Modernism and Contemporary Period Background

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Modernism and Contemporary Period Background
Throughout history, human beings have developed several schools of thought which depending on common philosophy, beliefs, opinion and discipline. The 20th-century movement can be divided into two different periods, namely the modernism and contemporary period. Postmodernism is believed to have sprung from modernism, and the two are the same movement differentiated by some aspects. The difference between the two periods is as a result of the approach used towards life.
The modernist movement was dominant in the late 19th century and early 20th century. The primary motives behind this school of thought were rational thinking, logic, and science. Additionally, the view was that science and logic would advance humankind. People no longer the existence of God and the human species special place in creation.This was a time for artistic and literal growth as it had a positive perspective o the world. Modernism main aim was to criticise the social order and worldview of the 19th century. It was characterized by simplicity and elegance and mainly based on the European and Western culture.
Postmodernism stemmed from the belief that there was no universal truth and all things were irrational. The movement sprung after the Second World War and gained popularity in the 1960s. It questioned the principles and logic of modernism as well as believing in chance. It is characterized by advancement in technology.

Most of the contemporary work inspiration stems from modernism artists. The postmodernism period brought together the low and high culture using the existing technology as it is based on multiculturalism (Brazil, 196). The postmodernist movement believes that morality is relative and the views of the artists are based on hyper-reality as there is no universal truth. Politics play a vital role in postmodernist and realism is the prevalent form of expression in this period.
Work Cited
Brazil, Kevin. “Histories of the Future: The Institute of Contemporary Arts and the Reconstruction of Modernism in Post-war Britain.” Modernism/modernity 23.1 (2016): 193-217.