Word: modernistically
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...public projects. The Tharsis housing development makes an interesting use of landscape, but doesn’t truly work as a viable housing development. Rows of houses are aligned in three rows, all converging to create a focal point for human interaction. However, the houses themselves are window-slitted modernist bunkers of concrete and metal that hardly seem conducive to actual human living. Drab and squashed, the dwellings are dwarfed by the surrounding countryside and possess a disquieting uniformity because they are all facing—literally, because they resemble masks with hats pulled down over their eyes?...
...Fight Club has never had a gift for making his characters likable (though Forest Whitaker does what he can to humanize one of the robbers). His talent is for sadism that is at once passionate and casual--and for turning what might be perfectly enjoyable genre films into faux-modernist art objects: ambitious but also cold, ugly and distancing...
...their date and price range and his opinion of their quality, there is hardly one that has any discernible sexual content at all, no secret genitals or nipples that even the dirtiest-minded brat could ferret out. This has always helped to make him a great favorite with worried modernist parents and ensured that reproductions of his work, such as They're Biting, 1920, outnumber even those of Rousseau's jungle scenes in the nurseries of the West as unbudgeable classics of childhood...
...outlining over 90 courses available in ethnic studies at Harvard, from ethnic conflicts around the world to Ukrainian literature. In a booklet that is supposed to outline courses in Afro-American, Asian American, Latino and Native American Studies, why is “Questions of Identity in Central European Modernist Fiction” listed when there is only one course focusing on Latino studies? Harvard likes to be unique, but its interpretation of ethnic studies as any course related to ethnicity only confuses students, blurring area studies and ethnic studies and deflecting focus from the problem of excluded minority perspectives...
Perhaps it says something about the present state of American painting that one of the most beautiful, intelligent and original shows to appear in New York City in the past few years should be by a dead artist who was dismissed by the modernist establishment when he was alive. (Oh, well, what else is new? Why should we expect modernist taste to be any smarter than premodernist or postmodernist?) He was John Koch. His work is at the New York Historical Society. As it should be, for it is intimately part of the history of Manhattan, as, say, Jackson Pollock...