Difference between Modern Art and

Postmodern Art
2016-07-01

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 1 Main Difference
 2 Modern Art
 3 Post-Modern Art
 4 Key Differences
 5 Video Explanation

Main Difference

Modern” and “post-modern” are the terms that were developed in 20 centuries. Modernism
started in the 1890’s and lasted drawer 1945. Before the Second World War, the Post Modernism
Era began in the year of 1968. “Modern” is the term that defines the passé and could be observed
in the era starting from the year of the 1890s to 1945. The Post-modern” era refers to the period
Second World War. The Modern art was declared to be out of date after 1945.Both of these
terms has many differences when considering the subject of arts in particular. That is the modern
art which is based on the simplicity and grace, but the post-modern art, on the other side, is
measured to be decorative and elaborated by nature. During that epoch, Post-Modernist denied
the application of rational thinking. Post Modernism is based on unspecified state of knowledge
and a non-totalized anarchical. That modernist thinking is about the search for an intellectual
truth of life while the post-modernist theorists believe that there is no universal truth at all. The
essential difference between modernism and post-modernism is the era through the media is
Modernist considers the unique works as reliable while post-modernist theorists base their views
on hyper-reality they get highly prejudiced by things propagated. A post-modern thinker bottoms
his views on hyper-reality whereas the modern thinker only painstaking original works as
genuine. While using the post-modern approach, it is a sure thing that the users have the
subjective approach while the artists using the modern approach were theoretical, objective and
analytical by nature. It is the kind of a modern thinker that he or she likes to learn from the
participations of the past and in a similar manner, he/she has more trust in the concepts that tells
about the history. Quite the opposite, a post-modern thinker does not have any limitation like
those. The artists who believe in the Post-modern art are considered intricate and decorative, and
the modern art users are stuck on the elegance and simplicity concepts.

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Modern Art

Modern is the art that is related to logical and

rational thinking .The modern approach was objective, theoretical, and analytical. The past and
also has much trust in the text that tells about the past a modern theorist considers in learning
from the involvements. When a modern thinker examines a subject by going deep, the post-
modern thinker does not trust in exhaustive analysis. In modernism, a coherent worldview there
was an attempt to develop. The modern art is based on grace and simplicity when modern
thinkers consider truth as objective when modern philosophy is based on effect and cause.
Elegance and simplicity are the key features of the modern art. The modern artists wish to learn
from the participations of the past because their approach is theoretical, objective and analytical.

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Post-Modern Art

A post-modern theorist does not have the

traditional beliefs. The text that tells about the past is of no use in the present-day times
according to the thought of the post-modernist. That is the primary cause the post-modern
thinker does not believe in in-depth investigation. A post-modern philosopher considers
decency as relative. Post-modern art is seen as decorative and elaborate. Post-modern
philosophy is based on chance only. The post-modern thinkers believe the truth as
comparative and based. The post-modernists involve politics in everything it can also be
seen whereas modernists are not that political. Some aspects that occurred or developed in
its outcome postmodern art are a body of art activities that required reversing some
aspects of modernism. In general, Multimedia, particularly concerning video are defined as
postmodern movements such as Intermediary, Appropriate art. By nature, Post-modern
art is complicated and pleasing to the eye. The post-modern artists don’t have to isolate
their learning from participations of the past as their appro Key Differences

 The evolution of the Post-modern art can be seen mainly after 1968 and therefore, it is
referred to the period after 1968 till today. The modern art, in contrast, is the tenure that
describes the period from the 1890s to 1945.
 The post-modern approach was subjective while the modern approach was theoretical,
objective and analytical.
 A modern thinker trusts in learning from participations of the past and also has more
confidence in the text that tells about the past. On the contrary, a post-modern thinker
does not have such beliefs.
 Post-modern art is considered intricate and decorative while modern art is stuck on
elegance and simplicity.
Araceli Dans at 86: ‘I just
paint and paint’
By: Eric S. Caruncho - Staff Writer / @Inq_Lifestyle
Philippine Daily Inquirer / 01:03 AM October 23, 2016

The problem with being on the cutting edge, someone once said, is that oftentimes, you
get cut.

Araceli Limcaco Dans has never had that problem.

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In the seven decades or so that she has been painting, she has seen art trends come and
go, all the various –isms—cubism, surrealism, expressionism both abstract and not.
And except for a very brief period early in her career when she flirted with modernism
(just so she could understand what it was about, she says), she has resolutely stuck to
her guns.

“I’m a realist,” says Dans, now 86.

That is very much in evidence in “Ang Mundo Ni Inay”, Dans’ last exhibit at Ayala
Museum.
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“‘Ang Mundo Ni Inay’ explores the core of the Filipino feminine,” goes the exhibit
catalogue.

Judging from the subject matter of the paintings and a number of sculptures in painted
paper clay, motherhood forms a large part of that core. It is a subject the artist is
intimately acquainted with, having reared 10 children with her husband, the late
technocrat Jose P. Dans, Jr.

Also in evidence is the calado or lace that has been a recurring motif in Dans’ work.

Beyond its subject matter, however, one might argue that Dans’ work is about painting
itself.

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There is an unmistakable joy in the way the artist’s brush describes the play of light and
shadow on a lace shawl, a sunflower or a mother’s face as she nurses her sleeping child.

Even when she paints inanimate objects, such as clothes hanging on a line above a lush
garden, they glow with an inner life, the “is-ness” described by the mystics and various
mind voyagers. The artist sees as one whose doors of perception have been cleansed.
Thanks to her skill with pencil and brush, the viewer can see it, too.

The label-headed might be tempted to call it “magic realism,” though from Dans’
perspective, is there really any other kind?

Womanizer

In the heavy bombing that preceded the liberation of Manila, the barely teenage Dans
fled Malate with her family with only the clothes on her back and her most precious
possession, her palette box.

Her father was an insurance man who, ironically, cared little about money or the future.
He was a womanizer, good-looking and generous to a fault, at least as far as his friends
were concerned. It didn’t make for the most stable household, and the end of the war
saw her parents separated and the family going through difficult times financially.

Luckily, Dans always had her art.

“I’ve been painting since the age of eight,” she recalls.

She had a natural talent for drawing, so it made sense that she would study fine arts, and
she enrolled at the University of the Philippines in 1948. The School of Fine Arts was
still in the bombed-out ruins of what is now the Department of Justice building in Padre
Faura, but by the following year, the school would move to a Quonset hut in the
university’s new campus in Diliman.

The dean at the time was none other than Fernando Amorsolo, and the faculty included
sculptor Guillermo Tolentino, both of whom would become Dans’ mentors.

“I was still young, only 16 or 17, but Amorsolo saw that I was a bit more advanced,”
she recalls.

This was confirmed when she joined a painting competition among the students, and
her work—a portrait of a laundrywoman—won over the works of even the senior
students.
The director of the National Museum happened to be visiting at the time, and he bought
her painting for the then handsome sum of P80.

“I felt like I had won the sweepstakes,” she recalls. “The tuition for one semester at the
time was P70.”

By this time, Dans was helping support her family by painting portraits of her wealthier
classmates for P20 each. Partly to escape her mother’s nagging about the rent money,
etc., Dans moved into a dormitory and threw herself into campus life, such as it was in
the late 1940s.

‘Elope, you dopes’

It was then that she met a brilliant engineering student named Jose “Totoy” Dans Jr.
The pair soon became college sweethearts.

On his mother’s side, Dans belonged to a wealthy landowning family in Negros, who
had arranged his marriage to the daughter of another wealthy landowning family in
Negros, as was the custom in those days.

The couple sought the advice of Fr. John Delaney, UP’s Irish Jesuit chaplain.

“He said ‘elope, you dopes,’” recalls Dans. “He believed in young marriage.”

Meanwhile, Amorsolo had arranged for her to graduate after only three years, not only
because she already had all the skills required of a fine arts graduate, but more
importantly because he understood that she desperately needed to use those skills to
earn a living.

“In those days, artists had hearts,” she says.

And so it came to pass that in 1950, the same year they both graduated, Araceli and
Jose were married in the first ever UP Diliman wedding.

Jose started up his own construction company. “It was called ‘Erectors, Inc.’” says
Dans. “People would laugh at the name.”
Meanwhile she started painting in earnest. But first, she had to get something out of her
system.

The modernist movement was already in full swing by the time Dans enrolled at UP.

“Amorsolo didn’t like it,” she recalled. “They couldn’t draw, and people couldn’t
understand what they were trying to do.”

She herself didn’t like the new thing, but she couldn’t dismiss it out of hand.

“I tried it for three years,” she says. “Then my husband said ‘are you enjoying yourself?
Why are you doing it then?’ I just wanted to understand it. And then I went back to
realism.”

She hasn’t looked back since.

By the time she was 34, Dans already had 10 children. Somehow, she had also built a
reputation as a portrait painter, and was making a good living at it.

Apart from her own work, she has also had a career as an art educator, establishing the
Fine Arts program of the Philippine Women’s University and later the art education
program of the Ateneo de Manila grade school.

Paint and paint

Meanwhile, her husband eventually became Minister of Transportation and

Communication under Ferdinand Marcos. It was under his administration that the
Light Rail Transit system and cellular telephone communication were created.

Dans continues to be a prolific painter. In 2011, 185 of her portraits were compiled
from various private collections and were shown for the first time.

One of her granddaughters now manages her career.

“I just paint and paint,” she says. “The paintings end up in storage, and sometimes I
forget about them.”
When they do see the light of day, though, her works now fetch top-tier prices.

“As an artist and a sage,” Sandra Dans and Roberta Thomas write in “Moments of
Grace,” the catalogue for “Ang Mundo Ni Inay,” “Dans’ paintbrush glides gracefully
spanning nearly nine decades of artistry and maternal wisdom.”
Read more: http://lifestyle.inquirer.net/241400/araceli-dans-at-86-i-just-paint-
and-paint/#ixzz4p4kW6C4Y
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Fiesta
A Masskara Festival Special
by Angelito Antonio and Norma Belleza.

Cocktails and Opening

5:00 PM, Saturday
October 20, 2012

Venue:
Charlie's Art Gallery
Italia Restaurant
1 Ranol Bldg., 23rd-San Agustin Sts.
Bacolod City, Negros Occidental

info@charliesartgallery.com

view artwork | buy

The multi-awarded Antonio and Belleza are one of the country's most popular and prolific artists, mentioned
in hundreds, perhaps, thousands, of publications in Philippine Art; they are widely collected by institutions
both foreign and local such as the Central Bank of the Philippines, several Philippine banks and American
banks, almost all Philippine museums, hospitals, and by top collectors in the country.

"Fiesta" is a rare occasion as this is Antonio-Belleza's first provincial two-man show show in decades,
exhibiting their folk genre masterpieces to the art-loving people of Negros Occidental, and their guests from
all over the country and the world.

Angelito Antonio was born on February 3, 1939 in Malolos Bulacan. He received his bachelor's degree in fine
arts in 1964 at the the University of Santo Tomas, Manila. He has taught art at the UST College of Fine Arts
from 1963 to 1979 and mentored several of our known artists today. At present, he lives and works in
Antipolo Valley, Manila with his wife Norma Jacildo Belleza.

Norma Belleza was on born on May 3, ,1939 in San Fernando, Pampanga. She Received her bachelor's degree
in painting in 1962 at the Univeristy of Santo Tomas, Manila.

For more info, please email info@charliesartgallery.com.

To schedule a preview, please call 0917-3006985.

Where (1960)

Magna on canvas

Hirshhorn Museum & Sculpture Garden

By Moris Louis, a member of the 1960s

Post-Painterly Abstraction style.

WHAT IS ART?

See: Art Definition, Meaning.

Definition

The term "Non-Objective Art" (also known as concrete art) describes any type of abstract art (including
abstract sculpture) which is wholly devoid of any reference to the natural world. This category of non-
representational painting and sculpture typically uses geometrical imagery, which is one of the few
sources of non-naturalistic motifs. Hence it is also referred to as geometric abstraction. The term non-
objective art was first used by the Russian Constructivist artist Alexander Rodchenko (1891-1956) in the
titles of some of his pictures (eg. Non-Objective Painting: Black on Black 1918, MoMA, New York). It was
then taken up by others, such as his compatriot Kasimir Malevich (1878-1935) - the inventor of
Suprematism - who wrote (in 1919) "In referring to non-objectivity, I wish to make it clear that
Suprematism is not concerned with things, objects, etc."
ENTERTAINMENT / COLUMNS

 122
SHARES


 
ONLY IN HOLLYWOOD

From Bach to rock to disco

By: Ruben V. Nepales - Columnist / @InqEnt
Philippine Daily Inquirer / 08:47 PM July 21, 2012

THE FILIPINO-AMERICAN Symphony Orchestra goes from Bach to rock, VST &
Company and Manila Sound in a concert.

LOS ANGELES – It can’t get more wonderfully eclectic than this: Led Zeppelin’s
“Stairway to Heaven,” Queen’s “Bohemian Rhapsody,” John Lennon’s “Imagine,” and
medleys of Hotdog and VST & Company hits will rock the Ford Amphitheatre in
Hollywood when the Filipino American Symphony Orchestra (Faso) plays there in a
concert on July 28.

That’s the musical treat in store for the audience in “Faso is Bach to Rock!”—a gig
featuring the first and only Filipino orchestra outside of the Philippines after it went on
a hiatus.

The show will include numbers of the Immaculate Heart of Mary Children’s Choir,
conducted by Pete Avendaño. The group will perform for the first time in a major
concert after winning the silver medal at the recent World Choir Games in Cincinnati,
Ohio.
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Other guest performers include Joey Albert, who will sing a medley of Hotdog songs,
Mon David, and new discovery Mirielle Enriquez.

Faso, led by its conductor and musical director Bob Shroder, will likewise pay tribute to
National Artist for Music Felipe Padilla de Leon, whose birth centenary is being
celebrated this year. More information about the concert which starts at 7:30 p.m. is
available at www.FordTheatres.org.
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Bob and Louie Ramos, who arranged most of the pieces in the program, are now
steering Faso as it tackles new directions. Below are excerpts of our interview with Bob
and Louie.

This is the fourth major concert of Faso. What are you excited about this time
around?

Bob Shroder (B): Actually, this is already our fifth since we did “Faso Goes to the
Movies” in San Diego the week after the Pasadena Civic Auditorium concert.
Compared to the last Faso concert at the Cathedral of the Angels in Los Angeles almost
a year and a half ago, this one is both very challenging and exciting at the same time.
It’s challenging on the business side because we have to do most of the legwork
ourselves. In some ways, it feels like we are doing another inaugural concert. We are all
musically and technically equipped to learn new pieces, even the more difficult ones.

FASO’s conductor and musical director Bob Shroder (left) and arranger-in-residence
Louie Ramos
But the business management of an orchestra is a new aspect, so the orchestra
management committee decided to go to a two-week retreat seminar for us to prepare
ourselves to function independently. Thank God for the guidance and meeting with the
right group of people who believe in our goals and mission.

We would not be here today if not for the initiative of Asian Journal Publications Inc.,
which was instrumental in putting together Faso from the very start. We cannot thank
Roger and Cora Oriel enough for their continued assistance that includes media
sponsorship to keep our projects visible to the community.

It is very rare and exciting for a symphony orchestra to perform outside the symphonic
music genre, especially rock which requires a different type of discipline. In keeping
with our standard repertoire, we will start with “Brandenburg Concerto” by Johann
Sebastian Bach. I chose the music of Bach or the Baroque era to demonstrate that even
before jazz and rock were born, “musical ornamentation,” which is a way to improvise
whenever a phrase or stanza is repeated to give a different color and taste to the
repeated pattern, was already in use.
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I think it’s a good combination with rock because we are really going to take off and
even extend some parts of the music to give Faso members an opportunity to show off
and play a solo improvisation, in addition to our tight rhythm section with our rock
guitarist Vince Reyes. I can imagine the fun and excitement from both the orchestra and
the audience seeing a formally configured symphony orchestra play some of their
favorite rock tunes.

Louie Ramos (L): As an orchestral arranger, it is always a thrill for me to witness and
experience the orchestra bring arrangements to life. We are tackling a whole new set of
genres and styles that we have never done before. In orchestral music, arrangers and
orchestrators write down every note (and rest) that will be played by every musical
instrument in the orchestra. I love to see how the visualization of the music is realized
by the orchestra and its performers.

What will be unusual about your versions of “Bohemian Rhapsody” and

“Stairway to Heaven”?
B: Typically, a rock band consists of three to five members with all the blasting sound
of electronic instruments. With a symphony orchestra playing rock, we will still
amplify part of it to more effectively hear the distortion and growl from other
instruments, but we will keep the acoustic quality and expression of the orchestral
instruments that will give a more soothing and relaxing blend of sound to the human
ears.

IT WILL be Faso’s fourth major concert.

L: I can speak about “Stairway to Heaven” since I am most familiar with its
arrangements. The most unusual thing about this version has to be the symphonic
treatment of this classic rock song, often referred to as one of the greatest of all time.
We have been conditioned to hear a rock song through a standard band instrumentation
consisting of electric guitars, drums, keyboards and bass. With a symphonic treatment,
we were able to add a significantly greater arsenal of musical instruments to execute the
music, while still preserving its groove and feel.

For instance, we substituted some of the guitar parts with a harp over a bed of string
harmonies, giving it a more ephemeral feel. And we orchestrated some of the guitar
chord progressions using a brass fanfare, giving it an even greater lift. Of course, we
kept intact many of the elements of the song that can never be substituted, including the
guitar solo/ad lib in the last section of the piece.

Can you talk about the Filipino music artists that Faso will pay tribute to? Are we
going to see Bob in a Hagibis costume?

L: We were seriously considering having Bob wear a Kiss costume with the heavy face
makeup like that of Gene Simmons’ but he nixed the idea. I am hoping Bob
reconsiders. We are paying tribute to several artists in this concert. We will celebrate
Felipe Padilla de Leon’s birth centenary. We will be performing his “Manila Sketches,”
a series of characteristic pictures depicting varied scenes in Manila, such “Otomobil,”
“Kalye Ongpin” and “Aso’t Pusa.”

Second, we are performing songs by Hotdog (“Manila,” “Pers Lab” and “Ikaw ang
Miss Universe ng Buhay Ko”) and VST

& Company (“Tayo’y Magsayawan,” “Rock Baby Rock” and “Awitin Mo at Isasayaw
Ko”). By the way, we are always debating what VST really stands for. We are also
performing a song popularized by the Queen of Disco, the late Donna Summer.

This will be Mon David’s first concert with Faso. What’s in store for the audience?

B: No doubt that Mon is a real artist. I admire his high level of musicianship and
professionalism. I really wanted him to be a part of this concert even though he is
known more as a jazz singer. The music of the band Chicago was in my mind when I
thought about Mon for this concert. So the moment I talked to him about the concept
and the songs, we both got very excited. At first we were only going to perform my
favorite, “Moonlight Serenade” (from Chicago’s 1995 album “Night and Day Big
Band”).

Then after a month, we talked again and I asked Mon if he would also like to sing
“Colour My World,” so that we would have two selections from Chicago. He said, “Oh,
Bob, that is the reason why I met Anna [his wife]. Yes, by all means.” It’s the song that
he sang when he met Anna for the first time. Incidentally, that song is also one of the
reasons why I learned how to play the flute.

Then two weeks ago, the very humble Mon called me to ask if he could sing one of the
songs from his CD, “I Had a Dream.” I said it might be too late to make the musical
arrangements but Mon suggested we e-mail Gerard Salonga, with whom I performed
the song in Manila. Gerard was very kind to lend us a copy of his arrangements of the
song. Last night, we had our first rehearsal with Mon. He’s amazing.
L: It is such a great honor and privilege to have Mon David perform with us. He is an
award-winning Filipino jazz singer. I really look forward to his rendition of “Colour
My World.” It’s very memorable for me because this is the song that I listened to when
I reached puberty. I am also looking forward to hearing him sing “I Had a Dream,” a
truly beautiful, inspiring piece composed by the award-winning, prolific poet and
songwriter Gary Granada.

This will likewise be the first chance for people to watch and listen to the Immaculate
Heart of Mary Children’s Choir (IHMCC) since it won the silver medal at the recent
World Choir Games in Cincinnati, Ohio.

B: Truly, it is all about the youth. We always think of ways to help and support our
youth because they are the future and we want to make sure that we expose and engage
them in musical artistry and in the right discipline. Early during the competition
preparation period of the IHMCC, I extended my invitation for the group to perform a
couple of numbers for this concert. This is our chance to hear the choir in a concert
environment. Aside from Mirielle, we will also premiere the Faso Youth Strings
Ensemble. It will be playing “Viva La Vida” with the rest of the orchestra.

L: We were very thrilled to hear the great news of its win. What a major
accomplishment for the choir director Pete Avendaño, the IHMCC, its school, the
parish and Fr. Rodel Balagtas. The group will bring much pride and honor to the
Filipino-American community. One of Faso’s key missions is to develop and promote
Filipino-American artists so we do what we can to support them.

Read more: http://entertainment.inquirer.net/51019/from-bach-to-rock-to-

disco#ixzz4p4pvNjvX
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