modernism and post modernmism

MODERNISM AND POSTMODERNISM
By (Name)
Course
Instructor
Institution
Date
Modernism
The Modernism movement aimed at revolting against the traditional styles and concepts of realism and advocated for more progressive notions. Through incorporating styles such as constructivism, futurism, and new typography, modernists built new and innovative values that embraced new technology CITATION Arm09 l 1033 (Armstrong, 2009). Graphic designs from Bauhaus design movement are archetypal examples of modernism particularly Herbert Bayer’s 1926 poster for Bauhaus 60th-birthday presentation for Wassily Kandinsky CITATION Arm09 l 1033 (Armstrong, 2009). The poster design exemplifies the modernist concept of functionality in an attempt at coping with the newly mechanized society CITATION Wes13 l 1033 (Westwood, 2013). The elements of the grid design are carefully aligned and balanced to construct a logical arrangement that is accessible to all. Additionally, the oblique posture aims at strengthening the space. The clarity of information was a critical factor in modernism and artists made only functional and symmetrical designs discarding non-essential such as ornamentations CITATION Tsc28 l 1033 (Tschichold, 1928). The functionality in design prompts the optical order of placement and size, in the poster the most essential facts are more prominent followed by the secondary facts. The industrial revolution in this period prompted the artists to be adjusted with technology, the functionality and clarity in the designs is an imitation of the technological language.

“The artist’s acceptance of the machinery as a tool for production has its impression on the aesthetic concepts” CITATION Bay09 l 1033 (Bayer, 1967).
The precision and color palette of the poster, the grid format, and the clear communication is a representation of technological and societal changes taking place the environment and goals for a reformed future. Bayer and other modernists pursued a logical and objective approach that emphasized on the coherent planning rather than individual expression and subjectivity CITATION Arm09 l 1033 (Armstrong, 2009). The aesthetic of the poster aim at reforming the society to an orderly and rational manner discarding the chaotic elements of life. The modernists express their societal visions in an objective approach to impact and achieve a different society or rather a utopian society in the future CITATION Meg92 l 1033 (Meggs, 1992). The birthday exhibition poster contains elements of constructivism which push for the concepts universality and social change for a utopian future. The poster is a visual design that intends to explore new forms that are fitting to portray a new modern era of mechanization free of traditional designs. The elements of the poster exemplify the general progressive approach of modernism which was to create clear communication with society to impact radical reforms for the ideal modern world.
Postmodernism
Postmodernism challenged the concepts of universality by claiming that the diversity of humanity is too complex to be restricted to a single universal visual language CITATION Arm09 l 1033 (Armstrong, 2009). In his works, Wolfgang Weingart tested the limits of modernism and structured graphic designs that were multifaceted for example Kunsthalle Basel Kunstkredit 76-77 (1977). The poster explores subjectivity and sentiment in contrast to the previous concepts of clarity and legibility of modernism. Postmodernism displays that there are many sociocultural variables for art to be restricted to a collective truth CITATION McC88 l 1033 (McCoy & Frej, 1988). The poster entails varied font styles and sizes, the images are not entirely confined in a grid format but rather explore the space in various structures. The poster shows hybridity through incorporating some concepts of modernism, that typography has to be readable and clear, but also the concepts of diversity and subjectivity. Design should have the sublimity, contradiction, complexity, and diversity of life CITATION McC88 l 1033 (McCoy & Frej, 1988). The Weingart poster illustrates these elements to allow for interpretation and moral relativism in society pruning the notion of absolute truth and objectivity. The eccentric nature of the images and the texts on the poster offer for self-expression and multiplicity of meaning considering the diversity of humanity.
The Weingart’s poster illustrates that meaning is fundamentally unsteady and no quintessence has been set to be achieved. Postmodernism gives room for changes in sociocultural dynamics and does not necessarily offer a stagnant viewpoint of society CITATION McC88 l 1033 (McCoy & Frej, 1988). The poster does not seek to rationalize or provide a unique interpretation but rather a broad spectrum of understanding. The theories behind Postmodernism embrace and intend to create multiplicity as it lauds flexibility, change, and ambiguity CITATION Meg92 l 1033 (Meggs, 1992). Postmodernism graphic designs aim at embracing pluralist ideals and intensify the cognizance of societal diversity hence shed focus on marginalized groups. The moral relativism and pluralism in the graphic design do not sort to seek meaning or structured truth, it allows for a shift in attitude and identity. Postmodernism does not rely on a particular format as different artists explore various concepts that either take from Modernism or completely defies every concept of its predecessor. The Postmodernist poster illustrates the attitude that the truth is relative to the person and the meaning behind it is what you perceive it to be CITATION Wes13 l 1033 (Westwood, 2013). The ambiguity of the graphic design is the essence of the art rather than the ‘actual’ meaning which will differ to each.
Comparisons and Contrasts
Modernism and postmodernism designs composed of ground-breaking and renovated images unlike artworks from the previous century. The designs and concepts of both graphic designs were progressive hence translated to the pictures that were henceforth experimental and flexible. Postmodernism focuses more on the creativity and style while Modernism centers on simple and structural designs. The Modernism Bayer’s poster discards traditionalist concepts, as the artists focused more on the future rather than the past as they advocated for liberty to expression and egalitarianism. The poster is socially expressive in the sense of awareness; its visual elements are very futuristic and functional. Modernism graphic design aim at creating universality in its visual language for accessibility to everyone hence the aligned and simple ingredients. The postmodernism graphic design is more complex and incorporates subjectivity and sentiment, unlike its predecessor which integrates objectivity. Wolfgang’s poster images are sublime and ambiguous illustrating the concept of diversity in society in contrast to the notion of uniformity and clarity in Modernism. Postmodernism aimed at bringing back the self-expression in the art to shift the viewer’s focus to the artist establishing a sense of urgency and voice. The art displays a social commentary that offers a platform for multiplicity rather than subjecting society to a singular interpretation.
Bibliography
BIBLIOGRAPHY Armstrong, H., 2009. Graphic Design Theory: Readings From The Field. 1st ed. New York: Princeton Architectural Press.
Bayer, H., 1967. On Typography. In: H. Armstrong, ed. Graphic Design Theory. New York: Princeton Architectural Press, pp. 44-49.
McCoy, K. & Frej, D., 1988. Typography as Discourse. In: H. Armstrong, ed. Graphic Design Theory. New York: Princeton Architectural Press, pp. 81-83.
Meggs, P. B., 1992. A History of Graphic Design. 2nd ed. New York: Van Nostrand Reinhold.
Tschichold, J., 1928. The New Typography. In: H. Armstrong, ed. Graphic Design Theory. New York: Princeton Architectural Press, pp. 35-38.
Weingart, W., 2000. My Way to Typography. In: H. Armstrong, ed. Graphic Design Theory. New York: Princeton Architectural Press, pp. 77-80.
Westwood, S., 2013. The Influence of Modernism and Postmodernism on Graphic Design. The Student Researcher, May, II(2), pp. 19-23.