什么是后现代主义（Whatispostmodernism）

什么是后现代主义（What is postmodernism）
Data worth having
From the usual study, accumulation and summary
Where there is a problem, there must be some
Please also criticize and correct me!
What is postmodernism?
Sink of ice
Let's eliminate several impossible definitions of postmodernism from the very beginning
first
Post modernism is not a style concept
The idea that postmodernism is a style
The reason is untenable
It is because
No matter what style or terminology is used to define modernism and Postmodernism
It is found that the two are difficult to distinguish
perhaps
The latter is only a reinforcement or modification of some of the styles already possessed by the former
It has long been pointed out that Hassan has some distinctive features about Postmodernism (such as uncertainty, internality, etc.)
Not at all
Define postmodernism in style or language
It can also cause some parts of a work to be modernist
Other parts are the absurd conclusions of Postmodernism (for example, that Ulysses's stream of consciousness is partly Modernism
The part of parody or parody is Postmodernism
Another example is that Eisenman's architectural language is modernist
But its space is post-modern
And so on)
As Chabot (C. B. Chabot) said: "we lack a fully and universally accepted understanding of modernism."
Many of the arguments for postmodernism have become plausible
Many have been crowned in the name of later modernity
All directly from the earlier [modernist] writers
"1)
Second
Postmodernism is not a concept of a period or an artistic movement
because
firstly
It first erroneously regards modernism as a time - conscious art movement (as from 1860 to 1960)
Such errors would lead to absurd conclusions that "all" art after 1960 will be regarded as postmodernism; secondly
It is not based on a vulgar social determinism (as in Jameson)
It is based on the dogmatic dogmatism of certain assertions that we have entered the Postmodern Era (e.g.
And most of the lower postmodern theorists)
As Chabot said
"People even think we live in a postmodern society."
A certain number of people apparently believe it
The break of culture at some point has occurred
Its logo can be perceived from the whole range of our cultural activities
however
Few people seem to agree on the time between their basic nature and their assumptions
Fewer people have the same opinion on how best to characterize the impact of it on our cultural products
2. This dogmatism is not only untenable
And he was evil in his prophetic tone
Santol (F. F. Centore) points out: "postmodernism has become an unofficial state religion."
A new salvation myth
Have universal validity
Every good citizen must abide by
In fact
Those who do not follow this free consensus are guilty of treason
In the name of radical hermeneutics, deconstruction, new pragmatism, or postmodernism
The current orthodoxy teaches people to the modern world (16001945)
With the fall of God, with objective science
Forever passed
A world of more fluid, amorphous processes should be replaced
It therefore calls for a more radical interpretation model
It insists that each thing is only a metaphor or symbol of reality
And reality does not exist
Every thing is the function of history; all cultures and religions are temporal, temporal, and mythological
Genesis is not God's word
But Hermeneutics -- midway and ending, of course, are no exception
"3)
Third
Postmodernism is not the reality of Western Contemporary Art
It is only, and always is, a form of ideas
A critical concept or concept of aesthetics
This is particularly worth mentioning
Some naive Marxists believe that...
We have entered a period of epoch-making
Here it is
Everything is postmodern
In China
Because some of the more naive postmodernism scholars, but the specious
And from the beginning example 7 "postmodern theory"
In everyday consciousness
People have produced "the West has entered the postmodern."
What should we do? The irrational anxiety of style
Or, "we should bypass the utopian fantasy of modern direct access to postmodernism."
In fact
Postmodernism is by no means a social reality of the West
Not even a thought reality
It's not social reality
Because
As Berger pointed out sharply: "although compared with the second half of the nineteenth Century."
The economy, technology and society have undergone profound changes
But the dominant mode of production remains the same: the exploitation of surplus value by collective capital by private capital
The social democracy in Western Europe has been fully recognized
Despite the growing significance of government interference in economic affairs
The pursuit of maximum profit remains the driving force of social production
therefore
We must explain current changes carefully
They can not be naively labeled as a landmark shift
4) it is not even an ideological fact to say that postmodernism
Because, from the very first day it was born
Postmodernism has always been criticized and refuted by Western insight
Let me put it another way
Postmodernism did not exist for a single day as a "thought reality"
It is always there as a problem
As Chabot said, "they [postmodernism] assume that we are actually witnessing some kind of real postmodern culture."
And I want to challenge this hypothesis
In my opinion
Some are called postmodern things in fact is a kind of New Modernism itself development or evolution
This statement has at least the same similarity
I have put forward some arguments to support my argument: (1) there is no satisfactory existence and generally accepted postmodern interpretation; (2) after a lot of things called modern actually directly from modernism; (3) the most debate about it mainly is through the summary of exhaustion Modernism
In particular, through a generalization that ignores the nature of the concept as a second level
To acquire its initial authenticity
"5)
Last
Postmodernism is not the concept of a media concept or an artistic style
therefore
For example
We can not say that easel painting is modernist
And installation art (installation), video art (Video Art), and so on
It's Postmodern
because
Fundamentally speaking
The dividing line between modernism and postmodernism is not media or material
Or the difference of a particular style
It is the difference of ideas
The problem is a bit complicated
We have to make a slight curve
We already said that
Yes, we have entered the post-modern"
And the assertion that we are witnessing the emergence of a new culture
Often accompanied by the announcement of the death of Modernism
Some of the more neutral authors
Seems more willing to put forward, "has modernism failed?" "Such a problem
Such as Gabril J
He begins with the book of the same name and asks, "Modernism - the term that has been used to describe art and culture for the past few centuries - seems to be heading for the finish line
As long as we like to think everything must be art
Innovation seems impossible
Or even undesirable
We have left behind a creative and resonant stage of success and resonance
Is it an age of poverty and decline? Modernism has been successful
Or has it failed? Since pluralism is in a frenzy
Then postmodernism provides a wider space for freedom
Or is it just what Hagel calls "bad infinity" - it asserts that it understands everything?
In fact, it is merely a false complexity that masks the scarcity of its meaning "6)
The gabrik modernism and postmodernism debate summed up as follows: "art for art's sake
Or is it art for society? He said, "anyone who tries to face all the realities of modernism."
Even now
Still in its encomiast (those who defend the abstraction and art for art people) and its detractors (those who believe that art must serves a purpose or believe that art must have for people in the crossfire between)
"7)
Gabrik explained
The high modernist stage from the early twentieth Century to the 30s
Art in order to save its essence
Very consciously cut off ties with their social moorings
And retreated to his position
In the early decades of this century, art was "humanized""
More of a response to the spiritual suffering of the artist in the capitalist and totalitarian society
As Kandinsky said
The phrase 'art for art' is in fact the best dream that can be maintained in a time of materialism (materialism)
Because it is an unconscious protest against materialism and demands for all things that should be useful and practical
"In order to oppose materialist values
And the collapse of the spirit as a result of the breakdown of religion in modern society
The early modernist turned inward
Turn away from the world
Thus focusing on self and inner life
Since it is worthwhile, it is no longer possible to find it in the social world
They turn to themselves to find the meaning
In the minds of artists in the early twentieth Century
A work of art is a world of independent and pure creation
It has its own spiritual essence
however
In 1960s and 70s
Late modernism began to give up growing self referential examples of formalism
This formalism denies that abstract art has any function or significance in the social framework of any dissident
After a stage when most avant-garde artists are violently separated from social themes or effects
Many artists began to dislike the star system and the narrow form of "movement"
"They start asking themselves some big questions
As they lift their heads from their canvas and steel material
They saw politics, nature, history, and mythology
"(Lucy, Lippard
Marx and feminist critics in the United States) many artists began looking for substitutes for paintings and sculptures
Both are likely to provide practice for opportunism and ruthlessness in the market system
They developed a new model
Such as concept art, anti formal art, earth art, process art, body art and behavior art, etc.
Non - materiality and non - Permanence are the main strategies used to dissolve the materialization of Art
In this way, they are no longer precious things"
It is no longer what attracts the market
8)
Obviously
We have come to one of the key questions of contemporary art theory: the one that aims to destroy the narrowness of Modernism (such as Greenberg)
On the other hand, they try to maintain modernist critical contemporary art (i.e., conceptual art, anti formal art, land art, process art, body art and behavioral art, etc.)
What is modernism?
Or postmodernism? Answer to this question
It depends on our definition of modernism / Postmodernism
We have defined modernism in the book "Introduction"
There
We answer that modernism is not a media shift
But a concept based on the concept
therefore
Be sure to say
These critical art styles in Contemporary Art
Still belongs to the category of Modernism
Only when art meets such conditions: when they insist on the autonomy of art as a differentiated cultural sphere
meanwhile
Adhere to the form of Limited (or visual quality) when the concept and partisan
And when they give up these concepts
They are no longer Modernism
therefore
These new styles in Contemporary Art (including installation art and video art) belong to the question of modernism or postmodernism
Do not generalize
When people give up the premise of Modernism
People are sure to ask the following question: so...
Are they post modernist? Martin Jay (Martin Jay), when summing up Adorno, Berger and Habermas's ideas about contemporary art, once pointed out that
If we are a little closer, look at the aesthetic dimension of Contemporary Art
We will see that the same antidifferentiating impulse is at work
A large number of conceptual art, anti formal art and behavior art in Contemporary Art
Make us feel anxious
Because it departs from our sense of boundaries; between public events and private events
Between the reality emotion and the esthetic emotion
There is no difference between art and self
"In this sense
Postmodernism can be seen in part as a non Utopian drop in the art of avant-garde art by Peter Berger
The classic example of the strong tendency of Postmodernism to
deviate from the boundary is between high and low art
Between culture and garbage
And the collapse of the difference between the sacred space of the museum and the secular world
Especially in architecture (which has been widely regarded as the most acute attack area of postmodernism)
Charles Jenks said "radical eclecticism" means the difference between the style of interruption of long-standing
Is also a "serious" construction has been superior to a more popular and vulgar local buildings (such as those in Robert Vinchuli's defense of Lars Vegas in praise of building) hierarchy collapse
9)
thus
We have clearly seen where the difference between modernism and postmodernism lies
But this is still not the right time to define Postmodernism
It is only after we listen to the claims of those who pretend to be Postmodern
We can figure it out
What are they talking about postmodernism?
Then
We are expected to give a more apt definition of Postmodernism
Although the overt postmodernism disdain the theory or just disdain the theory
But some people think
For example, Robert Vinchu's idea of architecture is directed at modernism and avant-garde art theories
Therefore, it is helpful to unravel the basic traces of this new change
Jencks moves in a similar way and more broadly into theoretical areas
Another leading figure is Oliva (Oliwa)
He was a pioneer in early 80s in Europe and early 90s in China with a strong appeal for "trans-avant-garde" theory
There are also many self comments and interviews with artists
Such as Sherman (Sherman), Jeff Konz (Koons), Stan Baha (Steinbach), and so on
Both openly claim the post modernist position
If people pay attention to what they say
If one could examine the diversity of artistic activities in all these areas
When can people explain what they mean by postmodernism?
Morawski (Stefan Morawski) points out the following two basic characteristics of Postmodernism
First
There is no doubt about the anti avant garde
Postmodernism is extremely indifferent to the contemplation of the status of Art
Even if it's not hostile
At this point
Postmodernism is an intellectual anti rationalism
(anti-rationalism), and there is no mistake
Or even anti intellectual
Postmodernism is often self - contained and most advocates tolerance; but it must not tolerate any ideological contribution or Eschatology (utopia or blueprint for
liberation)
It challenges the pursuit of constant innovation
The collapse of the best art knights is a heroic belief in the media, the means of expression and iconography
Contrary
It agreed that art is not a vocation but one of the many occupation
Its legitimacy lies in the production of goods that sell particularly well
It will not wait for rebellion or Transcendence
It adheres to the closest distance from the average member of society
The aesthetic dimension must be restated
Either in the form of a dazzling forgery (which reminds us of the stylized art of design that is demanded by the market)
Either in the form of an artist's spontaneous expression (these artists use colors, sounds, words
Deny the possibility of perfection
Just want to present a deja vu imitation of reality
In a world without a center axis
In a vacuum of value
The fundamental goal is to create freely for the sake of pleasure"
Imitation painting and drama are the most appropriate means to witness the present cultural rubbish
The guest card is eclectic shameless
10)
Secondly
Post modern practice is the fall of advanced culture
But it was a deliberate fall
Intentionally lowering himself to a lower level of literacy
It wants to find a feeling of going home
Because it makes it more consumer oriented
So it takes advantage of narrative, familiar symbols and simple forms
Its main form is diversity of attitudes and values
People can choose whatever they like
Social reality is recognized at all levels as heterogeneous, fragmented, and accidental
The post-modernism insists that
Nothing is available to the judge today
Therefore, art has no mission
It's just some sort of diversion
All the principles of avant-garde art have been questioned
Painting only means pointing to something fleeting
Without making an assertion that can be remembered
The image is usually a nightmare related trite or only with human sadomasochist.
It does not refer to frames
So you can't remember anything
The audience demand for pictures or to ignore the aesthetic quality of the outbreak to rush
Or to imitate the classical masters of the old techniques to
meet
Straightforward eclecticism leads to art sense of dignity of distrust and a belief that everything is just the commercial exhibition
Images of R Longo (R.) are often borrowed from magazines, newspapers and movie stills
Painting should always be an operation using proper workmanship
To unite the painter with a naive audience who is indifferent to any serious thought
It should be as good as a gift to understand
And should
As Oliva said
Cheer, "happy nihilism.""
Cheryl evine (Sherrie, Levine) constantly self repeated photo reproduction
Mark Kostab (Mark Kostabi) continue to redo operations (Leger) Leger
Konz's copy of all market icons
The stylish, stylized images of the Prince (Prince)
Wait
All belong to this category
Not that there is no difference between these artists
however
All of these works are now finished by buzzing parasitic to be copied into
11)
In the field of Architecture
The average interest is deeply rooted in the regional (ethnic) tradition
Therefore, it is easy to mistake postmodernism for revival
however
The products of postmodernism can be identified by the following facts: different styles
Whether it's new or old
Be juxtaposed together.
And through modern technology and the latest material to be
strengthened
Column, column, arch revival
The space is filled with trees, flowers and small fountains
Intermittent lines are welcome
Colors are invited to work with shapes
Architecture must also have narrative: it uses symbolic symbols of the past
Try to be interesting and enthusiastic
This will make everyone happy to be loved by the audience
C Moore in the spectrum of the pole (C. Moore) and those of his distant idioms (say corridor) gaudy remodeling
Or is S (S. Tigerman) - Tiggemann "Daisy home"
An imitation of the phallus and vaginal building; other pole is obviously refined, such as building P Essen Manchester (P. Eisenman), H hollein (H. Hollein) and J Stryn (J. Stiring).
They radically revived the modern paradigm
But it is not entirely allowed to develop
Their strategy is a "double code""
But they also appreciate conscious hand making
And graft with heterogeneity and diversity
And by careful definition of semantics (semantics)
The submission of high technology to the emotional connection with the public receiver
Morawski pointed out sharply
The art of camel is difficult to pass through the eye of a needle
If an artist has become the main condition is to be a conformist and popular person (for example to average demand and interest).
He suspects that Costa, Bidlo, Leahy (Lersch) and others - they are parasitic in all sorts of micro or macro quotations
Continuous production of paradox and imitation
There was no blush at all about the emptiness of their work - were they some of the artists who blew leather?
His suspicions were finally confirmed in a book called "Endgame" (1986)
The book is published by the Institute of contemporary art in Boston
It reviews Black Na (Bleckner) and Halle (Halley) painting
There are also so-called integrated media sculptors, Konz, Ottesen (Otterson) and Stein, Baja
Make clear
These artists are clearly aware of the cultural and cultural contexts in which they live
But in favor of widespread commercialism fetishism
They are well aware and willing to bend to the needs and reproduction industries of the commercial street
Happy handling of the finished product has become the main motive for external urges and art games
Shopping
Just as Stan publicly admitted in Baja
Is the best way to travel and peep
Konz's vacuum cleaner can be interpreted as a symbol of a cultural vacuum
For these artists
They make these goods
There is no melancholy at all
Nor was there any anger or sarcasm
They are just a symbol of universal commercialization
Therefore, very close to the most broad expectations and desires of customers
12)
Morawski's typical attitude towards postmodern art and its practitioners
And their cultivation of certainty and indifference
Of course, a firm and critical position
Postmodern art has been accused of abandoning the ambition of modernism and avant-garde art
Its tenacious pursuit of aesthetic value
Its conscience is responsible for cultural and social influences
And its spirit of Liberation
It is this spirit that supports modernism and avant-garde art
And spur it to the highest artistic achievement
Morawski's critique of postmodern culture is both a critique of Art
It is also a political critique
A culture that claims noble indifference and is separated from the artist's studio and everything outside the painting as the subject principle
Can produce mediocre and insignificant Art - while strengthening the spirit of commercialism
therefore
Morawski argued
Postmodernism is sensitive to the tragic complexity of human existence
In the pursuit of transcendence and improvement in the elimination of human beings
In terms of raising the instrumental qualities of hedonism to the highest, in fact, the only position of value
Commit a sin
Morawski's second front aims at the radical anti fundamentalism of post-modernism philosophy
And hostility to all aspects of modern tradition
Morawski is not allowed to be rejected as part of the modern heritage
It is the deep need to reveal and grasp reality; it is this reality that lays the foundation for episodic and fragmented things and gives them meaning
There is also the same deep concern that modernism has laid down human values and ethical principles
Morawski suspects the sincerity of the scheme of postmodern philosophers
Especially its feasibility
He maintains that postmodern philosophers cannot explain their assumptions; intentionally or unintentionally
They make their landscape of "absolute" and secretly trafficking in their own "absolute value" contraband
The work of modern philosophy, usually consciously and openly
And therefore open to challenge and critical inquiry
Post modern philosophy has to do with many twists and turns in a sneaky way and
And blocks opportunities for self criticism and self correction
This is the basic landscape of Postmodernism
The depiction of Morawski is not necessarily the whole picture of Postmodernism
But it does catch the key
Summarize the description and criticism of Postmodernism in our chapters
We can give the next definition of Postmodernism: Postmodernism is a place that happened in Europe and America in 60s
It was popular in Western art, social culture and philosophy in 70 and 80s
The main idea is to abandon the basic premise and normative content of Modernity
In the art of Postmodernism
This abandonment is manifested in the rejection of modernist art as an autonomous value that has divided the cultural sphere
And reject the forms of modernism, the principle of limitation and the principle of Party
Its essence is a kind of intellectual anti rationalism, moral cynicism and sensual hedonism
Notes：
* this is my twentieth Century "art criticism" "conclusions" section a
C., Barry, Chabot, The, Problem, of, Postmodernism, the, in, Robert, Cummings, Neville, ed., The, Highroad, around, Modernism, Albany:, State, University,, of, New, York, Press, 1992, p.22.
2, Ibid.
F., F., Centore,, Being, and, Becoming:, A, Critique, of, Post-modernism., New, York & London:, Greenwood, Press, 1991, p.17.
4, Peter, Burger, The, Decline, of, Modernism, trans., Nicholas, Walker, Cambridge:, Polity, Press, 1992, pp.32-33.
5, Chabot, p.27.
6, Suzi Gablik,
现代主义失败了吗？纽约和伦敦：泰晤士和哈德逊，1984，pp.11-12。

7、同上，页。

8、同上，26。

9、Martin Jay，“哈贝马斯与后现代主义》，Robert Cummings Neville
主编，公路在现代主义，奥尔巴尼：纽约州立大学出版社，1992，p。

10、Stefan Morawski
后现代主义的烦恼，伦敦和纽约出版社，1996，第89页。

11、同上，pp.89-91。

12，“、同上。

一。