The document discusses the concept of 'Detournement' and how it relates to postmodernism. The author aims to study Detournement by investigating the work of artists from different periods, including Marcel Duchamp and Hirohiko Araki, and how they took existing ideas and warped them into original or bizarre depictions. The author hopes this study will help them better understand postmodernism and how to successfully create Detournement in their own art.
2. < Introduction to Related Study Aims >
The aim for this related study is to investigate the
concept of 'Detournement'. As part of my personal
investigation, I have briefly touched on 'Postmodernism'.
My related study will provide deeper understanding into
'Detournement'. Specifically, I will be looking at scenes
or objects created from post-modernistic and qualities
such as caricatures, posters and art in any form of media
which contain a continuous sense of the bizarre whilst
carrying a meaningful representation of serious topics.
As part of my Related Study, I will investigate the work
of a range of artist from three periods; Modernism, Post
Modernism and Metamodernism. Key artist include Marcel
Duchamp and Hirohiko Araki. I chose these artists as they
both taking existing ideas or enmities with a meaningful
attachment and warp it into original or bizarre
depictions, the very meaning of 'Detournement' itself.
I aim to obtain a higher understanding of postmodernism
and what conditions are required to develop a successful
'Detournement' of art and politics. I do this in hopes of
gaining a deeper understanding of the themes within my
portfolio, helping the realization of work that has true
qualities of postmodernism. I hope that I will be able to
convey my reactions towards personal and universal topics
through photography successfully after delving into the
branches of Postmodernism and its off-shoots.
3. The Age of Radio
< MODERNISM >
The Age of Television
< POSTMODERNISM >
The Age of Internet
< METAMODERNISM >
4.
5. < Dada Timeline >
World War I
begins
Hugo Ball performs 'Karawane' for
the first time at The Cabaret
Voltaire, the true beginning of
Dadaism. The Cabaret Voltaire is
also founded at this time, the
meeting hub for all members of the
Dada movement.
Marcel Duchamp
creates his first
'readymade' the
'Bicycle Wheel'. The
first utilization of
Dada ideology in
practical art before
the movement is
founded.
Tristen Tzara's Dada
Manifesto is published,
seen as one of the most
important Dada pieces of
writing.
The most famous of
Duchamp's 'readymade' is
created, 'fountain'.
Dada in Paris gains
traction. Many of the
founders start to converge
in Paris, with Tristen
Tzara staging many plays
from 1920-23
Dada is introduced in
Paris with it being mainly
literacy based and tended
towards the absurd and
fanciful.
Max Ernst arrives in Paris
while Dada starts to shift
into surrealism, with many
of its artists converting
into this movement and
other ideas.
Max Ernst releases "Two Children are
Threatened by a Nightingale" a piece that lead
and brought together surrealist ideas. At this
time Dada had completely phased out into
surrealism and other ideas, however it did not
completely disappear. Dada influenced many
movements and helped debunk traditionalist
thoughts. Its tradition continued with it
being upheld in Pop-Art and Neo-Dada
7. < MODERNISM >
MODERNIST ARTIST
They seek the truth and sincerity
(belief is unquestionable)
in science and apply this to art
8. Tubes of oil paint were invented
1820 (Industrial Revolution)
For the first-time artists could
leave the studio take a oil
paints in tubes and a small
easels out into the field.
Before the Industrial Revolution,
oil paints were cumbersome to use
as they required specifc storage
conditions and were only viable
to use and keep in studios.
During the 18th century,
photography was on the rise and
made traditional ways of art
almost obselete. Photography was
cheaper, accessable and more
portable than painting. This had
created a rift between upper
class and photographers as they
had felt as though it was
'cheapening art'. To combat this,
a technique to store oil paints
had quickly been invented during
this time of rivalry.Tubes of oil
paint were invented 1820
(Industrial Revolution)
For the first-time artists
could leave the studio
take a oil paints in tubes and a
small easels out into the field.
MODERNISM
Invention of the paint tube
Monet, Impression, Soleil
Levant (Sunrise)
1847
The most famous of artists who first
used these tubed oil paints was Claude
Monet, known for Soleil Levant
(Sunrise). This painting was untypical
of Monet's style. All details were
painted in small, quick strokes to
emphasis light and reflections in the
water, the style was very 'sketchy'. In
the portions of the piece the canvas was
even visible. The colour was very washed
down and restrained giving the painting
an almost absract look combined with its
unfinished aesthetic.
9. MODERNISM
WW1 – INDUSTRIALSED WARFARE
During the time of WW1, an abundance of
otherworldly advancements in technology
and weaponry(at the time were revealed
and used against humanity, machine guns
that would spit so many rounds that
looked like they spat fire and would
tear apart a human in a matter of
seconds. Chemical weapons created that
were so devastating, they were deemed
far too inhumane for use in war.
War had been part of human history since
the beginning of such history. Battles
were fought with weapons in hand,
charging and confronting each other on
the battlefield. Comparing historical
battles until the First World war, you
might even say the battles were fair as
each side had the same weapons unlike
WW1 where a single piece of metal would
mow down hundreds of soldiers.
10. MODERNISM
Invention of the camera and Cubism
“Cubism was an attack on the perspective
that had been known and used for 500
years. It was the first big, big change.
It confused people: they said, 'Things
don't look like that!’"
David Hockney
Arrival of a Train at La
Ciotat (The Lumière
Brothers, 1895)
Nearing the end of the Industrial Revolution, the camera was used to
create videos using a constant stream of single shot stills in a
film roll. Though no the first film ever made, the most memorable
film was of the 'Arrival of a Train at La Ciotat' directed by 'The
Lumiere Brothers'.
At the primiere of the film crowds of people gathered to watch this
newly made film however, during the screening the whole audience had
started to panic and flee as they had thought the train in the film
was a live locamotive about to run them over. Though it was a silent
film, since it was something never seen before until that day. This
sparked a new disturbance in the world of art, initiating
traditional artists to quickly respond. Their response to the age of
cinema was Cubism.
Cusbism was a form of art which tried to completely
capture all movements of a person, object/subject over
time in a single frame. Another objective of cubism was
also to show every viewpoint that can be seen of a
subject all at once.This was a direct resopnse to the the
invention of a devise which can capture and play
back time and movement.
The name cubism came from the aesthetic of said artwork
as the pieces of work in Cuist art was made out of
geometrical shapes that looked like cubes.
12. Origins of Dadaism
Hugo Ball
Hugo Ball, raised in a middle
class Catholic family, was a German
artist who focused on performing arts.
He was one of the main figure heads of
Dadaism. He opened 'Cabaret Voltaire'
in 1916, a theatre of performing arts.
At this very theatre was where various
artists would meet with Ball to
discuss the beginnings of Dadaism and
share their disgust of WW1 with one
another.
Hugo Ball was intensely anti-war. When
he witnessed the German invasion of
Belgium during the World War, He stated
that "The war is founded on a glaring
mistake, men have been confused with
machines," meaning that soldiers were no
less than mindless cogs that fought when
made to with no regards to human
emotion. After making such a bold remark
he quickly fled to Switzerland as he was
now branded a traitor in his Home
country.
13. 'At the Cabaret Voltaire' Hugo Ball would recite his 'sound
poetry'. These reading would be an example to viewer of
what Dada should be like. They were nonsensical and bizarre
as it was a composition of sounds that lacked any coherent
meaning except for its musicality. This was in fact a form
of intentional irony, self-conscious of the fact that it
did not make sense to any listener. It was intentional as
it represented the insanity that creeped into society which
showed Dada's purpose. The purpose was to highlight this
insanity.
Hugo Ball stated that his poetry was meant to be
incomprehensible as it was inspired by the Catholic masses
that he attended as a child. The words made sound but had
no real definition when in contact with his ears. Ball
expressed that his poetry was an effort to 'return to the
innermost alchemy of the world'. Ball wanted to create
something a new form of language outside of the already
established ones. A phonetic verse Ball wrote called
'Lautgedichte' (sound poems), described his words saying:
'I don’t want words that other people have invented...I
want my own stuff, my own rhythm and all my own. If this
pulsation is seven yards long, I want words that are seven
yards long.'
'Karawne' written and performed in 1916, published in 1917
Hugo Ball
Sound Poetry
14. Hugo Ball
"The Cabaret Voltaire"(1916)
Hugo Ball met his girlfriend, cabaret singer Emmy Hennings, in 1915.
The two fled to Switzerland to avoid the ever-going war at the time.
In 1916 the couple opened the 'Cabaret Voltaire where Dada was
eventually conceptualized. The location of the 'Cabaret Voltaire'
was originally a literary café, the owner of said café allowed use
of the back room for their endeavors. performances usually involved
dance, acting, spoken word and music. The genres where twisted and
made unique to the 'Cabaret Voltaire' itself. The nightclub for
performing art did not stay open for long however this was the
hotspot for the cultivation of Dada. Various artists, literary
people, politicians, dancers and all kind of performers gathered to
vent their frustrations and views on the war. Though chaotic almost
daily, the club managed to find order with Hugo Ball as their leader
and created countless thesis on their hate of the bourgeois
lifestyle and the state of chaos in which man had entangled itself
in due to the great war.
As a hub for artistic experimentation, Ball did not limit non-dada
artists from entering the club. Among many of the notable non-
dadaist attendees was Fillippo Tommaso, the father of futurism which
was created to glorify modernity and liberate Italy into a
progressive state of mind. German painter, Hand Richter wrote about
the 'Cabaret Voltaire' saying an average night at the club was a
'total pandemonium". Recalling that 'The people around us are
shouting, laughing, and gesticulating.
Our replies are sighs of love, volleys of hiccups, poems, moos, and
miaowing of medieval Brutists.'. Despite the chaos Hugo Ball was
adamant that 'Every word that is spoken and sung here [the Cabaret
Voltaire] represents at least this one thing: that is this
humiliating age has no succeeded in winning our respect'. It was
here where Hugo ball collected the thoughts of all this fellow
Dadists and combined it all into the 'Dada Manifesto' which detailed
what Dada was all about, he then read it out loud at the first Dada
soiree in 1916. The same year it was written.
15. Hugo Ball
The performance of 'Karawane'(1916)
Ball had experience in theatre already therefore,
it was not a rare site to see him performing in
front of audiences at his club. For his reciting
of 'Karawane', Ball aspired the performance to
follow in the concept of Gesamtkinstwerk,'a
synthesis of all the arts' thinking that he had
the potential to provoke a transformation in
society. The light, sound and visuals were to be
all combined into a complete work of art.
Once again connecting back to his childhood, Ball
wrote in his journal how the performance of
'Karawane' reminded him of when he attended
Catholic Mass as he delivered a slur of words that
were nonsensical in meaning with an almost
liturgical style.
For the performance, he began in the dark,
offstage. He prolonged his performance until he
stepped onto the stage where the audience could
see him. To their surprise he emerged in a costume
that was incomprehensible to the eye. Ball had
made a costume that was a parody of the elaborate
costume design used in avant-garde theatre such as
that of the Russian Constructivists. The outfit
itself was made from painted cardboard and a
single piece of fabric to tie the collar around
the tube around this torso.
Ball had also included lobster like claws that
appeared from his tubes for arms. The garment was
made to represent the absurdity of Dada.
16. Henri-Robert-Marcel
Duchamp was a
French painter,
sculptor, and writer
whose work is made in the
style with Cubism and
Dada.
POST MODERNISM
Marcel Duchamp – Pioneer of Post Modernism and DADA
Dadaism was created during the First
World War in negative response towards
the dread and the lack of insight shown.
Pieces of Dadaism art, poetry and
performance were often made to be
satirical and nonsensical. Taking
advantage and exploiting these horrors,
showing lack of respect, mocking it.
In 1919 Marcel Duchamp
penciled a mustache and
goatee on a print of
Leonardo da Vinci's Mona
Lisa and wrote the
letters "L.H.O.O.Q." in
French these letters form a
risqué pun: Elle a chaud
au cul,"She has hot
pants."
Intentionally
disrespectful, Duchamp's
defacement was meant to
express the Dadaists'
rejection of both artistic
and cultural authority.
17. During the time of WW1, an abundance of otherworldly
advancements in technology and weaponry(at the time
were revealed and used against humanity, machine guns
that would spit so many rounds that looked like they
spat fire and would tear apart a human in a matter of
seconds. Chemical weapons created that were so
devastating, they were deemed far too inhumane for use
in war.
A selection of artists and intellectuals thought
it were necessary to create an entire art
movement dedicated to showing their reaction towards the
industrialised (Modernist) World War.
The modernist idea of truth and science also gave way
to the horrific machine which could kill huge numbers
of people in this industrialised way. This is obsered
and irrarional. Therefore some artist believed they
couldn't have sinserity in their art. Artist had to
create something even more irratiional. This was the
birth of Post Modernism.
DADA
Origins of Post Modernism
18. One of the most influential artists of this time was
Marcel Duchamp.In response to these newly developed
weapons, Duchamp had broken off a urinal and had
graffitied on it, essentially vandilising a piece of
public property and calling it art. This is as
irrational and obsured as the industrialised WW1.
He then started to create more pieces such as this,
eventually giving them the name 'readymades' giving
birth of ideas that would later be would contribute in
the creation of the DADA movement.
Belgium and France, however this led to the downfall of
the Germanic Royal family and gave rise to the Nazi
Party. Dadaism was created with intent to be both
playful and serious at the same time which many of
Duchamps work has the description to fit the concept. Marcel Duchamp, Fountain,
1916
DADA
Origins of Post Modernism
'Fountain' is particular in using symbolism inspired by the
war as Duchamp once said,
“Destruction is also creation."
Wich he literally did, breaking apart a urinal and creating
art. Correlating to the war directly as destruction and the
death of soldiers are required to advance weaponry and step
closer to each countries gains, for Germany it was the
creation of a bigger land; seizing land from both
19. DADA
"The Bicycle Wheel", 1963
The Bicycle Wheel consisted of
the front wheel of a bicycle
mounted upside down along with
its fork onto a wooden stool.
Duchamp claimed that this
creation was unintentional and
claimed he merely formed it as
a means of entertainment,
spinning it just to watch the
motion or in Duchamp's words he
simply 'enjoyed looking at
it...Just as I enjoy looking
at the flames dancing in the
fireplace'
20. Marcel Duchamp allegedly
bought a bottle rack at a
department store in Paris, A
rack used for drying bottles
that featured an abundance
of hooks which gave it an
aggressive spiked look. This
then became another of
Duchamp's series of
'readymade', however this
being a true 'readymade' as
it had no modifications and
was presented in its
original state.
'The Bottle Rack' had an
inscription written on the
side similar to the 'R.Mutt'
seen on 'The Fountain'
earlier before, however the
actual words are unknown as
Duchamp had forgotten what
they were by the the time it
had been thrown away.
DADA
"Bottle-Rack", 1914-1964
22. DADA
Photomontage
Used as the primary medium of the
post-modernist artist,
photomontage/collage is the process of
creating a photograph or graphic
design by cutting, gluing,
rearraigning and layering of multiple
photographs or images. Collage is the
action of pasting translated directly
from French, in this meaning it is
reflected in the way artists use it.
Photography and phots itself only
capture a space in a time, a frozen
time in space that can only stay that
way. This is modern rules, the fact
that it had an irreversible nature.
The art of collaging allowed for
separate events to take place in one
single photo. Collage can show
alternate realities and fuse multiple
ones together, rejecting the
modernist view of the single frame,
single scene. This directly
correlates into Post-modern views of
how they refuse to acknowledge set
rules(Modernism).
23. DADA
Hannah Hoch
Born in Germany, Anna Therese Johanne Hoch, was a Graphic
designer that was largely influencial in the Berlin Dada
movement and was considered pioneers of Photomontage. Hoch
started art school in 1912 howvever, her studies soon came
to a stop due to the start of World War I as Hoch's school
had to close. Similarly to the current situation in 2020-
21 with all schools across the UK closing due to the
global pandemic. During the war, Hoch worked in the Red
Cross, aiding the soldiers in the trenches at the front
lines. A year later, Hoch studied at the School of the
Royal Museum of Applied Arts, the same year she met the
Dadaist artist Raoul Hausmann who would then become her
eventuall lover and co-creater of Photomontage alongside
Hoch. The same year, Hoch and Hausmann went to the Ostsee,
The Baltic Sea, where they found pictures that German
soldiers sent home to their families which included their
faces stuck onto the bodies of the french kings guard or
Musketeers. This was when Hoch gained the inspiration to
create art using mixed and cut up photographs, this was
when Photomontage was conceptualized.
In the late 1910s and early 1920s, Hoch was also part of the
Dada movement in Berlin. Hoch was the only female to
be apart of the creative group of innovaters. However, as
the only woman part of this group, this would often come
as an disadvantage. Hoch's word was to be exhibited at the
First Interantional Dada Fair in Berlin, however, before
the start of the show, Fellow Dadaist's George Grosz and
John Heartfield tried to stop her work from being shown at
the show. Only her Lover Hausmann defended her rights and
threatened to pull out from the showing unless she too was
included. Resulting in her being included once again.
24. DADA
Hannah Hoch
'The Father' 1920, Hannah Hoch
Looking at Hoch's work, all these
experiences can be seen greatly influencing
her work. From her time at the Red Cross,
Many collages feature depictions of people
nursing or caring for one another. For
example, 'The Father', shows a man with his
head plastered onto the body of a
woman. Possibly ridiculing the men who
discriminated against her for being a
woman, here she puts the man in the position
of the woman, caring for a baby showing
them how hard women work just as much as
men. Such creativity would have earned her
great recognition seeing as how her use of
colour and graphical placments really
present that she is the creater of
Photomontage. But she earned only disdain by
her colleagues, Dadaist Hans Richter
recalled Hoch as only being a provider os
food to him and their peers, writing about
the "sandwiches, beer and cofee she managed
somehow to provide to conjure up despite
the shortage of money.". Hoch uses
photomontage as it gives opportunity to
alter reality, giving new life to a single
unchangeable reality in the photograph.
25. John Heartfield was a German
born Jewish socialist writer,
script writer, poet,
photographer and graphic
designer born 19th June 1891 –
26th April 1968. John
Heartfield was known for his
antifascist, anti-socialist
and pro-communist graphic
designs which he produced just
before World War II.
John Heartfield was a known
artist associated with the
DADA movement in which he and
other Berlin Dadaists focused
on photomontage inspired by
cubist techniques such as
Monet.
DADA
John Heartfield
'There are a lot of things that got me into working with photos. The main thing is that I saw both what was
being said and not being said with phots in the newspapers...I found put how you can fool people with photos,
really fool them...You can lie and tell the truth by putting the wrong title or the wrong captions under them,
and that’s roughly what was being done...'
-John Heartfield
26. DADA
"Self-Portrait with the Police Commissioner Zorgiebel" (1929)
'There are a lot of things that got me into working
with phots. The main thing is that I saw both what was
being said and not being said with phots in the
newspapers...I found put how you can fool people with
photos, really fool them...You can lie and tell the
truth by putting the wrong title or the wrong captions
under them, and that’s roughly what was being done...'
-John Heartfield
This self-portrait depicts Heartfield 'cutting
off' the head of police commissioner Zorgiebel's
head with a pair of scissors. This was a photo
montage that is a satirical critique to
Zorgiebel's relentless policies. For example, the
police violence done upon Communist demonstrators
on May Day, 1929 in Berlin, which left 32
demonstrators dead and 700 arrested.
In this montage, Heartfield is grabbing onto the
commissioners head whilst severing it. Hearfield
purposely cut of the head in the picture and
lifted it slightly to the left for it to seem is
if Zorgiebel's is literally being beheaded.
Heartfield chose to retain the former scribbles
and notes in which he wrote as a mockup for the
graphic, measurements and arrows indicating
specific spaces where designs will be placed are
visible. He showed his notes to present his
techniques and identity as an artists. Text is
absent in the graphic as he insists it on being
seen only for its visual qualities. Seeing the
meaning only through visual stimulations without
text telling you outright, the message being that
this is Heartfield's way of countering police
oppression and social injustice. Representing the
manifesto of DADA, the response to any political
topic that should be seen in negative light or
disgust.
27. DADA
"Adolf the Ubermensch: Swallow's gold
and spouts junk" (1932)
As John Heartfield's reputation as a political
graphic designer rose, he became more courageous
in the opponents he chose. The biggest target yet
was Adolf Hitler, in the 1930's John Heartfield
waged his one-man war on the National Socialists
and Adolf Hitler.
In this graphic, it showcases an X-ray image of
Adolf Hitler's torso that exposes his ribs and
esophagus full of gold coins. The meaning behind
this is to show the process of monetary exchange
made repulsive by presenting it through the form
of a digestive body, ingesting gold coins in
return for worthless words or junk that is
spouted from Hitler's mouth. Hitler's mouth is
captured to be open to show this meaningless
spout of words. Heartfield does this to show
Hitler as a glutton that swallows Germany's
money, It showcases Heartfield's abstract
thinking, the distinction between reality and
fantasy that can differ in visual representation
but retain the same symbolic meaning. Hitler uses
up all of Germany's resources whilst tricking the
citizens using his manipulative speeches to aid
his rise to dictatorship, all represented in
Heartfield's Graphic. A response to political
controversy, staying true to DADA principles.
28. Erwin Blumenfield born 26th
January 1897 – 4th July 1969
was a German fashion
photographer who participated
in the DADA movement in 1920
and fled to America where he
worked with Vogue and other
established magazines during
WW2. Before feeling, due to
Blumenfield's Jewish heritage,
he was imprisoned for two
years in a Nazi concentration
camp.
Erwin Blumenfield was known
for his experimental art in
photography, nudes, celebrity
portraiture and abstract
photography. He was once the
highest paid photographer in
the world, claiming success
after being heavily swayed
away from becoming a
photographer.
DADA
Erwin Blumenfield
“And so I became when there was really nothing left for me to do, a photographer. Everyone told me
not to do it. Failed painters became window-dressers, failed window-dressers became
photographers.”
-Erwin Blumenfield
29. DADA
Erwin Blumenfield
'Bloomfield vs Hitler'
1932-1933
Part of Blumenfields series collages based on Hitler. This
was one of his earliest, noticeable from the crease marks in
the paper. Featuring two images of hitler overlapped ontop
racks of butchered meat with the map of Berlin in the
bakcground.The graphic also features an ominous bomber plane
pasted on the upper half of the image with 'BLOOMFIELD'
written on the bomb. Many details can be interperated as
different things in this collage as Blumenfield has added so
much that it comes to a point where the collage becomes
chaotic whith all the loosly cemented meanings that can be
shifted and altered.
Crtitising many points and presenting several dissaprovals,
such as the Hitler's standing in front of the rack of animal
carcasess could represent the eventual butcher of Germany and
its people, most likely Berlin as a map is seen in the
backdrop. It shows that Hitler will be the one to slaughter
it. The Hitler on the left is seen to also be infront of a
meat rack however, the carcass at the front is seen to be
more than just a pile of meat and bones. The way the meat and
fat is formed shifts into an image of flames and smoke cloud
with a man standing bewildered at the scene. Stating that
hitler is no longer 'just' butchering the people of Germany,
he is now ingulfing them and the country in flames. The racks
signify a kill count of sorts.
The bomber, I interperet as being a decleration of war upon Hitler.
Blumenfield ensribed his surname on the bomb, signifying his attack on the
Nazi agenda, fueled by his Jewish heritage and xenophobic remarks said
upon the people by Hitler. This piece follows the DADA manifesto just like
as another. However, never has anyone delcared a verbal war on their
target
30. DADA
Erwin Blumenfield
Created during Hitlers rise of power, Erwin
Blumenfield created a collage using a portrait of
Hitler himself but with portions of his face replaced
with an image of a skull. Blumenfield had also placed
a broken swastika on his forehead, the insignia of
choice used by the Nazi party.Titled
'Grauenfresse'(Horror Face), Erwin Blumenfield openly
critised the rising dictator of his home country.
Living in holland at the time to stay clear away from
the then foreseen doomed Germany, Erwin Blumenfield
felt as though he was safe to ridicule the Nazi
party. Implying that Germany and his party is soon to
be the death of Geramny, by the hands of death
itself, both of which are representing the skull
faced Hitler. The broken Swastika presents a foreseen
future, although the Nazi party will bring tragedy,
they will soon break and collapse. Seeing as how
Blumenfield was of Jewish descent, the reason of his
gruesome depiction of the dictaor to-be is made even
stronger and full of emotion.Comparitivaly different
from his first collage, Blumenfields skill and
technique is improved as he can incorporate his
skills as a photographer to create a portrait like
collage whilst maintaing a sense of minamalism with a
grand message incorporated. The evolution of his work
is seen along side with his faithfulness to the roots
of DADA in his early works, as time went on his
pieces had become more avant-garde and nonsensical
like. Which is what Dadaist art is commonly portrayed
as, this along side personal and harsh critisism on
political controversy.
'Grauenfresse / Hitler', Holland,
1933
32. Postmodernism was created to abolish the definition of what art should be.
It showed the contrast between that of high society and pop-culture, between
art and the standard of living. Because this concept shattered the set rules
about style, it originated the attitude of 'anything goes. Often funny or
ludicrous. it reflects a self-awareness of style itself. Often mixing
different artistic and popular styles, postmodernist art can also borrow
from or ironically comment on past issues and controversies.
POST MODERNISM
Definition
33. POST MODERNISM
Andy Warhol Campbell's Tomato Juice Box 1964
Andy Warhol was a known follower of the artist,
Marcel Duchamp. Warhol believed that art should
be specifically made to be 'pleasing to the eye',
which was a common thought that Duchamp
expressed. Made obvious with Duchamp's series of
'ready-made's', Warhol had created his own take
on the 'readymade' with his 1964 'Cambell's
Tomato Juice Box'. In this piece, Warhol featured
a cardboard box of tomato juice, very plain and
dull to the eye, yet it was clearly politically
inspired. Warhol was amused by the fact that
Americans eat the same thing frequently
repeatedly which had the same predictable taste.
As a technique of 'Detournement' with relation to
Warhols expertise in pop art, he had created an
exact replica of a known and beloved product but
with added personal meaning. This was Warhol's
way in making people contemplate on mass
consumerism and popular culture. This is very
clearly a following of Postmodernist themes as
Warhol's intention behind this piece was to
'liberate' the meaning of art and make it what he
believed art should be.
34. POST MODERNISM
Cindy Sherman Untitled Film Still #21 1978
A series of untitled films created by Cindy
Sherman which were a part of the early 1980
'appropriation' movement. A piece of
true Postmodern following, The single shot
presented a black & white image of Sherman posing
in front of large buildings. Shallow depth of
field, focusing on Sherman herself. This was to
imply that pop culture had become a continuous
game of choreographed posing and forced trends.
Sherman criticizes media in this still, exposing
how mass media is shaping our lives and form our
personal identities. In this film Sherman plays
the role of a small country girl who stumbles
into the big city, at first she is afraid and
unfamiliar. She then eventually overcomes to the
grasp of the intoxicating attractions,
representing media and how it is undeniable and
inevitably overpowering.
35. The Situationist International were a collection of European avant-garde
artists, writers and poets formed at a conference in Italy in 1957. Through
this movement they created a culture based on Maxism and Surrealism which in
turn created post modernism as we know today. An idea which was formed to
depart oneself from modernism, a concept based on the reaction to political
concepts and any zone which delves into the sensitivity of human beings and
anything which contains a sense of reality.
Postmodernism was created to abolish the definition of what art should be.
It showed the contrast between that of high society and pop-culture, between
art and the standard of living. Because this concept shattered the set rules
about style, it originated the attitude of 'anything goes. Often funny or
ludicrous. it reflects a self-awareness of style itself. Often mixing
different artistic and popular styles, postmodernist art can also borrow
from or ironically comment on past issues and controversies.
SITUATIONIST INTERNATIONAL
Definition
36. A detournement, meaning "rerouting, hijacking" in French, is
a technique developed in the 1950s by
the Letterist International, and later adapted by the
Situationist International.
A term that diverts the familiarity of a thing that has
meaning and using it to create something else of new context.
This then relating to the concept of the uncanny, something
familiar yet unknown.
The term 'Detournement was
specifically developed by
Guy Debord, a founding
member of the Situationist
International and their
main figure-head who
represented the IS in
1950.
POST MODERNISM
Detournement
37. Barbra Kruger is a conceptual artist
that specialises in photomontage and
collaging using black and white
photographs.
Most of her work consists or large
typography placed over found
photographs. Kruger often used single
phrased words such a 'you','your','I'
and 'we' or 'they' written usually in
Futura Bold Oblique and Helvetica Ultra
Condensed Font. Kruger is known to use
these words to address political
controversies and to mock consumerism.
POST MODERNISM
Barbra Kruger
38. POST MODERNISM
Barbra Kruger, 'Untitled'(Your body is a battleground) 1989
In the 1989, Kruger designed this print
for the reproductive rights protest.
The March for Women's Lives in
Washington, D.C. In this print, Kruger
uses a black and white portrait of a
woman with half of her face split down
the middle. Showing both the
photographic positives and negatives.
This suggests that there is an inner
struggle between good and bad, hence
the negative and positive halves.
Kruger intended to create something
very obviously direct, almost forceful.
Using the word 'Your' directly
inserting sentiment within viewers,
added with the gaze of the woman.
Kruger adds to this intensity by using
'battleground' to address the
continuation of female struggles.
Calling the female body, a
'battleground' connects female viewers
to the fuel that powers the protests,
the want for more rights as a female.
Kruger successfully utilises Postmodern
values to create and abolish
traditional art to support something
that she values. A worldwide problem,
women's rights is something Kruger
fights for and refuses to acknowledge
the set rules of the world. She strives
to reconstruct it using Postmodern art.
39. POST MODERNISM
Barbara Kruger, 'Untitled'(you invest in the divinity of the masterpiece) 1982
One of Kruger's early works, this print
appropriates a cropped image of
Michelangelo's famous Sistine Chapel
ceiling fresco. Kruger used the image of
God's hand touching Adam's during the
moment of creation. Using this image and
through her use of the pronoun, 'You',
Kruger suggests that as us as a viewer of
art and western history. Our opinions
predetermine the importance of such
things. Whether it be ideology or art,
Kruger uses this to question the narrative
of Modernism. Helping viewers to
understand their importance when viewing
art, to impose their own interpretations
on set narratives created by Modernism.
Furthermore, this explanation is supported
by a statement Kruger once presented: ' I
try to deal with the complexities of power
and social life, but as far as the visual
presentation goes I purposely avoid a high
degree of difficulty. I want people to be
drawn into the work.'.
40. POSTMODERNISM
Hirohiko Araki
Hirohiko Araki is a Japanese artist, best
known for his creation of the long running
manga series 'JoJo's Bizzare Adventure'.
Known for his intersexual depictions and
appropration/references to known western
figures and idols, especially inspired by
David Bowie and Prince alike. Hirohiko
Araki is known for his heavily Western-
influenced style such as, heavy profanity,
expressive freedom in sexuality, fashion
and gore. Over the years, Araki's work had
been recognised by many artists
internationally to the point where his
work had been exhibited in the Louvre,
even a collaboration with brands such as
Gucci. Though Araki is not an artist
associated with the Postmodern movement,
many of Araki's themes and ideology fit
into Postmodern ideas, also as a fan of
Araki and JoJo itself I think I can
explore this deeper and find meaning
fitting to my related study.
41. POST MODERNISM
Hirohiko Araki
JJBA is a series that evolved from testosterone fueled macho characters to
complex social boundary breaking philosophical reconstructions. Araki creates
his own art, rejecting traditional manga. Though he might no realise it, his
style is very much a prolonged continuation of Postmodern themes in the form
of manga. Araki effectivly uses 'Detournment' to create beloved characters
and an inspirational series that shook the globe, reconstructing the
definition of intersexual themes and traditional art.
42.
43. POSTMODERNISM
Hirohiko Araki
JoJo's Bizzare Adventure is truly a 'Bizzare' and
unexpected journey, a joyous experience I felt both
watching and reading the series in anime and manga
format. JJBA is inspired by countless western aspects,
the amount of western influences is essentially what
gives the series its structure. For example, the
continious change in colour palettes in official art
and manga panel is inspired by acid trips from LSD
use, as JJBA was created in the 80's when LSD and
psychodelic drugs were most popular.
JoJo's Bizzare Adventure started simply as a generic
80's action series with buff men and extra
masculininty overloaded with testosterone. It follows
a faimly line called the 'Joestars', the series
depicts the adventures that occur throughout all
generations of the Joestar family. With currently
seven series completed and an eith currently on-going,
the series slowly starts to transition through the
periods of which every period was made. Becoming more
modern in a way which accepts new and different
concepts, becoming more open to gender fluid fashion
to the extent where Araki reconstructs masculine
behaviour and normality. The series becomes wackier
yet more serious, challenging philisophical ideology
and society itself such as the existence of God in
Christianity, Patriotism, social standing and the
meaning of the 'Absolute'. All of which I believe is
unintetionally Postmodern like.
44. POST MODERNISM
The influence of David Bowie on JJBA
As JoJo's progressed, there had been an increase in the
amount of heterogeneous themes seen in the series. At
the beginning JJBA was just a typical 'masculine
movie' inspired series, however during the 2000's
Araki had began to reconstruct demographic trends and
removed all sensibility in his art. Throughout the
series it had always been obvious that David Bowie was
a big inspiration in evolving the series to what it is
today. Araki acknowledged and followed the practices
of his idol, Araki wished to disassociate himself with
fellow Mangaka's, wanting to create a unique style
that could not be replicated and had not been done
before. Exaclty like Bowie, following the goal of
wanting to be different, tired of being the same as
any common person. This is evident in his multiple
stage personae. Additionally, direct references to
Bowie can be seen in 'Steel Ball Run' part 7 of JJBA,
seen in the form of the character 'Scary Monsters'.
It was known that David Bowie used many different
stage personae to explore different concepts and
present new and experimental aesthetics. Araki
explored Bowie's legacy by applying his knowledge of
intertexuality, the act of an author borrowing and the
transformation of a text. Intertexuality does not
require ideect referncing and citing and is often seen
as blatant plagarism which is exactly what
'Detornement' is. Linking directly into Postmodernism,
however, in this case it is not in the form of text
but visuals and semiotics.
Bowie was known for his exploration in intersexual concepts
and his choice of distinctive aesthetic choices. Bowie created
rather eccentric personalities which were full of
flambouyancy. Araki used Bowie's example to structure his own
artistic style and aesthetic. An example of Araki doing so is
in once again Part 7 of the series 'Steel Ball Run'. Part 7
presents a drawing style with Bowie inspired aesthetics,
primarily in the main antagonist 'Funny Valentine'(also
another musical reference, Frank Sinatra). The similarities in
both are evident, both have flambouyant lookd with long flowing
blonde hair and charming personalities. By Part 7 all
characters had been made to have slender bodies with
androgynous features with camp-esque outfits for battle. All
heavily Bowie inspired.
45. POST MODERNISM
The influence of David Bowie on JJBA
Even after all the heavy Bowie
inspirations, the closest homage to
Bowie in the series is embodied in
the character of Part 4's antagonist,
The seriel killer Yoshikage Kira.
Specifically the persona of 'Thomas
Jerome Newton' from 'Berlin and The
Man who fell on Earth'. Yoshikage is
a formally dressed blonde with blue
eyes, he is a man who is obssessed on
being an common man and living a
undistrubred peaceful, average life.
Even the 'Stand'(Spiritual entity)
that resides in Yoshikage, Killer
Queen(Queen reference) resembles
Thomas' feline like appearance.
Though their appearences are alike,
Araki re-interperates Bowie's persona
with a dark and orginal twist.
Yoshikage is a seriel killer who uses
his ability Killer Queen to kill
young women, disentegrating their
bodies, only keeping their hands for
his nefarious purposes. Yoshikage
Kira is a ruthless and psychopathic
killer whereas Thomas acts as a
damaged and troubled anti-hero. Two
very distinct sides.
47. METAMODERNIST // MANIFESTO
1.
We recognise oscillation to be the natural order of the world.
2.
We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its
antonymous bastard child.
3.
Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating
polarities of a colossal electric machine, propelling the world into action.
4.
We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth
therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its
course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might
be exceeded, for such action unfolds the world.
5.
All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the
origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s
role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.
6.
The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new
technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these
emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the
here and now.
7.
Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical
or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error
breeds sense.
8.
We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition between
and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and
elusive horizons. We must go forth and oscillate!
METAMODERNISM
What is Metamodernism?
48. METAMODERNISM
What is Metamodernism?
Metamodernism is a term that
coherently speaks about the
developments in contemporary
culture. A way of moving on from
Postmodernism of the late 20th
century. This term was given birth
to in wake of the multitude of world
crisis'- decades of climate change,
financial crashes, the escaltion of
global conflicts, appropriations of
culture and racist acts against
minorities. Postmodernism was
defined by rejection,
deconstruction, realism and themes
of irony. Metamodernism is
characterised by hope, pride,
romanticism and the possibility of
grand narratives, however,
Metamodernism does not nulify the
studies of Postmodernism.
Metamodernism sees the world as an
era formed through the combination
of both Modernist and Postmodernist
ideology. A creation of pragmatic
idealism, the construction of an
ideal fantasy.
A recent example of Metamodernism is in Childish Gambino's 'This is
America'. The video takes place in a warehouse, it seems like empty and
manufactured, representing America which is just a merketplace. This is
represented by the cars throughout the video. The song starts off
cheerful, singing about party until a hooded black man gets shot. The
gun is treated with better care than the dead black man, because 'This
is America'. After this scene, the beat picks up and people in school
uniforms start dancing with Donald Glover, presenting how fast sciety
can move on as long as the vast majority stay ignorant like pure school
kids because 'This is America'. The medium used to present everything is
through music and cinematopgraphy. By using various ad libs from other
artists and references to social injustices, this presents communities
coming together, supporting each other in time of crisis as 'This is
America'. The entire video and the lyrics are an act of detournment
combined with Metamodernist ideologies. It usees references to social
controversies and gives it a twisted meaning.
49. METAMODERNISM
Cold War Steve
Cold War Steve, also known as
Christopher Spencer is a British
Collagist and Satirist. He is
most known for his Twitter
Coldwar_Steve as he often imposes
extremely strong political
opinions on his feed. The name
'Cold War Steve' came from the
actor Steve McFadden. As in every
piece of collage Spencer does,
Steve McFadden is placed
somewhere in the collage. The
idea of doing so from an interest
of putting Phill Mitchell the
character McFadden plays in the
long lasting British TV show
'EastEnders' in a Cold War scene,
as a means of satire or
nonsensical comedy. Spencer uses
Twitter as his primary platform
to share his art he feels that he
can get immediate feeback,
creating an interactive
experience in his comedic
dystopian scenes.
50. METAMODERNISM
Cold War Steve
In this collage, it takes place in the House of
Commons, featuring Jacob Rees-Mogg(Leader of
the House of Commons) and Boris
Johnson(Priminister) as the main targets of
Spencers humiliating satire.
A trio of begging 18th century peasent children
can be seen placed in front of a laughing Rees-
Mogg, a reference to Rees-Mogg's known persona
of being conciously traditionalist and
laughable anachronistic upper class behaviour
in which Spencer critises using an image of
Rees-Mogg laughing. Suggesting that Rees-Moog
is cackaling at himself. This could also be
seen as Moog scoffing at the peasents, thinking
that their worries as both lower-class and
female are not worth his time, hence his laid
back position.
Boris Johnson's role in this collage is
seemingly that of a spoiled upper-class
manchild, judging from the chosen facial
expression and body movement that Spencer used.
Although his table is loaded with an abundant
of food, meats and wine which were only
accessable to the wealthy in the 18th century(A
common theme referenced throughout this
collage). Johnson still seems upset about
something, perhaps an unsusessdul Brexit deal.
Guessing from the fact that Brexit is a widely
known topic that Spencer covers in his collages
featuring Johnson in comedic depictions.
As a piece of Metamodernism, Spencer takes general knowledge and
facts learnt from history(Modernism) combined with satirical
elements and blatant use of Detournement from Postmodernist
ideology to adress his political views. Presenting a raw
representation of Metamodernist art in the style of Postmodernist
and Dada collage. The result of Spencers success is that all of
his work is relatable in that a lot of people can be brought
together through topics that British natives are knowledgable
about.
51. METAMODERNISM
Cold War Steve
Created on commission by TIME magazine, they wanted Spencer to
create a magazine cover that represented the all the context of
the ongoing Brexit battle to inform Americans. Spencer was
asked to include Pro-Brexit celebrities such as, Sir Michael
Caine and British politicians that Americans would know. The
collage also included European figure heads such as, Angela
Merkel and Steve McFadden in a red bus on the floor bellow the
British figure-heads, almost head height in the river Thames.
The houses of parliament and the Big Ben can be seen in the
background with Johnson waving the Union Jack on top an old red
bus, all were included for Americans to be able to recognize
and relate to as iconic British 'things'.
The slogan 'How Britain Went Bonkers' was also used added with
the sinking red bus to represent that the British had lost
their minds and now have set Britain into a disastrous course,
hence the sinking bus. Brexit voters and initiators have
started to sink Britain, represented by the red bus, into an
unescapable mess whilst bringing Europe with them. The
Metamodernist elements in this collage include heavy influences
from Modernists ideas such as a manufactured piece of
propaganda created for specific demographics, here it is
created for Americans. Postmodernist elements are also present
as the satire is very much 'in your face', with British icons
such as the River Thames and the red bus representing bigger
aspects. Using it to openly criticize the aforementioned topic.
Detournement is an embedded technique, obviously as Spencer's
Postmodernist collage-style uses many known political figures
and valued British items to create an image with deeper and
grander meaning.
52. < IN CONCLUSION >
Over the span of the hundred years I researched, Detournement was and is
a technique that plays a big role in all three art movements; Modernism,
Postmodernism and Metamodernism. By using other existing ideas and
recognizable icons, artists and writers can adapt and innovate on their
ideas to create new and improved realizations. Using existing things can
also help create a sense of irony, satire or any kind of political gain
and convey thoughts upon certain subjects. Detournement was realized as a
technique during the 1950s in the Postmodernist movement, however it has
always been used. People plagiarize and make parodies throughout history.
The art of copying is used to advance human thinking and aid in the
development of humanity such as innovating in ideas such as the light
bulb. Thomas Edison used and improved the findings of Humphry Davy and
created the light bulb we use today that is continuously being copied and
advanced further by other inventors. The technique of Detournement only
was serialized in Postmodernism as art began to evolve and paved way for
artists to attain more abstract and rebellious thinking. The urge to
abolish traditional thinking by using the traditional techniques against
them, ridiculing it to the point where it can be seen as a homage to it
not a disagreement. This form is still so prevalent as it is still
relevant today, it is something that can be used throughout history.
Today it is more useful than ever as the internet is a tool that has
taken over the world, information can circulate faster than ever. This
also provides an easier way to create and plagiarize subjects using
photomontage, digitally or otherwise.
55. [ 11 artworks that spilled into the street
Useful source to help with context and meaning...
https://www.royalacademy.org.uk/article/protest-power-artwork-politics
As protest marches find renewed relevance and the Imperial War Museum
looks back at 100 years of peace protests in its latest show, here are 11 images
by artists that have come to the aid of political movements from the 1950s to
today.
Protest power: 11 artworks that spilled into the street | Blog | Royal Academy
of Arts
As protest marches find renewed relevance and the Imperial War Museum
looks back at 100 years of peace protests in its latest show, here are 11 images
by artists that have come to the aid of politi...
www.royalacademy.org.uk
Society of the spectacle
By Guy Debord
This is related. Have a read. Interesting...
https://beautifultrouble.org/theory/society-of-the-spectacle/
Guy Debord’s Society of the Spectacle (1967) begins...
“In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles,” Guy Debord’s Society of
the Spectacle (1967) begins.
“Everything that was directly lived has receded into a representation.”
The political consequence of this separation from felt experience is key to understanding both how we experience the world and how we can
change it.
For example, consider how people who witness a catastrophic event often say the experience was “like a movie.” Similarly, as activists we are often
more concerned with the media attention our actions generate than with their end result. What we feel, what we believe, how we express desire,
what we believe is possible — all are filtered through, and constrained by, the media we consume and produce. This is the society of the spectacle
that Debord, a leading figure in the French Situationist movement, described and decried.
https://en.m.wikipedia.org/wiki/The_Society_of_the_Spectacle
