Podcasts
David Howard NSCAD University, Halifax, Nova Scotia, Canada.
This podcast is intended for educational use only.
Beginning in the late 1960s and continuing up to the present day, postmodern critiques of modernism and modernity have examined the premises that permitted a universalizing modernism to encompass the entire globe. In particular, their critiques have targeted the fetishization of time over space within the Enlightenment tradition, a binary opposition which pitted the imperatives of progress against the particularities of place. Because the rise of clay practices coincided with this radical re-examination of the traditional inferiority of space vis-à-vis time, the impression was momentarily created that the inversion of this artificial hierarchy would greatly enhance the personal freedom of the artist, as well as function as the basis for a revolt against the tyranny of a homogenizing modernism.
This paper examines the Saskatchewan context for this rejection of the myth of modernism as well as examining the critical terrain upon which the ceramic practitioners in the United States and Canada found a new space in which to stage a revolt against the modernist orthodoxy of New York's most powerful art critic, Clement Greenberg.
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Dans son exposé, l'auteur examine le rejet et la révolte contre le 'mythe du modernisme' par les céramists de la Saskatchewan.