Chat with AIExam 8: Postmodernism: Irony, Parody, and Pastiche
What was the effect of the 1945 U.S. bombings of Hiroshima and Nagasaki on postmodernity?
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VerifiedC
What techniques once tied to political critiques are now used by advertisers and marketers? How do they alter the use of these techniques to suit their purposes?
(77) VerifiedThe techniques of discontinuity, reflexivity, and narrative fragmentation that were tied to political critique have become, since the late twentieth century, the primary codes of advertisers and marketers, who use these codes for intellectual play without a political message beneath the reflexive joke.
Describe Roy Lichtenstein's Drowning Girl (1963) and explain why the authors describe it as a quintessentially postmodern work of Pop art.
(85) VerifiedAnswers must include the following:
a. The source for Lichtenstein's painting is "Run for Love!," a story illustrated by cartoonist Tony Abruzzo for DC Comics' Secret Hearts issue #83 (1949), wherein Vicky, one of the main characters, sinks into a wave while a young man (Mal/Brad) clings for his own life to the side of a capsized boat. Vicky has fallen for Mal, but she is now sick of pursuing him and would rather drown than call for him.
b. Repudiating the abstract expressionist love affair with pure paint medium and raw painterly action, Lichtenstein embraced the popular medium of the comic book.
c. By projecting the original comic frame onto his canvas, choosing a new framing (he cut out some area of the original), and copying mechanically rendered shading painstakingly by hand with a paintbrush, he critiques the value and status of fine art.
Answers may include the following:
a. By turning to popular culture for a cultural text about sexuality and gendered power dynamics, Lichtenstein gives us the image of a supposed "ugly duckling" who survives on her own (later in the comic), no thanks to Mal/Brad.
b. Lichenstein copied the mechanical printer dots of a comic by hand, an intentionally inferior substitute for the "true" markings of fine art, to bring high art down to "vulgar" bad taste.
c. Lichtenstein's use of print dots as a painterly style pointed presciently to the future codes and conventions of twenty-first-century information and data-driven culture.
Explanation: Drowning Girl exemplifies postmodernism's engagement with reflexive knowing in the face of modernist notions of truth, value, and meaning.
In Keanu (2016), Rell (Jordan Peele), recently dumped by his girlfriend, bonds with a kitten in a basket left on his doorstep. When a local gang leader steals the kitten he has named Keanu, Rell and his best friend, Clarence (Keegan-Michael Key), must embed themselves in his gang and survive a dangerous series of events for which they are comically ill-prepared to retrieve Keanu. Not only does this movie contain multiple references to Key and Peele's eponymous comedy sketch show, it is based on 2014's John Wick, an action thriller, itself a parody of the genre, starring Keanu Reeves. In the movie, a Russian mobster kills Wick's puppy, the last gift from his dead wife, leading Wick on a bloody trail of revenge. Keanu's extensive use of parody mirrors the approach of ____________ to the popular postmodern tactic.
(72) Explain distantiation and what Bertolt Brecht hoped to achieve with it.
(84) ____________ is a form of imitation usually deployed as a satiric commentary on the original text, a form that precedes postmodern style but has taken hold in postmodern culture.
(71) While waiting for a train at Union Station, Dolores looks up from her iPhone and notices that everyone in the seats around her is on their phone as well. A man walks up to her to ask for the time, and Dolores is surprised; he has violated the rules of the ____________ in which they both find themselves.
(85) Architects Robert Venturi, Denise Scott Brown, and Steven Izenour insisted that architects look to ____________ for inspiration because postmodern architecture must be more attentive to the tastes and styles characterizing the spaces that are truly enjoyed by the masses in their everyday lives.
(86) ____________ writes that pastiche critiques the concept of the modern subject as the center and author of discourse: "Accepting that [we] are in the realm of the already said may be a source of anguish" if we are invested in ideas of the originating position of knowledge and authority.
(80) In the mid-1990s, when singer David Young moved into Hancock Park, a quiet, affluent neighborhood in Los Angeles, he painted the house and gate white and lined the front lawn with nineteen white replicas of Michelangelo's David (1501-1504). While Young had personal reasons for installing them that speak to his genuine appreciation for this piece, his neighbors did not appreciate his use of ____________ in postmodern architecture.
(77) Jeff Wall remakes ____________ in his A Sudden Gust of Wind (1993).
(77) ____________ is the mode through which we see postmodernism's critiques of modern design in full force.
(87) ____________ initially prohibited Ai Weiwei from receiving the materials needed to complete his project for an Australian exhibition on free speech.
(75) In 1989, Kimberlé Williams Crenshaw coined the term "intersectionality" to describe intersecting social identities and their related systems of oppression, domination, or discrimination. Within intersectionality, multiple identities intersect to create a whole that is different from its components. Intersecting identities include gender, race, social class, ethnicity, nationality, sexual orientation, religion, and ability, to name a few. What concept from this book is intersectionality most similar to?
(72) ____________ can often involve pilfering from history and combining historical elements in ways that empty the signifiers of historical meaning, combining them in (sometimes mismatched) fragments of style.
(93) What was Frederic Jameson's critique of the high modernist approach to architecture?
(86) Cindy Sherman's Untitled Film Stills series (1977-80) is comprised of self-portraits of the artist dressed and posed as cliché female film characters. She draws attention to the artifice of these archetypes by making clear that the audience knows that they are staged. In many cases, she does this by not hiding the cable release, a device attached via cable to a camera that allows the photographer to make images without being behind the camera. Her insistence on displaying the constructedness of these archetypes runs contrary to the ethos of the work of ____________.
(80) Art critic TJ Demos writes that Diana Birnaum's Technology/Transformation: Wonder Woman (1978) moved beyond appropriation and feminist cultural critique of mass culture imagery to demonstrate ____________.
(83) In the era of the ____________-that is, the era of digitization and an emerging information economy-Baudrillard predicted that ____________ would come to precede the real and become a condition for its production.
(84) Félix González-Torres was a Cuban-American visual artist who, at 39, died due to complications related to AIDS. His partner, Ross Laycock, died five years before González-Torres. One piece inspired by this loss, Untitled (1991) is a billboard of the top half of an empty bed. Against a white wall are white pillows, sheets, and a white comforter, rumpled from recent use. The image is incredibly specific and personal yet reveals little about those who had slept in the bed, evoking instead a sense of loss. González-Torres's work that signals absence best relates to whose artistic practice?
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