Word: moser
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...certainly not the first university to have an on-line system," said Bryan R. Moser, president of MIT's Undergraduate Council, adding that students recognize the new system as an "added resource...
...themselves Secessionists and established their own countersalon in 1897. They called their journal Ver Sacrum (Sacred Spring) and practiced, as a matter of principle, a manic cross-fertilization. With Klimt, art became overtly decorative, gold-inlaid portraits masquerading as rich bijoux; with Hoffmann and his Wiener Werkstatte collaborator Koloman Moser, bowls and chairs aspired to art. It was a feverish, unresolved time, and the Viennese fin-de-siecle impulse was to savor the exquisitely confused cultural moment...
...design and architecture, however, there was a strangely short period of clarity and balance just after the century turned, an aesthetic blip that coincided with the fruitful first few years of the Werkstatte. Hoffmann, Moser and its other founders, repelled by the residual fairy-tale flourishes of aging Jugendstil (literally, Youth Style, the German Art Nouveau), sloughed off applied ornament and embraced elemental geometries -- the right angle, the circle, the sphere. In his thoughtful, gracefully written catalog for MOMA, Adjunct Curator Kirk Varnadoe says that Moser and Hoffmann were out "to recover richness from reduction." The result, briefly...
...terribles Egon Schiele and Oskar Kokoschka (see following story) had their first shows of paintings in Vienna. Their intense, expressionist works did not flirt, like Klimt's gilded sultanic pictures, with bourgeois prettiness and what the catalog calls "proto-psychedelic sweetness." Schiele, who died young (in 1918, along with Moser, Wagner and Klimt), has been the subject of more passionate popularity than Kokoschka over the years: his images were the more earnestly pained and ugly. As Varnadoe writes, Viennese arts had lost their capacity for compromise between "the giddy and the sullen...
...outstanding exhibitions this year. One is historical: "The Arts in Vienna from the Founding of the Secession to the Fall of the Hapsburg Empire," a stupendous collocation of more than a thousand objects that fills the Palazzo Grassi: paintings by Klimt and Schiele, furniture by Hoffman and Moser, posters, stage designs, textiles, jewelry, ceramics by dozens of artists both famous and obscure. Apart from Venice itself, this is the main reason for going to Venice. The other is a one-man show by Howard Hodgkin at the English pavilion. Not since Robert Rauschenberg's appearance at the Biennale...