Word: modernistic
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Dates: during 1970-1979
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...ville tentaculaire, condenser of populations and their unease, republic of anxiety, seedbed of desire. From Edvard Munch's top-hatted masks parading the streets of Oslo to Francis Bacon's pinstriped executives howling like caged baboons, the City secreted images of alienation. To the eye of modernist poetry it got more spectral as one came closer to it, as the capitals of Christendom did for T.S. Eliot in The Waste Land, almost 60 years...
Kitaj is not Pound. But he is one of the most inventive figurative artists at work today, and his ambition-to make the whole of modernist culture, literary, political and visual, available to painting as a subject-is a large brave one. "If some of us wish to practice art for art's sake alone, so be it," he wrote in 1976. "But good pictures, great pictures, will be made to which many modest lives can respond. When I'm told that good art has never been like that, I doubt it, and in any case it seems...
...artists: French, Spanish, German, Hungarian, Russian, Italian and American. She has traced sculpture's passage from closed mass to open form with a precision of focus and a variety of little-known works that no earlier effort has matched. This may be the most important show of modernist sculpture in the past ten years...
Three of opera's "great progressivists," Igor Stravinsky once declared, were Gluck, Wagner-and the Viennese modernist Alban Berg. Stravinsky was not being merely provocative. As the years go by, Berg's claim to belong in such illustrious company looks more and more secure. It rests on two complex, powerful works, Wozzeck and Lulu, that in effect brought opera into the 20th century. Lulu, in particular, packed traditional operatic emotion and drama into the most advanced of forms, the twelve-tone system devised by Berg's teacher, Arnold Schoenberg...
...rather than a squared-up essay in the dominance of some historical direction. And rightly so: one lesson of the past ten years in American art has been that movements have vanished with the death of the avantgarde. The very idea of collaborative groupings, once an essential part of modernist practice, seems to have lost its strength−at least for the moment. In fact, it takes some effort to remember the days in the '60s when the air was thick with talk about which movement (Op, Pop, post-painterly abstraction, arte povera, conceptualism, photorealism) was the latest incarnation...