Word: modernists
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...over officially as head of an experimental music laboratory at the Pompidou Center in Paris known acronymically as IRCAM. He has kept a low profile since, shunning most conducting invitations in order to compose in his electronic studio. Has the former enfant terrible, now 60, mellowed? Or does his modernist flame burn as brightly as ever...
...cathedral is not merely stylistic. For weeks, through a mortifying, mercurial Minnesota winter, two 80-man shifts have worked six days a week to finish what is, after all, a kind of fairy-tale church. The picturesque asymmetry, however, saves the palace from seeming grave. "Ours was not a modernist solution," said Karl Ermanis, the palace's chief architect, as if there were any doubts. The designers borrowed from King Ludwig II, Piranesi, Gaudi, Maxfield Parrish and Walt Disney. There are some fetching small touches: off to one side is an ersatz ice ruin and a skull-shaped ice cave...
...series of reflections--of the world, of other people's art . . . a sense of manic cerebralism and arbitrariness, a distance, even an indifference . . . riddled with sophisticated obviousness." The work is set up like an automatic mechanism, but hand-painted in a capricious parody of pictorial richness. A load of modernist signs for sensual delight--thick, ropy color that invokes the transparency of water, spots and scribbles betokening light, bits of Matisse interiors, Dufy ports, Bonnard trees, Monet ponds--is dumped on the eye and offered for identification as quotes. Bartlett's studio was one of the places where...
...British architect James Stirling, the Sackler is surrounded by a vast array of buildings of architectural and aesthetic importance. Indeed, perhaps nowhere in America is there such a concentrated collection of historically significant buildings. Harvard has it all from the early American Georgian Massachusetts Hall to Stirling's post-modernist Sackler...
...surface. Another highly gifted artist in the area where abstraction hovers on the edge of figuration is Chicago-born Elizabeth Murray, 44. Since Frank Stella, American painting has been littered with shaped canvases, but Murray has brought a wonderful energy and flair to her use of this quintessentially late-modernist device. Her shaped panels are folded, superimposed, somewhere between collage, sculpture and origami. She wants them, as she says, "to feel as though I threw them against the wall and they came together with a purpose not that consciously controlled." The air of improvisation is deceptive. Murray has an exacting...