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Published: 10 December 2022
Last updated: 28 January 2023

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1

Scharf, Aaron. "Modernism; Photography; Art." History of Photography 13, no. 1 (January 1989): 95–102. http://dx.doi.org/10.1080/03087298.1989.10442171.

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2

Clahassey, Patricia. "Modernism, Post Modernism, and Art Education." Art Education 39, no. 2 (March 1986): 44. http://dx.doi.org/10.2307/3193006.

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3

Monks, Aoife. "Bad Art, Quirky Modernism." Representations 132, no. 1 (2015): 104–11. http://dx.doi.org/10.1525/rep.2015.132.1.104.

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This essay considers the systems of value that undergird the employment of quirky objects in scholarship and argues that quirk historicism is another iteration of modernism in its attachment to estrangement and theatricality as modes of critique. In doing so, the essay asks why it is that “bad art” is so much easier to co-opt into scholarship when it’s safely in the past.
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4

Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.

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5

Haslam, Michael. "Modernism and Art Therapy." Canadian Art Therapy Association Journal 18, no. 1 (March 2005): 20–27. http://dx.doi.org/10.1080/08322473.2005.11432268.

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6

Brighton, Andrew. "Art: Francis Bacon's Modernism." Critical Quarterly 42, no. 1 (April 2000): 137–42. http://dx.doi.org/10.1111/1467-8705.00282.

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7

Papastergiadis, Nikos. "Modernism and Contemporary Art." Theory, Culture & Society 23, no. 2-3 (May 2006): 466–69. http://dx.doi.org/10.1177/026327640602300286.

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8

Topper, David, and Brian Wallis. "Art after Modernism: Rethinking Representation." Leonardo 24, no. 2 (1991): 247. http://dx.doi.org/10.2307/1575323.

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9

Wolff, J. "Modernism, Modernity and English Art." Oxford Art Journal 21, no. 2 (January 1, 1998): 199–202. http://dx.doi.org/10.1093/oxartj/21.2.199.

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10

Olin, Margaret. "Ornament and European Modernism: From Art Practice to Art History." Journal of Design History 33, no. 2 (May 2020): 185–87. http://dx.doi.org/10.1093/jdh/epaa024.

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11

Hutchinson, John, and Brandon Taylor. "Modernism, Post-Modernism, Realism. A Critical Perspective for Art." Circa, no. 36 (1987): 49. http://dx.doi.org/10.2307/25557249.

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12

Zakharova, Lyudmila N., Alexey V. Seryakov, and Aleksei G. Ivanov. "Modern Art. From Modernism to Neoclassicism." Tyumen State University Herald. Humanities Research. Humanitates 4, no. 3 (2018): 208–27. http://dx.doi.org/10.21684/2411-197x-2018-4-3-208-227.

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13

Drosos, Nikolas. "Modernism and World Art, 1950–72." ARTMargins 8, no. 2 (June 2019): 55–76. http://dx.doi.org/10.1162/artm_a_00235.

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Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.
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14

Dahlberg, Andrea. "Art Since 1900: Modernism, Antimodernism, Postmodernism." Leonardo 39, no. 3 (June 2006): 263–64. http://dx.doi.org/10.1162/leon.2006.39.3.263.

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15

Galati, Gabriela. "Duchamp Meets Turing: Art, Modernism, Posthuman." Leonardo 51, no. 5 (October 2018): 527. http://dx.doi.org/10.1162/leon_a_01662.

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16

Krakovsky, Alexander A. "State of the Art in Phalloplasty." American Journal of Cosmetic Surgery 22, no. 3 (September 2005): 172–78. http://dx.doi.org/10.1177/074880680502200303.

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Introduction: After Sigmund Freud “opened the bedroom door,” significant shifts in social attitudes, behaviors, and institutional regulations concerning male and female body images and the understanding of human sexuality began to occur. Today, male cosmetic genital enhancement surgery, or phalloplasty, has become the subject of recent surgical achievements that are gaining significant popularity in the United States and abroad. Appropriate methodology and surgical techniques have been developed to fulfill the demand in this field of cosmetic surgery. The objective of this study is to review the state of the art in phalloplasty and provide information about the availability of the techniques to the medical community and the public to inform them of surgical treatments that may improve unsatisfactory sexual performance, relationships, intimacy, and love by increasing the size of a man's penis. Material and Methods: Two surgeons performed phalloplasty on 594 patients at multiple surgical facilities over a 2-year period. Phalloplasty procedures include penile lengthening, penile girth enhancement, dual augmentation (combined lengthening and girth enhancement), penile glanular enhancement, scrotal web resection, and reconstruction. The patients' own satisfaction with the results of their surgeries was analyzed by using the Penis Image Assessment Scale Questionnaire. The assessment was based upon questions related to penis size, satisfaction of sexual experiences, and the psychological perspective of patients regarding their penises before and after phalloplasty. Results: Patient scores on the Penis Image Assessment Scale Questionnaire were higher before surgery (almost twice as high) than they were after surgery, showing an increase in patient satisfaction with penis size and performance after enhancement. Seventeen patients required subsequent surgery to treat local infection. Twenty-nine patients experienced localized swelling 3–7 days after surgery. The results showed enormous patient satisfaction with the cosmetic surgical procedures performed. Discussion: Penis size has always symbolized strength, virility, power, and domination in relationships. Although this subject was taboo some years ago, today many men are interested in learning about how phalloplasty may improve their self-confidence, sexual relationships, and female partners' satisfaction. Consequently, phalloplasty has acquired wide acceptance and tremendous popularity.
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17

Mitter, Partha. "Decentering Modernism: Art History and Avant-Garde Art from the Periphery." Art Bulletin 90, no. 4 (December 2008): 531–48. http://dx.doi.org/10.1080/00043079.2008.10786408.

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18

Tong, Lu, and Jiongming Huang. "The Influence of Contemporary Art Trend on Modernist Design." BCP Social Sciences & Humanities 15 (March 13, 2022): 237–40. http://dx.doi.org/10.54691/bcpssh.v15i.429.

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Art and design are homologous, and both permeate and influence each other. New thoughts and developments in the field of art will quickly penetrate and influence the field of design. Although in the early days of arts and crafts of representative John ru skin tried to painting, sculpture, and other art forms of "great art" and represents the design apart from the "art", but in the process of the development of modern art movement appeared in a series of design, such as modernism, post-modernism, contemporary art, etc., there is a art and design influence each other. This paper selects typical contemporary art schools and discusses their influence and significance on modernism with cases.
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19

Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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20

Mason, Rachel, and Jeong-Ae Park. "Modernism and Postmodernism in Contemporary Korean Art: Implications for Art Education Reform." Journal of Art & Design Education 16, no. 3 (October 1997): 303–13. http://dx.doi.org/10.1111/1468-5949.00090.

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21

Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part I." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 18, no. 2 (September 2011): 139–81. http://dx.doi.org/10.1086/662515.

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22

Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part II." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 2 (September 2012): 175–95. http://dx.doi.org/10.1086/668060.

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23

Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part III." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 20, no. 1 (March 2013): 3–61. http://dx.doi.org/10.1086/670975.

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24

Nicol, Charles, and John Burt Foster. "Nabokov's Art of Memory and European Modernism." South Atlantic Review 59, no. 3 (September 1994): 141. http://dx.doi.org/10.2307/3201086.

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25

Daniels, T. Tilden. "Michel Butor'sMobile: Modernism, Postmodernism, and American Art." Symposium: A Quarterly Journal in Modern Literatures 62, no. 2 (July 2008): 99–112. http://dx.doi.org/10.3200/symp.62.2.99-112.

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26

Deshmukh, Marion F., and Patrick Werkner. "Egon Schiele: Art, Sexuality and Vienna's Modernism." German Studies Review 18, no. 3 (October 1995): 561. http://dx.doi.org/10.2307/1431822.

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27

Seifrid, Thomas, and John Burt Foster. "Nabokov's Art of Memory and European Modernism." Slavic and East European Journal 38, no. 3 (1994): 520. http://dx.doi.org/10.2307/308866.

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28

Kopper, John M., and John Burt Foster. "Nabokov's Art of Memory and European Modernism." Russian Review 53, no. 4 (October 1994): 571. http://dx.doi.org/10.2307/130976.

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29

Orton, Fred. "'Postmodern', 'Modernism', and Art Education (English) 'Modernised'." Circa, no. 28 (1986): 62. http://dx.doi.org/10.2307/25557103.

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30

Meeson, Philip. "THE INFLUENCE OF MODERNISM ON ART EDUCATION." British Journal of Aesthetics 31, no. 2 (1991): 103–10. http://dx.doi.org/10.1093/bjaesthetics/31.2.103.

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31

Macleod, Dianne Sachko. "THE DIALECTICS OF MODERNISM AND ENGLISH ART." British Journal of Aesthetics 35, no. 1 (1995): 1–14. http://dx.doi.org/10.1093/bjaesthetics/35.1.1.

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32

Malvern, S. B. "INVENTING ‘CHILD ART’: FRANZ CIZEK AND MODERNISM." British Journal of Aesthetics 35, no. 3 (1995): 262–72. http://dx.doi.org/10.1093/bjaesthetics/35.3.262.

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33

Vergo, Peter. "Art, music and the cult of modernism." Art History 26, no. 4 (September 2003): 586–92. http://dx.doi.org/10.1111/j.0141-6790.2003.02604005_3.x.

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34

PORTER, ROY. "Pre-modernism and the art of shopping." Critical Quarterly 34, no. 4 (December 1992): 3–14. http://dx.doi.org/10.1111/j.1467-8705.1992.tb00439.x.

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35

Cosgrove, Mary. "Ernie O'Malley: Art and Modernism in Ireland." Éire-Ireland 40, no. 3 (2005): 85–103. http://dx.doi.org/10.1353/eir.2005.0016.

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36

Schmidt Burkhardt, Astrit. "Shaping modernism: Alfred Barr's genealogy of art." Word & Image 16, no. 4 (October 2000): 387–400. http://dx.doi.org/10.1080/02666286.2000.10435694.

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37

Davidow, Jackson. "Art Therapy, Occupational Therapy, and American Modernism." American Art 32, no. 2 (June 2018): 80–99. http://dx.doi.org/10.1086/699611.

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38

Lyford, Amy. "Modernism, Essentialism, and “Racial Art” in America." Art Journal 72, no. 3 (September 2013): 85–88. http://dx.doi.org/10.1080/00043249.2013.10792856.

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39

Svinhufvud, Leena. "Modernism in Scandinavia: Art, Architecture and Design." Journal of Design History 32, no. 1 (February 2019): 112–14. http://dx.doi.org/10.1093/jdh/epz008.

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40

Roberts, John. "Art After Deskilling." Historical Materialism 18, no. 2 (May 20, 2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.

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The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.
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41

Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (January 30, 2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.

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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.
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42

Houghton, Nicholas. "Fine art pedagogy after modernism: A case study of two pioneering art schools." Art, Design & Communication in Higher Education 13, no. 1 (April 1, 2014): 7–18. http://dx.doi.org/10.1386/adch.13.1.7_1.

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43

Subedi, Abhi. "Widening Sphere of Modern Art and Literature in Nepal: A study of the interface between them." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 6–27. http://dx.doi.org/10.3126/sirjana.v7i1.39340.

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I see modernism in painting in this region as an evolutionary process that should trigger discussions about its constituent features. This argument harps on the two questions. Is modernism only an emulation of the Western style and methods in paintings and literature, or is it also the evolution of native cultural consciousness that is reflected in the experiments made by painters in art and by writers in creative literary works? To answer these questions, this article includes discussions about evolutions of modernism in paintings and culture in meta-artistic and literary discourses. Examples are drawn from very selective discussions about literature and works of art for reason of space. The basic argument of this article is that modernism in Nepali paintings should be seen in its evolutionary process. Modernism in art is not a condition that we see in palpable form today. It has grown over a long period of creative engagements and efforts both by painters and literary writers. Nepali art students' exposure to art education in Kolkata and literary writers' engagements with print-capitalism in Banaras over a century ago have played significant roles in introducing modernism in both paintings and literature. But I have said clearly that the use of the Western techniques and education has played great role in this process. We can see that in the interface between art and literature, which should be seen in the widening sphere of such sharing in terms of both techniques, and native orientations.
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44

Hassan, Salah M. "When Art Becomes Liberty." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 8–23. http://dx.doi.org/10.1215/10757163-9435625.

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The 2015 Egyptian Surrealists in Global Perspective conference, and the companion 2016 exhibition When Art Becomes Liberty: The Egyptian Surrealists (1938–1965), both held in Cairo, Egypt, explored the history and evolution of the work of Egyptian surrealists and their remarkable legacy within Egypt and in international surrealist circles. This article serves as a preview of contributions to this special issue of Nka, which serves as a followup to these two events, documenting the relationship of the Egyptian surrealists with Western counterparts, especially the French surrealists, and their contributions to internationalism, antifascist global protest, and decolonization, staged and performed outside the West. The artistic and intellectual output of the Egyptian surrealists was primarily centered around activities initiated by the Art and Liberty group (Jama’at al-Fann Wa al-Hurriyyah), the Contemporary Art Group (Jama’at al-Fann al-Mu’asir), and the artists who exhibited with one or both of these groups. In addition to more traditional artistic genres, photography played an important role in the surrealists’ artistic practices of the time, as is examined in this issue. This introduction, and the contributions to this issue of Nka that it surveys, affirm that the Egyptian surrealists, among other non-Western modernists, represent the multifaceted aspects of modernity and its global interconnectedness in the twentieth century. The strength of the Egyptian surrealists lay squarely in their theoretical underpinning that emphasized non-Western modernism, not as derivative or secondary to the Western modernism, but as a unique experiment in modernity that is worthy of its own investigation.
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45

Akapng, Clement. "Contemporary Discourse and the Oblique Narrative of Avant-gardism in Twentieth-Century Nigerian Art." International Journal of Culture and Art Studies 4, no. 1 (April 28, 2020): 9–23. http://dx.doi.org/10.32734/ijcas.v4i1.3671.

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The history of Twentieth Century Nigerian art is characterized by ambiguities that impede understanding of the underlying modernist philosophies that inspired modern art from the 1900s. In the past five decades, scholars have framed the discourse of Contemporary Nigerian Art to analyze art created during that period in Africa starting with Nigeria in order to differentiate it from that of Europe and America. However, this quest for differentiation has led to a mono-narrative which only partially analyze modernist tendencies in modern Nigerian art, thus, reducing its impact locally and globally. Adopting Content Analysis and Modernism as methodologies, this research subjected literature on Twentieth Century Nigerian art to critical analysis to reveal its grey areas, as well as draw upon recent theories by Chika Okeke-Agulu, Sylvester Ogbechie, Olu Oguibe and Okwui Enwezor to articulate the occurrence of a unique Nigerian avant-gardism blurred by the widely acclaimed discourse of contemporary Nigerian art. Findings reveal that the current discourse unwittingly frames Twentieth Century Nigerian art as a time-lag reactionary mimesis of Euro-American modernism. This research contends that such narrative blocks strong evidences of avant-garde tendencies identified in the works of Aina Onabolu, Ben Enwonwu, Uche Okeke and others, which exhibited intellectual use of the subversive powers of art for institutional/societal interrogation. Drawing upon modernist theories as a compass for analyzing the works of the aforementioned, this paper concludes that rather than being a mundane product of contemporaneity, Twentieth Century Nigerian art was inspired by decolonization politics and constituted a culture-specific avant-gardism in which art was used to enforce change. Thus, a new modern art discourse is proposed that will reconstruct Twentieth Century Nigerian art as an expression of modernism parallel to Euro-American modernism.
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46

Emrali, Refa. "The body that contemporary art fragments." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 143–47. http://dx.doi.org/10.18844/prosoc.v5i6.3851.

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Along with the history of humankind, the adorable female body which ensures the continuity of the human race has been a field where the socio-cultural structure can be read in a contemporary art. The body, which was preliminarily a whole and a material for aesthetic categories, starkly began to get fragmented with wars in the 17th Century Europe and following the war, with egalitarian, liberal formations of 1968 movement. During the course of the change from modernism to post-modernism, the chaotic structure caused by global lifestyles made it inevitable to review the existing genres. The world wars, genocides that many scientists and artists left their countries, escaping from invasions, the regional and mass destruction, threat, violence and the anxiety caused by them; the fear, the politicisation, racism, poverty, migration, marginalisation, deterritorialisation, discrimination that started during especially the 1980s, have been concepts that were considered with a poststructuralist point-of-view. Keywords: Body, art, female, gender, violence.
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47

A. M. Lutfi, Dina. "Challenging Perceptions of Modern Arab Art." Contemporary Review of the Middle East 7, no. 3 (May 11, 2020): 286–300. http://dx.doi.org/10.1177/2347798920921708.

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The understanding of modern Arab art is, more often than not, based on individual and collective perceptions that relate to beliefs, culture, and social constructs. Defining qualities or characteristics that make a work of art “Arab” is not a clear-cut endeavor. Many Arab artists appropriated Western techniques, while they strived to combine their newly acquired artistic processes with content inherent in their respective cultures. Some audiences appreciated the new direction the Arab art was taking; however, many artists were harshly criticized of advocating cultural colonialism. A struggle in the field of art, and in other aspects of life took place, due to the increasing fear of losing one’s own tradition and Arab identity in the face of Western culture. This article explores the nature of modern Arab art and Arab identity, its place within a global modernism, and the ways in which Western influences have shaped its development, in addition to understanding the different particularities that have shaped Arab modernism in art specifically.
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48

Ort, Thomas. "Cubism's Sex: Masculinity and Czech Modernism, 1911–1914." Austrian History Yearbook 44 (April 2013): 175–94. http://dx.doi.org/10.1017/s0067237813000118.

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Among those who interest themselves in modernism in the context of the Austro-Hungarian Empire, Prague is sometimes referred to as the “second city of cubism.” In 1911, at a time when the style was still largely unknown in Europe, an artists’ group devoted to the defense and promotion of the new art was founded in Prague. The members of the Skupina výtvarných umělců, or Visual Artists Group, wrote extensively about cubism in their journal Umělecký mesičník [Art Monthly] as well as in other publications. They sponsored numerous exhibits of the art at home and participated in shows of Czech cubist art abroad. In February 1914, Prague was the site of the largest show of cubist art anywhere in the world up to that time.
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49

Matveeva, Alla, Roman Krasnov, Elena Atmanskykh, and Regina Zaynetdinova. "Analysis of philosophy and humanization art relationship in the first decade of the XX century." SHS Web of Conferences 72 (2019): 03050. http://dx.doi.org/10.1051/shsconf/20197203050.

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When writing the article, the authors pursued one goal: to understand why extreme subjectivity in art, the abandonment for centuries of setting traditions, laws and techniques in art led to the loss of aesthetic criteria by the modernism art, and what philosophical trends influenced this process. The methodological basis of the article is the principles of integrity, objectivity and historicism. The following methods were applied: historical and philosophical analysis, focused on the objective completeness of the study; cultural and comparative approaches aimed at establishing spiritual ties between artists of different historical eras. The article analyzes the works of philosophers and artists, such as: Bergson, Schopenhauer Nietzsche, Chirico, Apollinaire, Lenin, Bru, Kandinsky. Various directions of bourgeois art are considered. The authors believe that abstract art, fully antisocial and dehumanized, fully meets the aesthetic ideals of the modernism art, which opposed itself to human from its very birth. The authors argue that if you take the artists’ position of that time, you can make an unambiguous conclusion, the dehumanization of art could not be avoided. According to the authors, abstract art, fully antisocial and extremely dehumanized, is fully consistent with the goals of bourgeois ideologists and fully meets the aesthetic ideals of the art of modernism, which has opposed itself to man since its inception.
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Asylbekuly, S., Zh Ashirov, and Sh Kuttybaev. "HISTORICAL AND SOCIAL FOUNDATIONS OF MODERNISM." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 217–21. http://dx.doi.org/10.51889/2020-4.1728-7804.45.

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The article discusses theoretical issues and prerequisites of the modernist trend, which influenced the development of literature and art. The main factor influencing the emergence of literary modernism is global change in the historical and social life of human development. Features of European culture and art are considered in the context of literature and art space. The relationship between historical and social factors and factors causing new discoveries in literature and art is revealed. The world of the late 19th century and the beginning of the 20th century was full of new discoveries. Looking at this stage of human development from today's height, we will see that in the twentieth century it underwent multifaceted and radical changes. It began in the European literature of novelty, and also in the Kazakh literature. New and valuable domestic works appeared and the" Golden Fund "of Kazakh literature was replenished with valuable works of Kazakh writers.
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