Modernism is defined as a style or movement in the arts that aims to break with classical and traditional forms. It began during the 1860s, and continued all the way through to the 1970s. The movement was used to describe a time period in which artists began to experiment and stray from the norm. As for postmodernism, it is defined as a movement that developed in the mid to late 20th century that wanted to contradict the aspects of modernism. Postmodernism can be defined as a destruction to the once known “rules” to art. Most of the artwork was used to convey a message, usually pertaining to politics, feminism, and race. Both art movements were used to express the emotions of the artists and the experiences that they went through during the time period. Both modernism and postmodernism relied on not following the traditional values of art but focuses on thinking abstractly, and outside of the box. Artists experimented with different ideas and mediums. Throughout history, women have used art as a way to express themselves. During the time periods of modernism and postmodernism, women were able to defy societal norms and start projecting themselves into the world against conventionality. Frida Kahlo is one of the most well-known female artists in the world, best known for self-portraits, signature uni brow, and tumultuous relationship with her fellow artist husband Diego. Frida’s artwork highlights “the duality of being, the self as observer and observed...exploring the reality of her own body and her consciousness of its vulnerability” (Chadwick 314). Through her self-portraits, she is able to express herself as being seen through her own eyes or in the eyes of the audience. This touches upon the concept of the male gaze, which is the phenomena is which women are seen through a lens in which they are constantly objectified and scrutinized. She is best known for her work in surrealism, which is described as being a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.
The Broken Column (1944) by Frida Kahlo
One of Frida’s pieces named “The Broken Column”, she is depicted as being topless with the center of her body being fragmented into pieces. Her spinal cord is replaced with a broken Roman column, used to symbolize the pain and suffering she endured and to represent the surgery she had on her spinal column. With all the nails sticking into her body and the expression on her face, it is clear to the audience that her pain is the main theme of the artwork. Although she is of a mixed-race identity, Frida took pride in her indigenous Mexican roots. She has always depicted herself in her artwork as having strong indigenous features such as dark thick hair, and tan skin. Her facial features are emphasized and she makes it a point to highlight her signature unibrow. The unibrow is well-defined, and often exaggerated as a way to rebel against the patriarchal ideals of what is beauty.
Aside from surrealism, dadaism and german expressionism were also different types of artwork throughout this time period. Dadaism is described as “an art movement that challenged every convention (except male supremacy) and scandalized society” (Guerrilla Girls 66). One of the most famous artists of dadaism is Hannah Hoch. She was a feminist artists of the 20th century, her artwork emphasized going against the dichotomy of structural social roles. Most of her artwork consisted of collage work and photomontages that expressed political views against the German government and views of androgyny/gender issues. One of her most famous pieces is Marlene done in 1930, which Hoch uses to take a stand against Weimar culture. Weimar culture was the rise of arts and sciences that began to occur in Weimar Republic, Germany. Similar to Frida’s piece, a broken Roman column is shown in Marlene. Attached to it are a woman’s legs in tights and heels. It is used to represent a type of sexual pillar. Men in the corner are viewing the pillar in their male gaze, shouting cat calls. While in the corner of the piece, there is a woman smiling.
Marlene (1930) by Hannah Hoch
Works Cited
The Guerilla Girls, The Guerrilla Girls' Bedside Companion to the History of Western Art. Penguin Books, 2006.
Chadwick, Whitney. Women, Art, and Society. Langara College, 2016
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