postmodernism

(redirected from Postmodernists)
Also found in: Dictionary, Thesaurus.

postmodernism

postmodernism, term used to designate a multitude of trends—in the arts, philosophy, religion, technology, and many other areas—that come after and deviate from the many 20th-cent. movements that constituted modernism. The term has become ubiquitous in contemporary discourse and has been employed as a catchall for various aspects of society, theory, and art. Widely debated with regard to its meaning and implications, postmodernism has also been said to relate to the culture of capitalism as it has developed since the 1960s. In general, the postmodern view is cool, ironic, and accepting of the fragmentation of contemporary existence. It tends to concentrate on surfaces rather than depths, to blur the distinctions between high and low culture, and as a whole to challenge a wide variety of traditional cultural values.

The term postmodernism is probably most specific and meaningful when used in relation to architecture, where it designates an international architectural movement that emerged in the 1960s, became prominent in the late 1970s and 80s, and remained a dominant force in the 1990s. The American architectural historian Charles Jencks (1939–2019) is often considered the godfather of architectural postmodernism. The movement largely was a reaction to the orthodoxy, austerity, and formal absolutism of the International Style. Postmodern architecture is characterized by the incorporation of historical details in a hybrid rather than a pure style, by the use of decorative elements, by a more personal and exaggerated style, and by references to popular modes of building.

Practitioners of postmodern architecture have tended to reemphasize elements of metaphor, symbol, and content in their credos and their work. They share an interest in mass, surface colors, and textures and frequently use unorthodox building materials. However, because postmodern architects have in common only a relatively vague ideology, the style is extremely varied. Greatly affected by the writings of Robert Venturi, postmodernism is evident in Venturi's buildings and, among others, in the work of Denise Scott Brown, Michael Graves, Robert A. M. Stern, Arata Isozaki, and the later work of Philip Johnson. Once extremely popular, postmodernism began to fall out of style in the late 1980s.

See also contemporary art.

Bibliography

See P. Goldberger, On the Rise: Architecture and Design in a Postmodern Age (1983); A. Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (1986); C. Jencks, What is Post-Modernism? (1986) and The New Paradigm in Architecture: The Language of Postmodernism (7th ed., 2002); S. Gaggi, Modern/Postmodern (1989); D. Harvey, The Condition of Postmodernity (1989); J. Tagg, ed., The Cultural Politics of Postmodernism (1989); D. Kolb, Postmodern Sophistications (1990); H. Risatti, ed., Postmodern Perspectives (1990); F. Jameson, Postmodernism, or the Cultural Logic of Late Capitalism (1991); Venturi, Scott Brown and Associates on Houses and Housing (1992); T. Docherty, ed., Postmodernism: A Reader (1993); P. Jodidio, Contemporary American Architects (1993); D. Meyhofer, Contemporary European Architects (1993); N. Wheale, ed., The Postmodern Arts (1995); S. Grenz, A Primer on Postmodernism (1996).

The Columbia Electronic Encyclopedia™ Copyright © 2022, Columbia University Press. Licensed from Columbia University Press. All rights reserved.

Postmodernism

(1980–2000)
A reaction against the International style and Modernism was evidenced in this style. It reintroduced ornament and decorative motifs to building design, often in garish colors and illogical juxtaposition. It is an eclectic borrowing of historical details from several periods, but unlike previous revivals is not concerned with scholarly reproduction. Instead, it is a light-hearted compilation of esthetic symbols and details, often using arbitrary geometry, and with an intentional inconsistency of scale. The most prevalent aspect is the irony, ambiguity, and contradiction in the use of architectural forms. Those connected with the beginning of this movement include Aldo Rossi, Stanley Tigerman, Charles Moore, Michael Graves, Robert Krier, and Terry Farrell.
Illustrated Dictionary of Architecture Copyright © 2012, 2002, 1998 by The McGraw-Hill Companies, Inc. All rights reserved
References in periodicals archive ?
A House Built on Sand: Exposing Postmodernist Myths about Science.
Through juxtaposing some of the best writing for and against postmodernist approaches to history, Jenkins's text does an excellent job of revealing the "haemorrhaging" currently taking place between antitheoretical historians and theoretically based ones.
For the postmodernist, there is no truth, no knowledge, no objectivity, no reason, and ultimately, no reality.
Three years ago, he submitted a parody of postmodernist thought to the postmodernist journal Social Text.
Nevertheless, it is possible to distinguish some characteristics of postmodernist philosophy.
My only real criticism revolves around Yack's view of postmodernity as a "figment of a fetish." Postmodernists would vehemently deny the claim they have inadvertently created a grand narrative with their antifoundational and differentialized views.
For Smith objectivists are almost always wrong or fighting a losing battle, whereas relativists or postmodernists are in essence always right, leading to genuine progress.
Let's be brutal about this: postmodernism as an intellectual current is about as academic as you can get; and the more postmodernists claim to represent the voice of popular culture," the more impenetrable and inaccessible their "discourses" become.
major postmodernist theories and its direct or indirect bearings on the
Had Jernigan chosen to highlight--or include--any of these works in his study, he would have undermined his claim that Stoppard started out as a postmodernist. But even though Jernigan chose to avoid minor works and focus on R&G as his example of Stoppard's postmodernism, it is worth highlighting that during this period Stoppard's actual interest was not in Rosencrantz or Guildenstern but in Lord Malquist and Mr.
Kim's explanation of postmodernist conceptions of ideology doesn't answer why postmodernists may be more susceptible to overgeneralizing than, say, Kim would be.
Postmodernist Thesis 1: the metaphysical systems that are traditionally alleged to ground the cogency of world-explanations have been definitively exposed for their essentially ideologieal, power-sustaining, abuse-justifying contents, or, alternatively, for their philosophical irrelevanee or semantic vacuity.