The question of what is modern to contemporary societies can
be very subjective because there are always new forms and mediums being
invented by people all over the world; but, during the early 20th
century, a time when more long-standing traditions reigned over popular
culture, anything out of this bubble would have been shocking. The Armory Show of 1913 was just that,
besides bringing new forms, shapes and interpretations of humans and nature to
unsuspecting audiences, it was able to develop a definition of what was modern
in artwork, a definition that still holds true today. While at first it seemed appalling to many
audiences, the show contained pieces the truly transcend time because we can
still look at them today and think they are modern.
Cubism was an avant-garde movement in art that was brought
to American eyes for one of the first times by the Armory Show; it consisted of
objects that were broken up and reassembled in an abstract form, so instead of
presenting objects from one viewpoint, the artists can depict the subject of his
painting from a myriad of view points.
Marcel Duchamp’s Nude Descending a
staircase No. 2 exemplifies all the cubism criteria; it can be related to
Earnest Hemingway’s In Our Time
because his prose also has characteristics of a cubism painting. Taken individually, the vignettes of In Our Time hold their own merit, but
taken collectively they give way to a whole new window of insight and
meaning. We can view them as individual
stories or as an aggregated collection of stories, like a Duchamp’s cubist painting
it can be viewed from many different perspectives.
Prose and artwork, although seemingly different means of
expression can often evoke the same emotional response; for example Kenneth
Hayes Miller’s The Waste awakens the same
type of themes found in T.S Elliot’s “The Waste Land”. Besides the fact that both audiences chose a
similar title for their works, but they had the same sort of pessimistic
outlook on the world which prompted them to create these mediums in the first
place. Overall we see the same
uncivilized, degenerative essence prevalent through Elliot’s pose and the way
Miller captures a scene of destruction through the ominous clouds, disturbed
landscape and the dispirited look on the woman’s face.
What is modern will shock, and looking through these
galleries was not only shocking for the people of that time, but me, a
contemporary audience too. There is
something about these innovative works that commands attention, and seeing
their resemblance to written works at that time is not surprising. Like the vignettes in Hemingway’s In Our Time each of these works has a
story to tell individually, but put all together as The Armory Show, the
meaning only gets richer and richer.