The School of Postmodernism by Vittorio Pelosi By Intentism Watch

11 Favourites 1 Comment 2K Views

The following is from an interview with the artist taken from www.intentism.com:



Gideon Parry: The work is full of figures, some immediately recognisable, others not. Can you talk through your intentions?



Vittorio Pelosi: It is influenced by ‘The School of Athens’ by Raphael in the Vatican. It is a commentary on the subjectivity of postmodernism that denies objective Truth. Whereas Raphael’s work showcases the great Greek thinkers of the past, my work represents the most notable postmodernists of our age. Whereas Raphael’s learned philosophers are encircled, discussing and recording their ideas, mine are gathered around a life model. (As much as possible, the postures of my subjects are similar to Raphael’s subjects.)



I have chosen the setting of a life drawing session since life drawing has traditionally been seen as the discipline most concerned with objectivity.



The central postmodern irony is that a careful look at each postmodernist’s attempt to depict the human figure is futilely seen through the lens of each postmodernist’s particular theories, making the class unworkable.



The life model is clothed and the postmodernists, conversely, are naked. Apart from being postmodern in this reversal, this also has inferences of The Emperor’s New Clothes about their self-aggrandizement. The postmodernists are lit from electronic faux candles and the model is in the shadows. This illustrates the irony that although Roland Barthes, Foucault et al have spoken of the 'Death of the author' through their writings they have become household names.



The setting of Raphael’s work is purely inventive with a succession of central arches.



My work mirrors that by taking place in the Sainsbury Wing of the National Gallery, designed by postmodern architect Robert Venturi; a site famed for it’s arches.



In Raphael’s original are two iconic sculptures of Greek gods, I have replaced these with arguably the ‘gods’ of postmodern popular culture: David Beckham and Madonna. (As the Sainsbury Wing houses pre-Renaissance religious art, Beckham is displaying his crucifix tattoo and Madonna is painted in the style of Munch’s ‘Madonna.’)





Gideon Parry: One obvious thing is that the frame appears to be the wooden stretchers of the canvas. Am I right?



Vittorio Pelosi: Yes. Well noticed! In a final postmodern twist the work is painted on a canvas that is in the dimensions of the golden ratio (something that fascinated Greek thinker Pythagoras) but is painted on the underside of the stretched canvas, so that the stretchers are coated in gold leaf and become the frame.

IMAGE DETAILS Image size 800x600px 220.12 KB Show More

Published : Apr 26, 2012