Word: 20th
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
Stimpson, who opened up the discussion in "Changing Gender Roles, Past and Present," called the introduction of women's studies in college curricula "one of the most profound intellectual revolutions in the last part of the 20th century...
500th officials, like their 350th ancestors, have had to defend them-selves against charges that their party is a mere fundraiser in the guise of a more sacred event. (The white males who ran Harvard in the late 20th century went to their graves denying the much-rumored connection between the surplus from the 350th and the subsequent development and deployment of the Harvard Space Shuttle, which proved invaluable when the College opened its Lunar Extension School...
...20th century, which, in cultural matters, really began around 1880, this changed. After 1910 the momentum of change was plain to all. Why do we always speak of "modern sculpture" but never of "modern statues"? Because one of the criteria of modernity itself was the degree to which sculptors angled their work away from the accepted forms of social communication via the human figure. Not because they lost interest in the figure -- on the contrary, the years 1900-1950 were rich in figure sculpture and body-haunted objects by Matisse, Picasso, Archipenko, Brancusi, Miro, Calder, Giacometti and others -- but because...
...task of putting it together fell to an American curator, Margit Rowell, formerly of the Guggenheim Museum. Her speciality is constructivism, and she is nothing if not clear about her agenda. Of late, a great deal of scholarly energy has gone into displaying the continuities between 19th and 20th century art and correcting the myth that the modern art that mattered represented a wrenching break with the past. Without the culture of the salon and the Academy, no Matisse; you cannot imagine a work like Constantin Brancusi's Caryatid, 1940, without its triple root in the peasant woodcarvings...
...such works are very unlike their ancestors. One must look first at the differences, then at the similarities -- so Rowell argues; and the show is based on her belief that "sculpture is in essence a 20th century idea." The result is a big exhibition conceived with elegant if dogmatic precision (in that department, Rowell is more French than the French) and composed largely of masterpieces whose arrangement provokes one to reflect and argue rather than simply gape...