Word: modernists
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...world has gone mad and we are all of it. What's worse is we made it that way. Or at least, that's the way of the world according to the master Swedish dramatist, August Strindberg. In truly modernist fashion, the world of August Strindberg's experimental masterpiece, Miss Julie, now playing with the Coyote Theater at the Boston Center for the Arts, is a world where people search to create their own destinies out of the shards of the civilization left behind and the pitiful results of past human choices. In the preface to Miss Julie, Strindberg claims...
...Modern Art opened its doors) and the first to take serious account of Modern American art (nine years before the Whitney Museum of American Art was founded). In the past, it has mounted a lot of distinguished shows by living artists. But in these closing days of the Modernist century, it has chosen to commemorate itself and its founder. Through Jan. 23, the whole winding building is filled with "Renoir to Rothko: The Eye of Duncan Phillips," the chronological story of its creation, and it's one of the great American cultural narratives...
Phillips wasn't a Modernist missionary like Alfred Stieglitz. He came to things gradually and took his time, feeling no embarrassment about changing his mind: to do so was a sign of authentic judgment. He was still in his 20s when he began writing art criticism, and his first reaction to "radical" Modernism, which hit him in the 1913 Armory Show, was one of utter horror--Cezanne and Van Gogh were "unbalanced fanatics," Cubism "simply ridiculous," Matisse "insanely, repulsively depraved...
...other movement whose main aim was to record conflict and misery rather than celebrate a degree of Apollonian pleasure, was foreign to his nature. Dada and Surrealism hardly raise a blip on his radar. All efforts to "subvert" painting were beside the point. In his view, the Modernist impulse really began amid the sensuous delights of Renaissance Venice--Giorgione being the first "Modern" artist...
...argues Ron Rosenbaum, author of Explaining Hitler. "He showed how much lower we could go, and that's what was so horrifying. It gets us wondering not just at the depths he showed us but whether there is worse to come." The power of Hitler was to confound the modernist notion that judgments about good and evil were little more than matters of taste, reflections of social class and power and status. Although some modern scholars drive past the notion of evil and instead explain Hitler's conduct as a reflection of his childhood and self-esteem issues, for most...