may be that14 the imaginative power of these images lies precisely in the suggestive15 vagueness of this kind of appropriation.16 Yet it is arguable that conceiving postmodernism in cultural or17 artistic terms, within a broadly sanguine perspective on perceived trans-18 formations and reorientations, usually went hand in hand with an ignor-19 ance of, or failure to acknowledge, decisive reorganizations in human20 economic, social, political, and international life which have taken place21 locally, but which are, ultimately, part of a global process.Mike Davis s22 account, at the beginning of this section, of the plasticity and malle-23 ability of the Fontana Steel company in California in the 1980s serves24 as an indication of basic economic, social, and political conditions of25 life in contemporary Western societies.Whether the term postmodernism26 has any explanatory power in this broader context of analysis remains27 an open question.My pairing of the Davis statement with David Harvey s28 remarks on Sherman s photographs is intended to indicate that the29 economic, social, political, and cultural issues bearing on contemporary30 life are conjoined and interdependent.31 To make progress with the idea of the postmodern its relations32 to modern and modernism need examination.Postmodernism, like33 modernism, has both a utopian and a dystopic face: a side embraced34 and celebrated, and a side rejected and mourned.What I ve called35 Greenberg s and Fried s good critical complexity represents an exem-36 plification of the former position in relation to modernism; Clark s bad37 critical complexity the latter though his judgements remain, in their38 detail, shot through with an almost wilting ambivalence and recalci-39 trance.The modernist paintings of Picasso and Pollock are, Clark agrees,40 great, extraordinary achievements; but they are, at the same time, dark:1 annihilation and totality , as Clark puts it, jostling side by side198 CONCL USI ON1 [Plates 5 and 4].Both modernism and postmodernism have had their2 advocates and their detractors [ Pobierz całość w formacie PDF ]
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.You have to19 read them over and over. But critically, he said, with an engaging20 alertness. Still reading them , I said.10 [My italic.]2122 I hope you might now see part of my purpose in including the23 short art fictions at the beginnings of Chapters 2 6, and bleeding24 the italic I used to denote their fictional status into the beginning of25 this Conclusion.These were intended to draw attention to the narra-26 tive conventions always active in art criticism and art history, and to27 suggest imagined worlds beyond these fixed discursive forms that attain28 authority sometimes against the wishes of the authors themselves in29 institutions such as universities and museums.The best of contempo-30 rary art and the best of contemporary art writing continues to point to31 conventions and examines their predominance: Sherman continues this32 practice, then, across the divide that supposedly separates modernism33 from that which came after it.I now turn to the question of how that34 afterlife has been understood.353637 Modern to postmodern3839 [Cindy Sherman s].photographs depict seemingly different40 women drawn from many walks of life.It takes a little while to1 realize, with a certain shock, that these are portraits of the same196 CONCL USI ON1 woman in different guises.The.insistence upon the plastic-2 ity of human personality through the malleability of appearances3 and surfaces is striking, as is the self-referential positioning of the4 author.as subject.Cindy Sherman is considered a major fig-5 ure now in the postmodern movement.1167 The most viable sections of the Fontana [steel] plant were.8 sold off.to a consortium that included a Long Island busi-9 nessman, Japan s giant Kawasaki Steel, and Brazil s Campanhia10 Vale Rio Doce Ltd.In a mind-bending demonstration of how the11 new globalized economy works, California Steel Industries (as the12 consortium calls itself) employs a deunionized remnant of the Kaiser13 workforce under Japanese and British supervision to roll and fabri-14 cate steel slabs imported from Brazil to compete in the local market15 against Korean imports.Derelict Eagle Mountain, whose iron ores16 are 5,000 miles closer to Fontana than Brazil s, has meanwhile been17 proposed as a giant dump for the non-degradable solid waste being18 produced by the burgeoning suburbia of the inland empire.121920 Over the past twenty years, since the term postmodernism21 achieved a relatively wide currency though mainly still inside academic22 debate and the publishing industry it has been used rather more to23 refer to cultural and artistic artefacts, practices, events, and develop-24 ments than to explain the character of broader contemporary economic25 and social structures or transformations.Since the mid-1990s, however,26 the term has had to compete with at least two others globalization27 and the postcolonial that have been used to designate wholesale28 change within the organization of societies and relations between nation-29 states, regions, and continents.13 On the whole, changes in artistic30 forms and practices deemed to be postmodernist were welcomed31 and celebrated as evidence of release from previously constraining32 modernist codes and conventions, and held to be demonstrative of33 continuing innovation and creativity in the cultural sphere.This34 contrasts sharply with the connotations of both globalization and post-35 colonial which, although still suggesting liberation from inherited forms36 of social order and political oppression restrictive or imposed national37 identities and direct forms of imperial domination now also imply a38 generalization across the world of new insecurities based on, for39 example, the threat of terrorist attack and subtler, more insidious forms40 of economic and cultural subordination to predominant international1 forces and organizations.197 CONCLUSI ON1 Conventionally understood, postmodernism has become the name2 for forms of expression and representation in culture literary and3 philosophical, as well as visual arts-based which draw their resources4 eclectically from a wide range of contemporary as well as historical5 sources, using narrative and allegorical forms, mobilizing and mixing6 motifs and media from virtually any pre-existing artistic or discursive7 forms.Wilson s 20:50, then, inheritor of the Minimalist focus on situ-8 ation and the body in relation to installation-artefact, would thus qualify9 as postmodernist [Plate 9].Photographs such as those by Sherman10 have been taken as exemplary of this artistic rule-breaking.Her evoca-11 tion of types from, for example, Hollywood film or figures in high12 art paintings, as in No.228, recreate , however, as I ve said, generic13 and allusive, rather than specific, references [Plate 10].It may be that14 the imaginative power of these images lies precisely in the suggestive15 vagueness of this kind of appropriation.16 Yet it is arguable that conceiving postmodernism in cultural or17 artistic terms, within a broadly sanguine perspective on perceived trans-18 formations and reorientations, usually went hand in hand with an ignor-19 ance of, or failure to acknowledge, decisive reorganizations in human20 economic, social, political, and international life which have taken place21 locally, but which are, ultimately, part of a global process.Mike Davis s22 account, at the beginning of this section, of the plasticity and malle-23 ability of the Fontana Steel company in California in the 1980s serves24 as an indication of basic economic, social, and political conditions of25 life in contemporary Western societies.Whether the term postmodernism26 has any explanatory power in this broader context of analysis remains27 an open question.My pairing of the Davis statement with David Harvey s28 remarks on Sherman s photographs is intended to indicate that the29 economic, social, political, and cultural issues bearing on contemporary30 life are conjoined and interdependent.31 To make progress with the idea of the postmodern its relations32 to modern and modernism need examination.Postmodernism, like33 modernism, has both a utopian and a dystopic face: a side embraced34 and celebrated, and a side rejected and mourned.What I ve called35 Greenberg s and Fried s good critical complexity represents an exem-36 plification of the former position in relation to modernism; Clark s bad37 critical complexity the latter though his judgements remain, in their38 detail, shot through with an almost wilting ambivalence and recalci-39 trance.The modernist paintings of Picasso and Pollock are, Clark agrees,40 great, extraordinary achievements; but they are, at the same time, dark:1 annihilation and totality , as Clark puts it, jostling side by side198 CONCL USI ON1 [Plates 5 and 4].Both modernism and postmodernism have had their2 advocates and their detractors [ Pobierz całość w formacie PDF ]