Among the plethora of disturbingly disproportionate, super-tall, super-thin condominium towers that have spiked the New York City skyline since the turn of the millennium and that graphically symbolize America’s concomitant surge in income inequality, the most recently completed of them marks the spot of the Museum of Modern Art, which inaugurated its latest building project in October, two weeks before its ninetieth anniversary.
an exhibition at the Harvard Art Museums, Cambridge, Massachusetts, February 8–July 28, 2019
Whatever else one might think of Walter Gropius—the pioneering German architect who founded the Bauhaus a century ago this year and thereby earned an irrevocable place in the pantheon of Modernism—it is hard not to be impressed by his most salient talent: survival. After each new somersault of fate he somehow landed on his feet and emerged undeterred.
Frank Furness: Architecture in the Age of the Great Machines
by George E. Thomas, with a foreword by Alan Hess
First Modern: Pennsylvania Academy of the Fine Arts
by George E. Thomas
Late-nineteenth-century Chicago is widely deemed to have been the crucible of modern architecture in this country—the birthplace of the skyscraper, the city that nurtured Louis Sullivan, Frank Lloyd Wright, and a host of other innovators dubbed the Chicago School. After World War II, Los Angeles—enlivened by an influx of émigré architects …
Months before he turns eighty-eight, the photographer Duane Michals is in the full throes of a remarkable old-age efflorescence. Evidence to that effect fairly leaps off the brightly colored walls of his fascinating new exhibition, “Illusions of the Photographer,” at the Morgan Library & Museum in New York. Michals has long been renowned for three great innovations: his hauntingly atmospheric, teasingly Surrealistic, almost cinematic sequences of pictorial narratives; his use of handwritten texts on small-scale black-and-white silver gelatin prints; and his celebratory normalization of homoerotic male beauty, years before Robert Mapplethorpe’s freak-show fetishism and Bruce Weber’s consumer-culture beefcake. Yet, unlike artists who hit upon a commercially lucrative formula and then crank out endless fungible reiterations, Michals is something of a superannuated Huck Finn, an incorrigibly subversive and inimitably American scamp always lighting out for new creative territories.
A characteristic mid-career I.M. Pei design began with his initial selection of an elemental geometric shape—a square, triangle, or circle, say—which he then bisected (often on an acute angle), rotated forty-five or ninety degrees, and finally juxtaposed against other Euclidean patterns similarly manipulated. The specifics of this slice-dice-and-spin formula changed from job to job given the variables of budget, site, and function, but the lookalike results were readily confirmed as Pei’s signature style—which might be termed Establishment Modernism Lite. His tendency to repetition was reassuring to clients, who not only wanted to know what they were going to get for their very large investment, but also enjoyed having an identifiable product by an acclaimed architect. The communications-savvy Pei received remarkably strong press support throughout his long career.
In the early 1980s, when I was an editor at Condé Nast’s House & Garden magazine, my colleagues and I were perturbed by an idée fixe of the company’s legendary editorial director, Alexander Liberman. He kept pressing us to make House & Garden more like Architectural Digest, the Los Angeles-based upstart that, under the editorship of Paige Rense, was fast approaching our once-impregnable circulation figures. He must be going gaga, we thought, as we contemplated the flashy, vulgar interiors in that veritable bible of bad taste, which we called Architectural Disgust. But as Rense understood, you don’t have to like something you are curious to see, a point that we at House & Garden never acknowledged, to our peril.
One of the consuming questions in architecture during the mid-twentieth century was whether or not what was once known as the building art could be reoriented from the technological preoccupations of the High Modernists and focused on more humane and aesthetic concerns. Venturi and Scott Brown, along with their teacher and employer Louis Kahn, did more to bring about this change than any of their peers, and the importance of what has, as a result of their all living there, been called the Philadelphia School, continues to influence the built environment in countless ways. Rather than being ironic and condescending, the partners’ commercial and quotidian borrowings represented their belief that “Main Street is almost all right,” and that there is much to be learned from popular taste.
If curator Barry Bergdoll’s riveting MoMA preview talk was any indication, his six-part A.W. Mellon Lectures in the Fine Arts series promises to be a landmark in our understanding of the display of architecture in museums.