The Influence Of Postmodernism On Contemporary Art

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The controversy of postmodernism has been widely discussed for decades of years and it is still mentioned among architects and artists nowadays. Postmodernism was the term given to the ‘complex contemporary socioeconomic, cultural, political, and technological transformations,’ that ‘did not merely represent a temporary interruption of longer-term developmental patterns but indicated the emergence of distinctively different forms’. It is a broad movement which was developed in the mid- to late 20th century across philosophy, the arts, architecture, and criticism, marking a departure from modernism.

Postmodernism as an explicitly debated and thematized philosophical problem is not old. It originated between 1979, the year of Lyotard’s pamphlet, and 1980, the year of Jurgen Habermas’s conference on modernism. Before theses dates, postmodernism was not a philosophical topic but belonged to the tradition of “localized” disciplines, such as literature or architecture. Architects and artists are not only holding different opinions about the definition and origin of postmodernism, but they also frequently argue about the influence of it on contemporary architecture and, furthermore, on people’s daily life.

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Why would people returned back on the discussion of postmodernism when people are not completely positive about the existence of the term? As Fischer states, we can also be able to discern the phenomena of the recent past simply because we might be at the brink of something new. Moreover, because this “past” is not yet over; it continues to inform our current practice, conceptualization, and discourse of architecture (and understanding of the world). In other words, the fact that people still looking back on postmodernism and talking, investigating about the term has already become a crucial influence on theoretical development of architecture and art. This might sound paradoxical, and in fact, it is, as the notion of the postmodernism itself.

Modernism and postmodernism have slowly demonstrated influence on Asian Countries at the same time, even though modernity is understood in the West as the process of historical transformation that has taken place in Europe and later in the United States.—talking about art The postmodern is a global cultural phenomenon. Its dynamism and distinctiveness are globalized and all-embracing. On the other hand, the postmodern is everywhere, particularly in the lifestyles, arts, and changing values of the younger generation. However, the exciting rapidly changing conditions of the inclusion of the progressive enlightened interpretation of ethics and social justice, together of the contemporary art, have yet to celebrate their post-modern dreams.

Postmodernism has also become a supplement for architects to better understand modernism. —more clear Within limits that are objectively tough to define, in philosophy, as well as in any other field, modernism and postmodernism play a rhetorical role rather than a historical or philosophical one. This is the same phenomenon that happened, for example, in the dialectics/ sophistry contraposition, or in the rationalism/irrationalism alternative. Each pair of terms includes a “good” part and a “bad” part. However, in each pair, the principle that defines the good term does not seem to depend exclusively on the ostracizing term, but also on the term being ostracized. Therefore, due to the fact that their ostracism of postmodernism now constitutes the only point of the discourse on the reconstruction of modernism, modernists should be grateful to postmodernists.


  1. Smart, B. (1993) Postmodernity. London: Routledge
  2. Maurizio, Ferraris. Anna, Taraboletti, Segre. Postmodernism and the Deconstruction of Modernism. Design Issues, Vol. 4, No. 1/2, Designing the Immaterial Society (1988),pp. 12-24
  3. Ole, W., Fischer. Afterimage: A Comparative Rereading of Postmodernism. Log, No. 21 (Winter 2011), pp.107-108
  4. Willian, S.W., Lim. Asian architecture in the new millennium: A postmodern imagery, Ekistics, Vol. 73, No. 436/441, Globalization and Local identity, pp. 132-139
  5. Maurizio, Ferraris. Anna, Taraboletti, Segre. Postmodernism and the Deconstruction of Modernism. Design Issues, Vol. 4, No. 1/2, Designing the Immaterial Society (1988),pp. 12-24


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