Word: modernists
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
That sounds familiar -- and, sure enough, he used it in his seminal book, Complexity and Contradiction in Architecture, to describe one of his early buildings. Complexity and Contradiction was a galvanizing manifesto, liberating architects from Modernist, minimalist dogma. "Less is a bore," Venturi declared, meaning that it was time to begin using ornament in buildings again. And also, "Main Street is almost all right," meaning that familiar, off-the-shelf architectural forms also deserved to be revived. The past could be a rich source of inspiration for contemporary architects. Relax, Venturi told his snobbish profession, and enjoy the old-fashioned...
...understand the career of Stuart Davis (1892-1964), the great American Modernist whose centenary show is on view at the Metropolitan Museum of Art in New York City through Feb. 16, you have to imagine a time when American painting hardly mattered to Europe, and when the idea of an avant-garde scarcely mattered to Americans -- except as a source of laughs...
...Stuart Davis receives his due as a great American Modernist...
...inspired James Stewart Polshek as he designed its new quarters. Instead of creating a boringly deferential pseudo- 18th century building, he has both respected tradition and done something ( entirely original. From a new, neighborly four-story red brick base, Polshek has popped two prow-shaped floors clad in a modernist grid of white enameled metal. Such a building could be tricky and meretricious, but Polshek, one of the finest uncelebrated architects working today, is a master of restraint...
...American Modernist Barnett Newman's giant abstract painting Who's Afraid of Red, Yellow and Blue III was the pride of Amsterdam's Stedelijk Museum before a vandal slashed it in 1986. At the time, the painting was valued at $3.1 million. Last August, after U.S. art restorer Daniel Goldreyer repaired the damage for a fee of $300,000, Who's Afraid was again put on display. Now Dutch art experts are seeing red. Amsterdam art historian Ernst van de Wetering has charged that Goldreyer covered the entire canvas using a roller rather than reproducing Newman's brushstrokes...