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While most four-star establishments in this part of the city are Old World in style, the oldest thing you'll find at the Pulitzer is the white-and-gold Baroque reception desk, salvaged from a Sicilian church. The rest is straight out of a Modernist design book, but with added heart. The Picasso-like sketches and giant Miró-esque canvases create a very Spanish backdrop to a ground floor dedicated to the Catalunyan art of chilling. Spend the afternoon sinking into one of the white leather couches, sipping cocktails at the red Chinese-lacquer bar, or flipping through...

Author: /time Magazine | Title: Hotel Pulitzer: Cool Made Easy | 4/2/2008 | See Source »

Sculptor Ruben Ochoa, based in Los Angeles, operates in the great modernist tradition of junk assemblage that goes back to Picasso. Ochoa builds his work out of suitably despised things: broken concrete, rebar, chain-link fencing--the rubbishy stuff of construction sites. But he combines those elements to create ceiling-height formations that have a brutal grandeur. An Ideal Disjuncture, 2008, brings to mind the swells of Baroque form, but with materials so scrappy, they couldn't fall into the suave clichés of Baroque art if they tried...

Author: /time Magazine | Title: The Simple Life | 3/13/2008 | See Source »

...critic of architectural culture.”Heynen advocates for a fresh perspective on Moholy-Nagy, and sees her influences in present day architectural practices. Moholy-Nagy was one of the first critics to treat South American modernist architecture seriously, writing a book on the architecture of Venezuela (see the current show in the Sert Gallery: “A Little Piece of Heaven (1998-2008),” which revolves around the architecture of Caracas and even exhibits Moholy-Nagy’s book). Moholy-Nagy also proposed an environmentally conscientious approach to architecture, one that seems particularly prescient...

Author: By Alexander B. Fabry, CRIMSON STAFF WRITER | Title: Heynen Revives the Voice of '60s Critic | 2/22/2008 | See Source »

...clumps as soloists take the center—an altogether too benign opening to such an epic tragedy. From Act Two on, the production makes a complete turn-around, as the back scrim becomes a tornado’s sky, foreboding and infinite, and Cranko’s characteristically modernist aesthetic finally takes hold, replacing the traditional grandiose set with bleak minimalism. Swords clink to the beat of the music as Tybalt (Yury Yanowsky) kills Mercutio (Reyniers Reyes) and Romeo kills Tybalt. Both death scenes are heart-wrenching, reminding us that there are no clear victories and no concrete enemies...

Author: By Mia P. Walker, CONTRIBUTING WRITER | Title: Romeo, Juliet, and...Ballet? | 2/20/2008 | See Source »

Caracas in the 1950s and 1960s was a modernist boomtown. Croesan oil wealth and a powerful military dictatorship together created massive urban planning projects, built in the modernist style both by renowned American architects, like Philip Johnson, and South American practitioners of the style. The city was once called “pedacito del cielo”—a little piece of heaven. This is not just a nickname, but also seems to refer to the unfulfilled dream of a modernist utopia. Now, slums surround many of the geometric concrete surfaces and glass curtain walls...

Author: By Alexander B. Fabry, CRIMSON STAFF WRITER | Title: A Little Piece of Balteo Yazbeck | 2/15/2008 | See Source »

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