Backtracking to the Postmodern

After much anticipation, and one failed attempt (due to getting my dates mixed up) I was stunned by the V & A’s new autumn exhibition ‘Postmodernism: Style and Subversion 1970 – 1990’.

The artworks and bizarre objects within ‘Postmodernism Style and Subversion’ were organised chronologically, starting from 1970 and ending with 1990. This was great as I could visually see the developments within the art world as they happened; making it easy to understand how each sub-style came about.

The exhibition offers a hybrid of art activity from a 30 year period, from traditional art practices, architecture, design and fashion to multimedia displays of video, film and music. With such variety it is hard to imagine who the exhibition would not interest as it seemed to cover all aspects of visual culture whist treading on the toes of popular culture and entertainment.

Postmodernism shattered established ideas about style, through gestures of humour, shock, confrontation and pure absurdity. This aspect of the movement made for a fascinating collection of works and the most obvious reaction to works was the laughter from visitors. Again such reaction differentiates the V & A’s autumn exhibition from many that precedes it. The conventions of the modern art gallery – whereby visitors tiptoe around works that are displayed on great white walls – and where such visual environment is accompanied by the sound of echoed footsteps, formulates the gallery experience as a quiet, self-reflective one. By contrast the Postmodernism exhibition, illuminated by iconic neon light displays, and complemented by the rock-pop anthems and music videos created an unmistakable buzz that seemed to unite its visitors. I must admit it was difficult to refrain from breaking into dance, and judging by the tapping feet and bopping of the people surrounding me, I was not alone.

Even disregarding the vivid environment created by the curator, the artworks exhibited triggered enough amazement alone. After coming into contact with his large and iconic silk-screens at a celebrated gallery in Berlin, the Hamburger Bahnhof, I was struck by Pop artist Andy Warhol’s brash artwork ‘Dollar Sign’of 1981. It seemed to pre-meditate what the art market was to signify in today’s climate; ludicrous monetary value.

Another work that resonated with me was an antique urn that was defaced by Ai Wei Wei and plastered with the Coca-Cola logo. I also learnt that after the already highly-valued urn was altered its then-value soured.

The exhibition would also appeal to print-media enthusiasts, as it displays an interesting collection of archive materials from the thirty-year period. What is obvious is the fluid relationship between postmodernist imagery and the wider sphere of popular culture. Magazine covers and album sleeves encompass the vivid, bold aesthetics and slick lines prominent in its fine art and product design. Ironically it was this adoption by popular culture that was the demise of Postmodernism edgy appeal – once it became main stream it was no longer radical.

It was impossible not become immersed in the wonder that is Postmodernism and with the exhibition being open until 15 January 2012 I strongly urge anyone to pay a visit.

Posted by: Rachael Webb