Word: modernists
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Dates: during 1990-1999
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...Kronauer Space--a cramped, dingy, dark and dank recess somewhere off the vibrant labyrinth of the Adams House tunnels--provides the ideal stage for Jean Genet's Deathwatch, a play set during the 1940's in a cell-block of an unspecified French prison. Genet's drama percolates with modernist tensions of alienation, violence, passion and, of course, nihilism. These tensions play themselves out within the network of complicated relationships which inevitably arise when you cram three male convicts into a dark cell in the basement of Adams House...
...Shone writes in the catalog, Sickert's career ran parallel to all the great Modernist movements from the 1880s to the 1930s but belonged to none of them. He was "a passionately self-isolating figure . . . highly individual, combining expected elements of the European mainstream with personal tastes that can appear willful or mandatory." He was also a witty and truthful art critic, whose essays and journalism, collected in 1947 by Osbert Sitwell under the title A Free House!, are never dull and often possess a Shavian energy. Courageous to the point of eccentricity, Sickert always followed his own nose...
...predictable types. Their employees are so sweetly innocent one longs for Hoffa's Teamsters to come in and give them mean lessons. But everyone's main function is to trigger special effects and lend scale to production designer Ferdinando Scarfiotti's overweening sets, which sometimes quote wittily from the modernist tradition (Dada, etc.) but also overuse the pachyderm motif at the heavy heart of this disastrously miscalculated movie...
...ever a Ford Administration? Evidence for its existence seems to be scanty," writes Alfred Clayton in a rambling exegesis to the Northern New England Association of American Historians (NNEAAAH) on his Memories of the Ford Administration for a symposium of the same title. The document doubles, in its post-modernist way, as John Updike's latest novel...
...radical art actually did become the house style of a revolution. This would not have happened if the Russians had had TV to carry their political messages, but luckily for art history they hardly even had electricity. Hence the Russian artists satisfy our nostalgia for that lost phoenix of Modernist desire, an art that was both experimental and politically effective. To this day, one can't look at the Constructivist designs for agitprop events -- the red panels of Natan Altman's bold transformation of the huge Palace Square in Leningrad for the first birthday of the October Revolution...