Word: modernistically
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Dates: during 1930-1939
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...Provincetown, Mass., where some 50 professional artists and hundreds of students regularly spend their summers, two juries, from the same association, one conservative and one modernist, selected no pieces from the work of members. But last week 35 artists decided that was not enough, planned to hold open house all summer, turned their homes into galleries for summer visitors and possible buyers...
Twelve years ago U. S. concertgoers and gallery gawpers were already used to the dissonances of modernist music and the distortions of modernist painting. But U. S. dance audiences were familiar only with romantic ballet and the rose-garlanded capers of "interpretive dancers." Shocked by this backwardness of the U. S. dance, a group of younger U. S. dancers decided that something ought to be done to bring it up to date. To these reformer-minded dancers, sex appeal, pretty costumes, toe technique were not enough. They wanted to express and depict serious things, to comment on present-day problems...
...break away was the mask-faced zealot, Martha Graham, who left a lucrative job with the then-popular Ruth St. Denis company to brood and prance alone in a Manhattan studio. Results of this brooding, Graham's Manhattan concerts in 1926-29, were the first doses of modernist dance Manhattanites had ever taken. Soon, however, two other former Denishawn dancers, Doris Humphrey and Charles Weidman, joined the procession. When famed German Modernist Dancer Mary Wigman visited the U. S. in 1930-31, the U. S. home-grown modernist dance had already taken root. But Wigman...
...students considered this point obvious, they did not know Ozenfant. He is known in Europe as one of the most provocative theoreticians of modern art. Born in Picardy 52 years ago, he began expounding his ideas about it in 1915, later became associated with Modernist Architect Le Corbusier, founded a school of painting called Purism, taught, lectured, wrote books, studied Egyptian, Chinese and Negro art, and raced automobiles until his 40th year, when on a slippery racetrack near Paris, his racer turned over, left him scratched up and convinced that he was too old for that sport...
Results of such careful picking and choosing should be a gilt-edged list of entries for each festival. But musical compositions, unlike dogs, horses and tennis games, cannot be judged on points. Not even the modernist composers and well-known conductors of the society's international jury know for sure whether they are picking a sunrise or a dodo. Ultimate decision rests with the musical public. And very few of the musical public attend the festivals of the International Society for Contemporary Music. The audiences (made up of composers, executant musicians, esthetes, theorists, critics, future-boosters...