The question of modernism and postmodernism.

From: Arts Education Policy Review | Date: July 1, 1995| Author: Smith, Ralph A. | Copyright information

The delineation between modernism and postmodernism in art education is quite unclear. Attempts have been made by Michael J. Parsons and H. Gene Blocker but they have not formed any hypotheses. Dichotomized thinking should be discouraged since the terms are more complicated by themselves.

Modernism remains a vital force in the life of art today . . . both as a high ideal and as the basis of our established culture, yet it now faces a challenge unlike any it has met with in this cent...

Read all of this article with a FREE trial to HighBeam Research

Related newspaper, magazine, and journal articles from HighBeam Research

The question of modernism and postmodernism.
Arts Education Policy Review ; Modernism remains a vital force in the life of art today . . . both as a high ideal and as the basis of our established culture, yet it now faces a challenge unlike any it has met with in this century. . . . The outcome to be expected from this state of affairs is neither foregone nor entirely
What happened to beauty? (art) (includes reviews of art exhibitions and the work of Sigmar Polke)
The Nation ; In early February, I spent a weekend at the University of Texas, invited there to consider, in the company of artists, critics, historians and philosophers of art, the question Whatever Happened to Beauty? The brochure publicizing the conference described a kind of shift in recent artistic
Lukewarm Reception for Chilly Modern Art; The Corcoran's Ambitious Show Has Drawn Praise But Not Big Crowds
The Washington Post ; "Modernism: Designing a New World 1914-1939" at the Corcoran Gallery of Art has already proved itself -- in every way but one. In terms of scale and ambition, critical reception, quantity of masterworks and panache of installation, that enormous exhibition - - a version of the show that was
The Rise And Call of Modernism; Corcoran Explores the Birth of A Movement Whose Chilly Forms Wrought Sweeping Changes in Art
The Washington Post ; "You really like that modern stuff? It's so cold and intellectual. Who can even understand what those kinds of artists say?" For an absurdly long time -- the better part of 100 years, now -- lovers of the modern have had to mount a rear-guard action against those kinds of questions. Even Ikea still
Podium: `Post-modern' is an obsolete term From a talk at the Tate Gallery, London, by an art history professor at the University of Melbourne, Australia
The Independent - London ; I CONTEND that the modernism that is said to have begun as an avant-garde style, with Manet or Brancusi or Frank Lloyd Wright or whoever, and came to dominate the art of the first half of this century, is now no longer modern. There exists now a powerful consensus, and one with which I agree, that
Hand-Painted Pop. (Whitney Museum of American Art, New York, New York)
The Nation ; A few years after Clement Greenberg resigned as The Nation's regular art critic, he reflected, Art criticism, I would say, is about the most ungrateful form of |elevated' writing I know of. It may also be one of the most challenging--if only because so few people have done it well enough to be
'Victors' and 'victims'?: men, women, modernism and art in Australia.
Journal of Australian Studies ; It is relatively easy to misread the history of artistic modernism in Australia. Glance at a handful of key sources, and they all seem to tell the story of a battle: in the years between the two world wars the Australian art establishment was run by a band of big bad traditionalists--art historian
Laurence Binyon and the Aesthetic of Modern Art
Visual Culture in Britain ; Writing in the regular art column he contributed to the Saturday Review between 1906 and 1911, Laurence Binyon set out in detail his views on the health and prospects of contemporary art. According to his biographer, John Hatcher, Binyon - otherwise a poet and curator in the Print Room of the
Books: Skewed perspectives from a Californian dreamer When a great British art critic crossed the Atlantic, did he lose his vision on the voyage? James Hall surveys the wreckage of a Titanic folly: Farewell to an Idea: episodes from a history of modernism by T J Clark Yale University Press, pounds 30, 451pp
The Independent - London ; Bristol-born T J Clark is one of the most important and influential art historians of the postwar period. His pioneering studies of Courbet and of art and politics in mid-19th-century France (both published in 1973, when Clark was only 30) launched a double- pronged attack on formalist approaches
Modernism vs. morality A chronicle of the longstanding debate over nonconformist art
The Boston Globe ; ... promising." Freedom of expression and creativity still win out. Kammen's balanced research is strong evidence that the culture wars have benefited the general public without producing conformist art or increased censorship. That's very good news.