Modernism

Sunday

Mario Naves

Dawn party

What a difference a century makes. That’s the upshot of At the Dawn of a New Age: Early Twentieth-Century American Modernism, an exhibition at The Whitney Museum of American Art culled from its own holdings. In-house ventures can sometimes come off as so much house-cleaning, an opportunity to air out the storage racks and take stock of inventory. Which is, in fact, exactly what Whitney curator Barbara Haskell has done. But by adding select loans from other institutions and private collections, she’s put together a show that has its own Gestalt. Though the fervor of artistic innovation has a limited shelf life, the work on display here continues to radiate a klutzy, almost childlike audacity. There’s a naivete at the heart of At the Dawn of a New Age, and it is winning.

dawn

Tuesday

Alexander Larman

T.S. Eliot’s The Waste Land at 100

In the United States a century ago, a single poet dominated the literary sphere. He was not only the recipient of the first ever Pulitzer Prize for Poetry — which he would win twice more during the course of an internationally distinguished career — but would be nominated for the Nobel Prize for Literature on four separate occasions. He was beloved by presidents, described by one admirer as “more artful than Hardy and more coy than Frost” and found himself one of the bestselling writers in America. His reputation seemed assured forever.

waste land

Monday

Chilton Williamson, Jr.

From modernism to totalitarianism

The modernist movement in the arts got underway around the start of the last century, encouraged by Ezra Pound’s exuberant exhortation to “Make it new!” Somewhat less attention was paid to making it good, as if what was new was inevitably good — better, indeed, than everything that had come before it. Barrels of printers’ ink were expended on the subject in the so-called “little magazines” of the period on both sides of the Atlantic, not all of it wasted; much of the relevant critical commentary was very intelligent and interesting indeed. Modernism as a concept and an aesthetic was less successful in music, painting, the plastic arts and architecture than in literature — though again, some of the work it inspired was very good.

modernism

Thursday

Xico Greenwald

Playing the long game

Back in the fall of 1995, on the centennial of Paul Cezanne’s breakout late-career exhibition at Ambroise Vollard’s avant-garde art gallery, a retrospective opened at the Grand Palais in Paris, titled simply “Cézanne.” That show traveled to the Tate in London in 1996 and then to the Philadelphia Museum of Art. Now, more than a quarter century later, another retrospective with a similarly spartan title has opened in the Windy City: a joint venture between the Art Institute of Chicago and Tate Modern.

cezanne

Wednesday

Francesca Peacock

Virginia Woolf’s very own Bloomsday

“Mrs. Dalloway said she would buy the flowers herself.” Nine words into her 1925 classic, Virginia Woolf has taken us to another world. London — Westminster to be precise — in mid-June 1913, a world in which it is unusual for a woman to buy the flowers for her own party. Clarissa Dalloway only steps out into the early morning air (“fresh as if issued to children on a beach”) because her maid, Lucy, “had her work cut out for her.” The Wednesday in the “middle of June” on which the action of Mrs. Dalloway takes place is debated. The year is 1923, which would make the 13th of June the most likely candidate. But as academics are wont to do, there has been some disagreement.

mrs. dalloway

Monday

Patrick Hastings

One hundred years of Ulysses

A few years ago, the private school where I teach asked me to offer an evening class on James Joyce’s Ulysses to adults. The idea was to remind alumni, parents and other community members what it feels like to be in one of our enriching classrooms. For over a decade, my Ulysses senior elective had been a major feature of our course catalogue; now, a few adults were about to pop the hood on this infamous tank of a book. As course registrations began to trickle in, I recognized the surnames of current and former students. Then an administrator joined the course, and I had a flutter of nerves at the realization that one of my bosses was actually going to read Ulysses and encounter the disreputable content that lurks within. My cover was blown.

Ulysses

Thursday

James Panero

Prints of Wales and elsewhere

The print is a curious category in the world of art. Prints are not singular, of course — not typically at least. They are not ubiquitous, either — at least, again, not typically. They exist somewhere between art objects and art products. Printmakers often use the tools of sculpture to create works on paper. Three-dimensional carved objects become two-dimensional printed products. Think about it and you realize prints are far more curious than they let on. While art history typically does not know what to do with its curiosities, artists can sometimes make much out of the opportunities of hybrid creation.

prints

Saturday

Ben Sixsmith

Keep the modernists away from the Notre-Dame restoration

One heartening if dimly consoling result of the disastrous fires that swept through Notre-Dame cathedral has been the willingness of politicians and philanthropists to pledge their financial and institutional support towards its reconstruction. Yes, some of them might have an eye on acquiring good PR. Yes, believers might question the nature of their attachment. Still, it good to know that people will not watch the decline of beauty and tradition with absolute indifference. The reconstruction, though, will be fiercely contested. Already, modernists are sidling into the conversation with progressive platitudes and philistinic schemes. You might think the widespread shock and sadness that the fire caused represented love and admiration for Notre-Dame as it was.

notre-dame restoration

Thursday

Stephen Bayley

Modernist architecture isn’t barbarous – but the blinkered rejection of it is

When I was younger, one of my favourite books was James Stevens Curl’s The Victorian Celebration of Death. His latest is much less cheerful. Like one of those innocents who re-enact the Civil War in embarrassing costume on Bank Holidays, Curl has been time-travelling backwards into a pre-modern world. He returns from the past with a crude message that has been familiar since Reginald (Menin Gate) Blomfield told us in the 1930s that modern architecture is a godless conspiracy of foreigners, Jews and Bolsheviks to eradicate an established culture of building, patiently evolved over three millennia. This is less than a half-truth. Yes, modernist principles, misunderstood by unimaginative planners, often led to atrocious results.

modernist architecture