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Tag: modernism

The Large Glass, my first time

Published September 23, 2008

I was in Philadelphia recently and visited the Philadelphia Museum of Art for the first time. I was really excited to finally see what I believe is the largest collection of Marcel Duchamp’s artwork anywhere in the world. Believe me, it did not disappoint. I was also thrilled to see the cycle of paintings that Cy Twombly did around the theme of the fall of Troy and the death of Achilles. Today however, I’m focusing on Duchamp. Marcel Duchamp if your nasty.

I’m assuming that the readership of this blog is versed well enough in the story (legend if you will) of The Large Glass, so I will only do a quick re-cap. The Large Glass is an artwork that is painted on glass, however, I would think that a painting would actually involve paint – MD instead used dust in stand oil, or linseed oil (I can never remember). The images used in the painting are self referential to Duchamp’s work, and consists of two panels one on top of the other similar to a double hung window. The Large Glass remained “unfinished” but was sold and shipped to the collector that bought it (Walter Arensberg, if I’m incorrect, let me know) however upon opening the crate, the glass had broken, it was at this point Duchamp considered the work finished.

Anyway, I finally get to spend some time with this artwork that has defined, defied, aroused and confused so many. This artwork has become almost mythical in my mind to the point where I doubted that I would ever really see it. It is the most majestic failure and the most amazing masterpiece that I have ever seen. It is just that simple a piece of art.

Later that night I was having a conversation with Douglas Witmer and we were talking about what would be an interesting project to assign if you were an art teacher – Douglas said he thought it would be really interesting to set up an assignment that defined who you were not. This was discussed farther as we both agreed that there is a serious split as it pertains to modern into contemporary art. The split was – I think we both agreed was Picasso versus Mattise. but I Can see where Duchamp broke with Picasso after cubism and found himself in his own place. I’ve been thinking about this idea and more and more I find myself drawn to the forks in the road, and how they make the experience of just doing something as decadent as enjoying looking at art all the more interesting.

A quick note: is there a friendlier museum than The Philadelphia Museum of Art? I doubt it. Everyone from the front desk folks to the security guards were just so friendly – it blew me away, just how nice the folks are there.

The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23, Oil, varnish, lead foil, lead wire, and dust on two glass panels, 9 feet 1 1/4 inches x 69 1/4 inches (277.5 x 175.9 cm)

© Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp

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Julius Schulman: Palm Springs @ Palm Springs Art Museum

Published February 19, 2008

I was able to see a preview of this show during it’s hanging – most of the work was still on the floor. What follows is really just a few random thoughts put together about what I perceive along with what I was told. If you read the last Palm Springs report you will know that I regard JS to be one of the dominant forces in photographing the modern period of architecture – in fact he has been a force since the 1930’s when he started photographing R. M. Schindler and Richard Neutra’s work as early as 1936. Then moving into the 40 – 50’s working with the Eames, Saarinen and the Case study houses, JS could have pretty much rested his career right about then.

The exhibition currently on display at the Palm Springs Museum is basically centered around four of the predominant Architects work in, plus a smattering of highly notable images from his past. The four (Richard Neutra, William F. Cody, Albert Frey, and E.Stewart Williams) architects are the core of Palms Springs modern (I would also add Donald Wexler and The Krisel/Alexander architect/builder team).

The work in the show is some of the best architectural photography ever made. Much of the work is still the benchmark to all architectural photography being produced today. Really it’s an embarrassment of riches. It’s interesting – the photography is so good it gets out of the way after a while – what I mean is that you start focusing on the buildings and what is good and great about each architectural vision – so you need to be careful about how you look at the work because you can get lost in the details pretty easily.

Highly Recommended.

Kaufmann house, Richard Neutra, 1946. Photo: 1947
Copyright J. Paul Getty Trust. Used with permission.
Julius Shulman Photography Archive
Research Library at the Getty Research Institute

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A quick tour of Palm Springs Modernism

Published February 13, 2008

This weekend my wife and I took a weekend trip in conjunction with her former college, the University of Texas. For some reason Catherine seems to think she dragged me out there, which couldn’t be further from the truth. We are both fans of the “Modern” probably me more than her – so go figure. Please consider this a quick overview.

The Modern Aesthetic in Palm Springs really grows from a number of sources; the Post World War II boom in prosperity, A desire to “bring the outside in” (merging the home with the environment), and a profound belief or optimism in the future. To top this off, the Hollywood studio system usually forbid anyone from being more than 100 miles away from the studio – Palm Springs fit just inside that limit. Armed with these ideals – and the desire to produce new “serious buildings” the architects of Palm Springs along with european transplants somehow found themselves in a place where the modern was exactly what home owners were looking for. International architects, Richard Neutra, Albert Frey, and local architects William Cody, Donald Wexler, and E. Stewart Williams carved impressive careers – but more importantly created an architectural treasury that we are able to see and still be influenced by 60 – 70 years later.

One last note: this architectural legacy would never had quite the impact had it not been for the amazing talent of Julius Schulman, THE photographer of mid-century design – and still working at age 90 today.

Frey House II
So named because it was the second home that he built for himself. This is more a mountain retreat, minimal and tightly compressed. Tiny by anyone’s standards, the house is low maintenance and literally perched on the side of the mountain – its floor ending at a glass wall makes you feel like your almost floating. It’s location plays a key role in the house as well – a large boulder that was unable to be moved serves as a room divider further bringing the outside in.

The Kaufmann House
This is the grand jewel of Palm Springs mid-century homes. Built in 1946-47 designed by Richard Neutra for the same family that commisiond Frank Lloyd Wright’s Fallingwater. In fact, FLW had already designed a building for the location (The Boulders) and was shocked to learn of the commission going to Neutra that he would trash talk him (Neutra) whenever the mood struck.

Sadly we were unable to tour the Kaufmann House, it is about to be auctioned by Sotheby’s as a work of art rather than a building. Quite a compliment.

Kaufmann house, Richard Neutra, 1946. Photo: 1947
Copyright J. Paul Getty Trust. Used with permission.
Julius Shulman Photography Archive
Research Library at the Getty Research Institute

Donald Wexler and the great experiment
Donald Wexler was influenced by the international style of the Bauhaus and it shows in his buildings, they still carry a modernist approach however they show the roots of its beginning a little bit more. For example, The Dinah Shore residence (above) is clearly modernist, but with a slight hint of his roots in the international style. This is further exemplified by his experiment in 1961 – 1962 of developing a “Home System” using steel fabrication in a planned or modular way. Although only 7 of these buildings were able to be produced before a steel embargo killed the project in early 1963, Wexler had opened a door that is only starting to take place again with the new modular construction or prefab movement of today.

My photo of the Steel house (below) is intended to show the international flavor of these homes. Please remember that these are smaller homes – 2 bedrooms at most and are designed for lower incomes than many of the houses that we know as masterworks.

A few photos of some interesting homes

The Abernathy House
Also known as the “Pavillion House” designed by Willian F. Cody

The Bougain Villa House
Designed by William Burgess

Madras Oasis
Designed by William Krisel

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