Summation: Twentieth Century

Twentieth Century

The modern era in art is strongly influenced by many theories and events. Within the twentieth century, the world saw two world wars (each changing the world drastically), technological advances, and theorists such as Darwin, Marx, Nietzsche, and Freud, who all gave the world ideas that would shake long-held traditions. As a result of all of these influences, the world became far more fast-paced, began to reject the things of the old world, became materialistic, and valued non-conformity and rebellion more than traditional values. In short, the modern world became far more subjective than objective, so the definition of art and beauty became all encompassing. One only has to call something art in order for it to be art, and the answer to the question “what is art?” has become almost impossible to answer.

Since the twentieth century has, let’s say, just stepped out of the door, we know so much about it and the many artistic styles and elements in it that it feels scattered and fragmented when trying to encompass unifying characteristics, unlike Renaissance or Baroque art which is so distant that we don’t see the whole picture with all of the elements that may or may not unite into some uniformity. However, that being said, some characteristics of modern art can be narrowed down to some general ideas: the use of different methods and materials (ranging from paper to toilets), a quest for originality and novelty (I should note, however, that often, in their search for originality, artists actually fall back on previous styles), and looking forward to change and possibility.

A few examples of modern art that I saw include: The Shard in London, Family Group by Henry Moore in the Tate Britain, and the Pompidou Center in Paris.

The Shard demonstrates the characteristics of modern architecture in its futuristic and sleek style. Despite this and the novelty in being now the tallest building in the EU, it is also very simple in style, influenced by the first glass skyscraper’s architect, Mies van der Rohe, who designed the Seagram Building in New York. [For photos and my evaluation on The Shard, see The Shard.]

Moore’s Family Group, though obviously retaining the traditional value of the family, displays an unrealistic view of the human figure. This betrays a quest for originality. However, his sculpting is also reminiscent of early Cycladic sculpture. [Pictures coming soon: The Way Of The Harp.] I find this particularly fascinating since his subject is very traditional.

Interestingly enough, the architect of The Shard, Renzo Piano, also co-designed the Pompidou Center in Paris. I was quite surprised when I learned this, since the two buildings are so completely opposite in design. Whereas The Shard is graceful and sleek, the Pompidou Center is blockish, industrial, and literally turned inside out. It was, of course, built to get a response. It’s a statement, and as such the building is drenched in originality and novelty. The function of the building (from sewage to air conditioning) is used as its expression of art, and in a way, the pipes are the different materials used to construct this art piece. This building, like Duchamp’s practical joke, forces viewers to ask, “What really is art?”