Word: modernists
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Dates: during 1990-1999
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They did not, however, believe it about their own culture, especially in the field of "high" visual art. The American public, between 1900 and 1950, was distinctly timid about appreciating the work of American artists, and to modernist ones it could be quite hostile. What worked in favor of the art, in the end, was the insatiable appetite for the new that had been built into European America's social contract ever since the Puritans came to Massachusetts to create the New Jerusalem. To Americans between 1900 and 1950, however, the idea of an American Century in the arts--other...
...companion to Girls on the Run, but neither HOLLIS nor Amazon seems to have heard of it, and his delicious piece on Ashbery's cover is credited to a gallery in Lausanne. Still, on its own pre-pubescent feet Girls on the Run is a wonder, combining dead-pan modernist language with the poignancy of a concrete burn on a Sunday afternoon. Reading the entire 55-page poem through is akin to sitting through a ten hour film, and Girls on the Run features an additional hypnotism in the person of its girls. Shuffles shuffles, Judy suggests and Tidbit agrees...
...just could be the new soundtrack for The Phantom Menace. Not exclusively modern, the program did include Brahms' "Piano Quarter in minor, Opus 25" along with Bohuslav Martin's more contemporary "Memorial to Lidice" and Bela Bartok's "Violin Concerto No. 2." Even this was tainted by the great Modernist Arnold Schoenber who re-arranged the chamber piece for orchestra. According to the program notes, "Johannes Brahms and Arnold Schoenberg are [not-so] strange bedfellows" in a filigree of 20th century musical fracas that indeed would have made Obi-Wan proud...
...This modernist feel was especially punctuated by guest conductor Christoph Eschenbach who donned a black (of course) collarless (priest?) buttonless (zipper?) shirt. Eschenbach's every motion was like clean staccato, a human metronome for the orchestra. And even special guest Midori's movements seemed strangely reminiscent of C3PO. The analogy should probably wisely end here...
...invigorating thing about Foster's design sense is its clarity, the insistence that the poetics of a building must grow out of its legible and fully expressed structure. Foster has never been even faintly tempted by the clutter of secondhand allusion and quotation that infested so much Post-Modernist building in America and elsewhere--the kind of stuck-on, boutique historicism represented by Philip Johnson's 1984 Chippendale-top skyscraper for AT&T in New York City or Robert Stern's recyclings of the Shingle Style. It may be that PoMo quotation, of which a gutful has been served...