Word: modern
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Dates: during 1960-1969
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...Strauss junks this notion as a complacent and self-serving modern myth. In its place, structuralism substitutes the heretical theory that the human intellect has been fully operative, and in the same fundamental pattern, since the creation of human society. Savage and civilized cultures together play the same game and play it equally well, despite an enormous variation in the results. In short, Lévi-Strauss has asked man to open a profound-and profoundly unsettling-new dialogue with himself...
...other hand, "moving cultures"-a description that Lévi-Strauss applies to modern civilization-not only welcome change but also endorse it. Mindful of the flow of time, these societies place different values on the past, the present and the future, and constantly consult the past as a reference by which to measure the next cultural advance. But the distinction between these two views of time, says Lévi-Strauss, is not a measure of intelligence: "It is quite certain that no culture is absolutely stationary. All peoples have a grasp of techniques which are sufficiently elaborate...
...Lenin and heroic bobbin tenders go into official displays such as the Venice Biennale and Expo 67. Only an occasional private exhibition affords Westerners a glimpse behind the red-tape curtain. One such view is offered by the new display of Russian painting at Manhattan's Gallery of Modern Art. Included in it are some 20 pictures from the collection of Nina Stevens, Russian-born wife of the CBS correspondent in Moscow...
...hate this age," says Sculptor Reuben Nakian. "It's very cold here. So you have to train yourself to ignore it." For years, Nakian has been training exuberantly at his Stamford, Conn., studio by designing huge, flagrant evocations of Greek nymphs and goddesses (see color opposite). Modern U.S. sculpture in classical themes seems a bit like vodka martinis in Grecian urns. Yet Nakian's polylithic Ledas, Hecubas and Olympias are lusted after by some of the most adventurous contemporary curators and collectors in the country...
Last summer Manhattan's Museum of Modern Art staged a one-man exhibit of Nakian's work that illustrated how his style, as he says, "grew out of me as a tree grows." Born to Armenian immigrants on Long Island, Nakian studied during World War I with Manhattan's Sculptor Paul Manship. By the 1930s, he had won some renown for his idealized, 8-ft.-tall statue of Babe Ruth, his heroic busts of F.D.R., Cordell Hull and other demigods of the New Deal. In the 1940s, he moved on to more remote Greco-Roman themes, explaining...