‘La Muralla Roja’, Richard Serra’s ‘Wake’ And A Few Links

Via Mick Hartley via dezeen-Sebastian Weiss photographs Ricardo Bofill’s “delightfully confusing” La Muralla Roja:

A bit of a fortress, done in the bright colors of the Spanish coast?  A bit of the surreal? A bit of the Maghreb? A bit of Escher?

As previously posted, of the land artists, Richard Serra seems quite substantial:, unlike land art, people actually live in the building above.

‘Land art, earthworks (coined by Robert Smithson), or Earth art is an art movement in which landscape and the work of art are inextricably linked.’

We visited a Richard Serra piece in Seattle this past weekend, entitled Wake.

Serra Seattle

Click through for a Serra-released photo of four metal pillar-forms aligned in the deserts of Qatar, designed to inevitably rust. The piece has a slight ‘2001: A Space Odyssey feel, but that could just be me.

Check out Hyperallergic’s visit to ‘Shift,’ a series of concrete forms he left in an Ontario field.

Here’s Serra discussing a piece of his at 21 West Gagosian, or a densely-packed, carefully measured series of metal forms in a room. What does the viewer experience in this space?:

Related On This Site:A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public

Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton’s ‘The Art Instinct’

No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Repost-What Are You Doing With The Arts & Humanities? There’s Been A Lot Of Bad Stewardship

I suspect a lot of wisdom can be found throughout ‘Western Civ 101’ about the problems of the human heart, human nature and political power.

Apparently, though, such wisdom is being lost on a lot of people these days. I humbly submit such people should not merely think their ideas will become more justified, their hearts more pure, simply by organizing coalitions with the purpose of gaining political power.

As previously posted:

Ira Stoll here.

‘There was a wonderful article by an editor at the magazine, Mary Norris, about commas. Wonderful, that is, until this passage, “That was during the Reagan Administration, when many of us suspected that Reagan had some form of dementia, but no one could do anything about it. The country was running on automatic.”

Such politicization can make for bad stewardship of the arts, certainly.

Perhaps New Yorker features are increasingly flogged to maintain readership in a competitive marketplace, or are being put to use for other purposes, like reaffirming political ideology and identities to signal the right beliefs and in-group/out-group loyalties. Many of the liberal pieties can be found on display at the New Yorker.

Unsolicited advice for The New Yorker: Build a wall around your political stable, don’t bet too much on current trends and politicians, and keep other spaces free for the genuinely ‘avant-garde,’ the strange and beautiful, and biting satire when it shows-up.

For further context:

Here’s one senior New Yorker editor, Hendrik Hertzberg, discussing years ago how to abolish the Electoral College, arrive at a National Vote (to better serve the People, of course) and enact ‘democratic change.’

This strikes me as in-line with much Left and Left-liberal majoritarian populism. activism and softly (ultimately hard) radical change.

He has knowledge, of course, regarding what the People (will, should?) want, and why eroding such checks will lead towards more victims enfranchised voters and the ‘good’ society.

Perhaps some of the publishing decisions at the New Yorker make a little more sense…

===================

As previously posted-A breath of fresh air from George Packer at the New Yorker: ‘Mute Button:

‘The problem with free speech is that it’s hard, and self-censorship is the path of least resistance. But, once you learn to keep yourself from voicing unwelcome thoughts, you forget how to think them—how to think freely at all—and ideas perish at conception. Washiqur Rahman and Avijit Roy had more to fear than most of us, but they lived and died as free men.’

Maybe this kind of moral courage will make a comeback…

As for free speech and public sentiment, perhaps we’ll see where a new speech beachhead lies as the tide recedes from the powerful pull of an activist moon.

The problem with ‘brownstone activism’ may be the material itself:

‘Brownstone is a word used both to refer to a type of building material and structures built or sheathed in it. While it is most closely associated with the Eastern United States, this material was at one point used all over the world in construction, particularly in upper class regions. A distinctive architectural style using brownstone is very familiar to many residents of industrialized nations. Its popularity as a building material waned when builders began to realize that it weathered poorly, and that other materials might be more suitable.’

Soft, crumbly, loosely aggregated, weathers poorly…

Christopher Hitchens at Slate: Yale Surrenders

From The Liberal Bastions-James Baldwin, Often

Repost-Heather McDonald At The WSJ: ‘ The Humanities Have Forgotten Their Humanity’

***Whom do you trust for discussions of the arts and culture, and would you just rather publications be up front about their ideological bents and loyalties?

Four Thursday Quotations

This Wendell Berry quote, from on “tolerance and multiculturalism,” from his essay “The Joy of Sales Resistance”, has stayed with me:

‘Quit talking bad about women, homosexuals, and preferred social minorities, and you can say anything you want about people who haven’t been to college, manual workers, country people, peasants, religious people, unmodern people, old people, and so on.’

And…:

‘Here our account of the disposition to be conservative and its current fortunes might be expected to end, with the man in whom this disposition is strong, last seen swimming against the tide, disregarded not because what he has to say is necessarily false but because it has become irrelevant; outmanoeuvred, not on account of any intrinsic demerit but merely by the flow of circumstance; a faded, timid, nostalgic character, provoking pity as an outcast and contempt as a reactionary.  Nevertheless, I think there is something more to be said. Even in these circumstances, when a conservative disposition in respect of things in general is unmistakably at a discount, there are occasions when this disposition remains not only appropriate, but supremely so; and there are connections in which we are unavoidably disposed in a conservative direction.’

Oakeshott, Michael.  Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print.

“Those who speak most of progress measure it by quantity and not by quality.”

George Santayana

‘The young man who has not wept is a savage, and the old man who will not laugh is a fool.’

George Santayana

Towards A New Center? Ted Cruz & Eric Weinstein Have A Talk-Also, Alas, The Atlantic & Let Poetry Die

Ted Cruz is a Constitutional Conservative (U.S. Senator) and Eric Weinstein is what I’m calling a New, New Left independent thinker (pro speech, pro-mathematical sciences, pro-change, anti-identity).

Of Note:  Weinstein focuses on the years 1971-1973, where he pins a crucial slowdown in American economic growth, continuing today, which would help explain many changes we’ve been seeing in our lives.  This would include the calcification and cratering of our political parties and the dysfunction in many of our social and educational institutions.  It seems that everyone’s fighting more over less, and perceiving less all around, thus fighting more.

Previous generations, used to good returns on personal effort, relying upon institutional stability, were accustomed to generally playing by the rules in big companies, universities, law firms, and rent-seeking investments; generally climbing hierarchies and getting ahead.

Of course, if the theory is accurate, we have a lot of other potential contributing variables depnding upon your principles and point of view.

Mine include a longer sweep from Romanticism to Modernism to Postmodernism and increasingly atomized Western Selves living in ‘the modern world’.  I tend to focus on 1960’s counter-culture rebellion (now probably the ‘culture’) moving towards radicalism in universities, education and media.  In my own family, I’ve seen a subsequent move away from religious belief, and more broadly out in the ‘culture’, movements away from W.A.S.P culture and civic nationalism.

Let’s not forget the many obvious technological changes in networks and automation going on around us, either.

Which maps are you using?

No small irony for my dead horse: Many at the Atlantic are supporting rather obvious Democratic party positions, often Statist, while increasingly being co-opted by the loudest voices with an agenda to push (critical and race theorists and writers, politicizing the personal).

It’s kind of Orwellian to ask poetry to serve ideological goals, but my guess is having a poet who isn’t black or isn’t (B)lack would be racist these days, once you’re playing the game.

Perhaps this gives Atlantic writers special insight into the CCP in China and Artificial Intelligence.  An explicitly Communist, increasingly calculating and expanding State apparatus is utilizing the latest technology for control, driven somewhat by ideologues.

Well, it might hit a little closer to home, anyways.

I just want to find good poetry, and not play the game.

Also, I’d like to find out what is going on in China.

As posted, long ago.  All the foundations seem to get co-opted:

Let Poetry Die.

‘The best thing that could happen to poetry is to drive it out of the universities with burning pitch forks. Starve the lavish grants. Strangle them all in a barrel of water. Cast them out. The current culture, in which poetry is written for and supported by poets has created a kind of state-sanctioned poetry that  resists innovation.’

Has the institutionalization of poetry done it much good?:

‘Lilly’s contribution (and contributions) to the Poetry Foundation are the only reason it is what it is today. In other words, it’s not through any intrinsic or hard-earned merit that the Poetry Foundation is surviving and flourishing today, but because of a drug baron’s fantastic wealth.’

Maybe it wasn’t Emerson that kept Whitman going, but rather, the thought of returning to his tenure track position after a long hiatus.   Yet should there be no state funding at all of poetry…only patronage?

Also On This Site:   Cleaning up the humanities?:

Did Martha Nussbaum succeed in addressing a perhaps broader problem?  From The Harvard Educational Review-A Review Of Martha Nussbaum’s ‘Cultivating Humanity: A Classical Defense of Reform in Liberal Education.’

Philosopher Of Art Denis Dutton of the Arts & Letters Daily argues the arts and Darwin can be sucessfully synthesized: Review of Denis Dutton’s ‘The Art Instinct’

Conservative Briton Roger Scruton suggests keeping political and aesthetic judgments apart in the humanities:Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment

How might Nietzsche figure in the discussion (was he most after freeing art from a few thousand years of Christianity, monarchy and aristocracy…something deeper?), at least with regard to Camille Paglia.  See the comments:  Repost-Camille Paglia At Arion: Why Break, Blow, Burn Was Successful

Hopefully it won’t go this far:  From Big Hollywood: ‘The National Endowment For The Art Of Persuasion?’

From NPR: Grants To The NEA To Stimulate The Economy?From 2 Blowhards-We Need The Arts: A Sob Story

 

Friday Quotation-Sir Thomas More

‘The fact is, even the sternest ascetic tends to be slightly inconsistent in his condemnation of pleasure. He may sentence you to a life of hard labour, inadequate sleep, and general discomfort, but he’ll also tell you to do your best to ease the pains and privations of others. He’ll regard all such attempts to improve the human situation as laudable acts of humanity – for obviously nothing could be more humane, or more natural for a human being, than to relieve other people’s sufferings, put an end to their miseries, and restore their joie de vivre, that is, their capacity for pleasure. So, why shouldn’t it be equally natural to do the same thing for oneself?’

More, Thomas. Utopia. Penguin (trans. Paul Turner), 1965. Print.

Hmmm…

“His problem (Plato’s) with the arts was that they operated by images rather than by ideas, and thus that they might cloud the truth rather than clarifying it.”

Yes, and religious traditions, for example, also have interpretations of how one ought to reproduce the image.

“Whatever one thinks of Plato’s solution to this problem, I suggest that this is one of the problems that elicited his proposals for severe censorship of the arts he so obviously loved and had been trained in.”

Where Do You Fit In? Class-War Talk & The View From Around Here

Julius Krein’s ‘The Real Class War‘ at American Affairs:

‘Since 2000, the combination of stagnation, widening inequality, and the increasing cost of maintaining elite status has arguably had a more pronounced impact on the professional elite than on the working class, which was already largely marginalized by that point. Elites outside of the very top found themselves falling further behind their supposed cultural peers, without being able to look forward to rapid­ly rising incomes for themselves.

This underappreciated reality at least partially explains one of the apparent puzzles of American politics in recent years: namely, that members of the elite often seem far more radical than the working class, both in their candidate choices and overall outlook. Although better off than the working class, lower-level elites appear to be experiencing far more intense status anxiety.’

-Let’s not forget what some Americans are choosing to sacrifice for the rest of us.

-Via an interview with Ken Minogue from 2006:

‘BC: What do you make of political correctness? There are those who would argue it’s a thing of the past. Frankly, I don’t see how that’s possible. It seems to me that cultural Marxism is more regnant than ever, would you agree?

KM: In my time, a great deal of what used to be intuitive and instinctive (such as good manners) has been replaced by the rule-bound and rationalised. Political correctness is a politicised version of good manners offering power to the kind of meddlesome people who want to tell others how to behave. As to Marxism, it was merely one more illusion that purported to be the key to life. It is significant in that it reveals one of the dominant passions still at work in our civilisation – the passion to create happiness by technology in the hands of a supposedly enlightened elite.’

Why Do Birds Do What They Do–We saw a male, red-winged blackbird defending his territory today.  A bold little guy:

For most of the year, here’s the view from around here:

Crow

Common Sense, Bad Institutional Stewardship And Blue Girls

James Delingpole and Carbon Mike have a discussion about what bottom-up networks can do, the importance of economic and political liberty, the erosion of common sense, and how the software tools are available to bypass the bigger players.

There is a lot of room for disruption online, outside of the old media dinosaurs, and the new media walled-gardens:

If you’ve made your way to this blog, welcome to the cutting edge (or not).

If you[‘ve] had some respect for the Pulitzer, you probably should adjust your expectations:

From Quillette Magazine, a podcast:  Professor Wilfred Reilly discusses his new book Taboo: 10 Facts You Can’t Talk About

Your moment of Zinn:  The 1776 project is a response to the 1619 project.

The confessional poets wove inner revelations into the architecture of their poems, and made themselves into active subjects.

A generation or two later, and they seem to have more prizes than poets.  From cartoons to comedians, many Selves are seeking hidden meanings behind every word.

See Also On This Site:  Philosopher Of Art Denis Dutton of the Arts & Letters Daily says the arts and Darwin can be sucessfully synthesized: Review of Denis Dutton’s ‘The Art Instinct’

Repost-So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

Repost-Daniel Dennett: ‘Postmodernism And Truth’

-Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?’

Repost-From Darwinian Conservatism: ‘Nietzsche–Aristocratic Radical or Aristocratic Liberal?’

-Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’

Various Products Of Radical Reason And Reactions To Them- John Gray At The New Statesman

Repost-Roger Scruton At The New Atlantis: ‘Scientism In The Arts & Humanities’

Blue Girls

Twirling your blue skirts, travelling the sward 
Under the towers of your seminary, 
Go listen to your teachers old and contrary 
Without believing a word. 

Tie the white fillets then about your hair 
And think no more of what will come to pass 
Than bluebirds that go walking on the grass 
And chattering on the air. 

Practice your beauty, blue girls, before it fail; 
And I will cry with my loud lips and publish 
Beauty which all our power shall never establish, 
It is so frail. 

For I could tell you a story which is true; 
I know a woman with a terrible tongue, 
Blear eyes fallen from blue, 
All her perfections tarnished — yet it is not long 
Since she was lovelier than any of you.

John Crowe Ransom

 

After The Words Are Written-Some Links

I find myself drawn to photos of empty fields and abandoned buildings, with good composition and horizon lines meeting somewhere far-off; quiet places with natural forces at work.

Perhaps I’m fairly introverted, caught in the rushes of daily life.  Such images can even seem like indulgences.

Don’t pity the traveler in a train observing himself observing the passing scenery; snatches of a clean suburb whose gabled rooves give way to rows of derelict houses, given over to the falling rain.

After the words are written, the desire for awe, beauty, and symmetry remain.

-Some links on ideas and trying to contextualize the modern Self:

James Lileks responds to an Atlantic piece which reflects upon the modernist influence. From the Atlantic piece.

‘At their best, the Schiffs can be models for renewing the unquenched aspiration of a century ago, to place art and its imaginative demands at the center of an effort to build a more humane future’

Humane.  Human.  Human rights.  Make it new.  Break with the past.  Shape man’s destiny upon new foundations of knowledge, explore new possibilities, and perhaps shape men themselves.

Why, there’s a whole philosophy under there.  Not a religion necessarily, and not always moral claims to knowledge, but a whole framework nonetheless.

Well, some of it, anyways.

Lileks responds:

‘There is no morality in art. There is morality in religion; there are philosophical objectives embedded in politics. The two are intertwined in a society and reflected in its art. When you sever art from its cultural moorings and make “newness” the overriding criterion by which the merits of a work are judged, then anything is possible. This results in crap. Not always’

James Joyce, Virginia Woolf, Ezra Pound, the Bauhaus, the imagists, the futurists etc. Some of those influences have morphed into post-modernism or where such currents have flowed and keep flowing.

Lileks’ take:

‘The primary urge of the revolutionary and the modernist and the adolescent: impatience.’

So, do we aim for maturity?  Reverence?  Good old Longfellow?

Food for thought.

Science, technology, mathematics are doing okay, but I think will become increasingly subject to the anti-science claims of some postmodernist mystics, as well as many people seeking primary purpose through political and ideological doctrines.

You didn’t think all of these folks turning their life stories into political narratives were just going to leave you alone, did you?

Full interview here.

From Dr. Steven Hicks:

‘In the shorter term, postmodernism has caused an impoverishment of much of the academic humanities, both in the quality of the work being done and the civility of the debates. The sciences have been less affected and are relatively healthy. The social sciences are mixed.

I am optimistic, though, for a couple of reasons. One is that pomo was able to entrench itself in the second half of the twentieth century in large part because first-rate intellectuals were mostly dismissive of it and focused on their own projects. But over the last ten years, after pomo’s excesses became blatant, there has been a vigorous counter-attack and pomo is now on the defensive. Another reason for optimism is that, as a species of skepticism, pomo is ultimately empty and becomes boring. Eventually intellectually-alert individuals get tired of the same old lines and move on. It is one thing, as the pomo can do well, to critique other theories and tear them down. But that merely clears the field for the next new and intriguing theory and for the next generation of energetic young intellectuals.

So while the postmodernism has had its generation or two, I think we’re ready for the next new thing – a strong, fresh, and positive approach to the big issues, one that of course takes into account the critical weapons the pomo have used well over the last while’

Via Mick Hartley:  ‘The Geometry of Emptiness: A Journey Through France’s Diagonal du Vide

-Photographer Ben Marcin has a series called ‘Last House Standing.’ Solitary row-homes…the only ones left on the block.

-From Popular Mechanics, ‘Creepy Abandoned Military Sites From Around the World.

They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City

No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’

A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint

Some Photo Links Via Mick Hartley-Still Looking For Place In America

Natalie Christensen via Mick Hartley.  Color photography with a focus on abstract geometry and composition in space.

Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway (NYC subway during the 1980’s).

Recommended.

Check out this post: A Bleak, Modern House-Four Poems

Via Mick Hartley:  Check out some sweet Eastern Bloc Brutalism.

Welcome aboard, Comrade!  Now departing for the (F)uture: The Bolshaya Tulskaya building.

Via Mick Hartley, British photographer Mark Power’s Good Morning, America, vols. 1 (mostly Arkansas) & 2 (mostly across the South).

Power:

‘I keep a physical and metaphorical distance between myself and the subject. It’s a way of delineating my ‘foreignness’ and is a similar stance to the one I took while working in Poland making The Sound of Two Songs (2004-09). It’s comes very naturally to me; I’ve always felt I’m better at observing than participating, so to stand back and watch from afar suits me very well.’

I often find myself drawn to photos with some distance.

As posted:

Via Mick Hartley, Steve Fitch Photography has neon motel signs glowing into the Western night.

He also has a book simply titled ‘Motel Signs:’

What’s more American than an exiled member of the Russian aristocracy intimately making his way into the English language and peering out from a thousand Motor Lodges?

Nabokov in America: On The Road To Lolita.

Michael Dirda review of the review here.

“Nabokov in America” is rewarding on all counts, as biography, as photo album (there are many pictures of people, Western landscapes and motels) and as appreciative criticism. Not least, Roper even avoids the arch style so often adopted by critics faintly trying to emulate their inimitable subject.’

Well, there’s Donald Judd and Marfa, Texas, which looks interesting:

As previously posted, The Critic Laughs, by Hamilton:

Do you long for the days of unabashed American consumerism? Are you nostalgic for nights lit only by a soft, neon glow on the underbellies of clouds? Return to a time when America broadcast its brash, unironic call to the heavens.

But it can be empty, and lonely, and full of hard work and suffering:

MT-3 Storm Breaking-3

Montana Pastoral
I am no shepherd of a child’s surmises.
I have seen fear where the coiled serpent rises,

Thirst where the grasses burn in early May
And thistle, mustard and the wild oat stay.

There is dust in this air. I saw in the heat
Grasshoppers busy in the threshing wheat.

So to this hour. Through the warm dusk I drove
To blizzards sifting on the hissing stove,

And found no images of pastoral will,
But fear, thirst, hunger, and this huddled chill.

Detroit Nocturne‘ found here. Via Mick Hartley.

I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:

Joey's Meatcutter's Inn, Eastside, Detroit 2017

Immediately, I think of Edward Hopper: The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness. The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.

Perhaps it has do with another strand of expression: The break into free verse from past forms. The move from American Romanticism to Modernism which occurred this early past century. William Carlos Williams produced many good poems from a process of earnest, scrapbook-style intensity in trying to discover, redefine, and order a new poetic form within a modern ‘urban landscape.’

The individual artist is quite alone in the task he’s set before himself, and like much of modernism, it’s a rather big task.

Pastoral

When I was younger
it was plain to me
I must make something of myself.
Older now
I walk back streets
admiring the houses
of the very poor:
roof out of line with sides
the yards cluttered
with old chicken wire, ashes,
furniture gone wrong;
the fences and outhouses
built of barrel staves
and parts of boxes, all,
if I am fortunate,
smeared a bluish green
that properly weathered
pleases me best of all colors.

No one
will believe this
of vast import to the nation

William Carlos Williams

Do you believe any of that to be of vast import to the nation? Are you no one?

Repost: Some People Have Had Grand Plans For The Future-Technocratic Utopianism Runs Deep

Michael Lewis at The New Criterion: ‘The Architect Of The Reich:’

‘Albert Speer (1905–1981) was born in Mannheim, Germany, the son and grandson of architects. Pushed by his father to study architecture, he studied first in Karlsruhe, then Munich, but he only became serious after he transferred to Berlin. There he applied to study with Hans Poelzig, the brilliant expressionist architect of Weimar Germany, who rejected Speer as an inferior draftsman. Disappointed, he turned to the man who was Poelzig’s polar opposite, Heinrich Tessenow, a reform-minded architect with a love of simple, clear volumes and neoclassical clarity—the ultimate basis of Nazi architecture. Speer, who all his life knew how to ingratiate himself, sufficiently impressed Tessenow to become his teaching assistant.’

From the looks of it, there’s some serious neo-classicism going on; deep Greco-Roman influence. The thing likely would have been built if it weren’t for WWII:

So, what about neo-classicism mixed with ‘technocratic utopianism,’ or the rather suspicious desire to centrally plan, control, and organize everyone’s lives on the way the Glorious Future?:

Robert Hughes saw echoes of this technocratic modern utopianism in Albany, New York. It really may not be that far from Mussolini to the bland bureaucratic corporatism found elsewhere in the West:

‘…classicism with a pastry-cutter,’

And as for the fascists having:

…a jackboot in either camp, one in the myth of ancient Rome, one in the vision of a technocratic future.

Some photos of Albany here (from Althouse). It doesn’t exactly blend-in with the neighborhood.

Should you disagree, you are worse than Hitler:

——————-

As previously posted:

A reader sends a link to a bad public art blog.

From Buzzfeed: The 7 Ugliest Government Buildings In Washington D.C. (Via Althouse)

From an article in Der Spiegel on the Bauhaus, where modernism got its start:

‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘

I’m always a little skeptical of such grand visions. Utopianism runs deep.

————————–

What if there was a Wisconsin motor court/supper club with global ambitions? What if you fused a local motel with the U.N. internationalist style, you ask?

Click here to experience ‘The Gobbler.

After taking the photo tour, I remain convinced that ‘The Gobbler’ exists in its own realm of awesome badness. Such a shag-covered, abandoned love-child of the late 60′s and early 70′s is challenging just what I thought I knew about American culture.

———————-

Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:

The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’

They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City

Check out the ‘Socialist Cybernetics‘ of Salvador Allende.

In working towards a theme, check out Buzludzha, the abandoned communist monument in Bulgaria’s Balkan mountains, which still draws up to 50,000 Bulgarian Socialists for a yearly pilgrimage. Human Planet’s Timothy Allen visited the structure in the snow and took some haunting photos. You will think you’ve stepped into a Bond film and one of Blofeld’s modernist lairs, but with somewhat Eastern Orthodox tile frescos of Lenin and Marx gazing out at you, abandoned to time, the elements and to nature.