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"Art and architecture France 20th century Exhibitions."
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Charlotte Perriand : inventing a new world
\"What is this 'new world' imagined by architect and designer Charlotte Perriand (1903-1999)? How did she re-conceive our relationship with the natural world and the role of art in everyday life? The answers provided by this pioneer of modernity seem astonishingly relevant to us today. Published on the occasion of the Fondation Louis Vuitton's major retrospective dedicated to Charlotte Perriand and her links with the artists and architects of her era, this book offers a fresh interpretation of her work, which was characterized by commitment and freedom. Edited by Sâebastien Cherruet and Jacques Barsac, with contributions from international authors, it presents an approach that is both chronological and thematic, inviting us on a journey of creativity through the twentieth century.\"
Book
Facing Hitler's Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition
Overwhelming the Trocadéro's majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris 'Exposition des arts et des techniques dans la vie moderne' — the last French World's Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely 'competed in archeological rhetoric'. In this article I argue, with a primary focus on the Soviet Pavilion, that far from displaying such reductive and unambiguous architectural qualities, each pavilion offered, in two very different ways, a complex response to the challenges of an exhibition dedicated to 'modern life'. The two instrumentalized for their own political purposes both modernity and historicism. From two radically different ideological starting points, the pavilions exploited some significant aspects of the defunct avant-gardes, while reaching out, in different degrees, for stabilizing references to classicism. Frank Lloyd Wright's unwavering admiration for the Soviet Pavilion, the main topic of this article, resonates with the astonishing discovery of white Suprematist 'Arkhitektoni' by Malevich's disciple, sculptor Nikolaj Suetin gracing the interior of the Soviet Pavilion. The legacy raises the question of thus far unsuspected survival of the architectural avant-garde deep into the years of Stalin's totalitarian terror.
Journal Article
The necessity of Rodin
In Philadelphia, the Rodin Museum makes its 1929 copy of The Kiss the centerpiece of an installation of nearly twenty works in bronze and plaster centered on \"the theme of the passionate embrace.[...]the iconic status and pedestrian nature of The Kiss have blinded us to Rodin's ambitions for his marble sculpture-one as large as that for his work in other media.[...]at the Met, by contrast, the sculpture is lighted in a more conventional manner, in terms of major and minor masses.[...]the two figures are brilliantly illuminated, with the background stone a more or less even play of half-tones.The problem was even more pronounced at \"Rodin: 100 Years\" in Cleveland.3 Direct sunlight pours through the floor-to-ceiling glass walls, eliminating virtually all traces of shadow on The Fall ofthe Angels (1890-1900), and with them any articulation of form, leaving us to contemplate little more than a glowing white blob.
Magazine Article