Visual Arts in the Terms of Univalence and Multivalence - Essay Example

Visual Arts in the terms of Univalence and Multivalence Name: Tutor: Institution: Date: Introduction Charles Jencks artwork was quite more ambitious because he put forwarded a theory of value that is entirely applied to the artwork, focusing on the multiple levels of significance. According to Jencks, all the works of art can be found on the spectrum ranging from Univalence which means single-leveled to multivalence to mean multileveled. Today, truly great artworks are more often than not presented in a multivalent manner. This implies that the main function of artists in the visual art works is to play the role of activators controlling behaviors, catalysts for clarifying of experience as well as sensitizers to the environments around them. It has been argued that in the same way art defied the assertion of Modernist critics that has remained occupied in the gallery space, it is so with architecture in rediscovering that variables could not necessarily be used as traces of the sentimental past1. Initially, modern architecture was perceived to be a new style just like other passing ones. This is in contrast with the postmodern architecture that highly values contexts and multivalence and relying on a summarized beliefs of space. Postmodern architecture portrays the visual artwork based on images, motifs as well as historical references of both the past and present activities. Through its trances and expressionisms, it creates a decorative imagery in addition to its regional vocabulary2. As a result of the need to have a sense of displacement, meaningful symbols and the value attached to place, artists find it necessary to search for a more potent and figurative level where the discussion between artwork and architecture connects3. For example, when artists who are experts at their personage expressionism incorporate urban complexities and the language rules of their cities, they become effective basis of inspiration. Such individuals develop artwork based on the multivalent architectural orientation regarding the state of the visual art considering its significance to the new trends within the field of architecture4. Jencks discovered some of the trends that illustrate the evolution of art from architecture to literature. For example, modernist architecture is perceived to be univalent in nature because it is designed based on one of the most simplified values, though using limited materials. As a result, modernism’s univalency has been considered one of the most significant features of art movement. As noted by Jencks, the use of glass and steel box is commonly applied as single most design in modern architecture that signifies office building across the world. Therefore, really modernist buildings are identified by a unified and singular design of uninterrupted and clean lines5. While the modernist architecture appears to be univalent in visual art, the postmodernist architecture is characterized through multivalent features of double coding where messages are included for professional architects to interpret them. Other messages are designed to be interpreted by users as well as inhabitants of such buildings6. Univalency is as well considered a valuable way of thinking about the modernist literature. For example, modernist authors or artists devastatingly present narratives based on a single consciousness. In doing so, they endeavor to determine a language that can easily capture some of the personalized intensifications of the subjective life7. Such authors then record a single person’s unique observation of the world’s happenings, commonly referred to as semi-transparent visual of the consciousness. On the other hand, postmodernist literature is also characterized by double or multivalency coding. This implies that postmodernism provides contradictory versions of the art work8. A Dutch artist known as Piet Mondrian is one of the quintessential Modernist painter of the early days who symbolizes the spareness, straightforwardness and elegancy that informed the global modernism within the field of architecture and design. This symbolizes the univalent characteristics of Mondrian in the visual artwork. Mondrian radically simplified most of his artwork elements so as to reflect what he strongly believed as the order underlying a visible world. His application of the asymmetric balance as well as pictorially simplified vocabulary contributed more to the development of the modern art. The legacy of Mondrian portrays him as a pioneering artist reflected through his paintings and writings which proved to be critical in the development of modern as well as abstract art9. On the other hand, Andy Warhol is considered as one of the leading influential figures with the modern art and culture because his life and artwork greatly inspires creative thinkers across the globe. Through his enduring imagery as well as artfully nurtured celebrity, his impacts have grown bigger than his previous single prescient observation that all people would be global famous for only a short while. It is through his omnivorous inquisitiveness that massive body of artwork was developed and spanned the entire existing medium, and thus contributed more to the cave in of boundaries between the higher and lower culture. Furthermore, Warhol predated most of the hyper-personal outlets that are currently provided online where he captured all messy details of life and ordinary glamour. He later broadcasted it in his work, delivered to a mass and receptive audience. This illustrates the multivalent characteristic of Warhol in the visual artwork10. After his establishment as an approved graphic artist, Warhol decided to focus on painting as well as drawing. As he developed in artwork, his paintings included the photo-based techniques which he managed to develop as the commercial illustrator. This indicates some sense of multi-leveled characteristics in Warhol’s visual artwork unlike Mondrian whose artwork was univalent, symbolized the spareness, straightforwardness and elegancy characteristics. Therefore, Warhol not only remains to be a captivating cultural icon, but also as an inspiration to the upcoming generations of artists, filmmakers, cultural innovators and designers as well as curators across the globe. An enormous fan base has overtime been reinforced through the perceptive licensing arrangements that were negotiated by Andy’s Foundation for the Visual Arts that was established under the influence of Andy as an artist. For example, Warhol skateboards and numerous Warhol fashion lines are some of the foundations for Visual Arts established in Warhol’s name or artwork. However, in a broader view, Warhol’s colors and the associated styles such as the application of the pop style spread through the culture11. Conclusion Great artworks are more often than not presented in a multivalent way. The need to have a sense of displacement, meaningful symbols and the value attached to place, has largely influenced artists to search for a more potent and figurative level where the discussion between artwork and architecture connects. The legacy of Mondrian describes him as a pioneering artist reflected through his paintings and writings which proved to be significant in the development of modern as well as abstract art. Warhol is not only a captivating cultural icon, but also an inspiration to the future generations of artists, filmmakers, cultural innovators and designers. While the modernist architecture emerges to be univalent in visual art, the postmodernist architecture is characterized through multivalent features of double coding where messages are included for professional architects to interpret them. Modernist architecture was univalent in nature because it was designed based on one of the most simplified values, though using limited materials. Univalency is a valuable way of thinking about the modernist literature. Modernist authors or artists devastatingly present narratives based on a single consciousness. Bibliography Charles, J., (2002). The new paradigm in architecture: the language of post-modernism, University Press, London. Pg. 9-11. Charles, J., (1991). The Language of Post-Modern Architecture, Academy Editions, 1991.Pg. 16-17. Connor, S., (1997). Postmodernist Culture, An Introduction to the Theories of the Contemporary, Blackwell Publishing, Oxford. Pg. 74-104. Frederik, L., (1996). Contemporary tendencies within the Museum of Modern Art Brussels. 113-20. Howard, J.S., (1989). Contemporary Directions within the Visual Arts. Prentice-Hall. 217, 118-119. Read More