Eye Of The Beholder
Terence Riley noted that the early tastemakers at MoMA understood their job was to separate "the wheat from the chaff." Few people rose to that challenge with more vigor than the young Philip Johnson, the first head of the Department of Architecture and Design, circa 1932.
After Johnson's 1928 visit to the Bauhaus Dessau his role as a proselytizer for the new architecture was set. "We were proud to be avant-gardists; we wore our enthusiasm as a badge of honor that distinguished us as culturally superior to those around us." Johnson said.
From this plateau of cultural superiority, Johnson and his MoMA collaborators Alfred H. Barr, Jr. and Henry-Russell Hitchcock labeled this architecture "The International Style" in the MODERN ARCHITECTURE INTERNATIONAL EXHIBITION catalog [New York: Museum of Modern Art, 1932].
But by 1940, Johnson had moved on to learn a vocation at the Harvard Graduate School of Design under Gropius and Breuer. In his absence, the Mandarins of MoMA couldn't always control the debate, but they kept a stranglehold on the terminology.
After Johnson's departure, John McAndrew headed the Department of Architecture. McAndrew and his staff identified and cataloged 297 examples of Modern Architecture in Connecticut, Delaware, the District of Columbia, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island and Vermont, and published their efforts in August 1940 as GUIDE TO MODERN ARCHITECTURE - NORTHEAST STATES [New York: Museum of Modern Art, 1940].
I bought a copy of McAndrew's GUIDE in Cherry Springs, NY during my last book hunting trip. This was the first copy I had actually ever found; for a book published in an edition of 10,000 copies, it is surprisingly uncommon. I paid $4.00 for my Ex-Library copy. I love a bargain.
As an historical document, it is invaluable. The GUIDE can be used to settle any argument about the Who, What, Where, When and Why of pre-war Modernism in the Northeast States. This 128-page book overflows with information.
As a Guidebook however, it has one serious flaw. McAndrew freely admits the word Modern is controversial in the cultural dialogue of 1940. He draws an irreconcilable distinction between Modern and the "Modernistic." That pejorative separation is historically interesting, but rather problematic. If I had attempted to use his guide on my travels through Rochester, Syracuse, Albany, Manhattan, etc., I would have missed the architectural highlight of my week-long trip.
In his foreword to the 60th Anniversary Edition of MACHINE ART [New York: Abrams/Museum of Modern Art, 1994], Philip Johnson wrote, "The battle of modern architecture has long been won. Twenty years ago the Museum [of Modern Art] was in the thick of the fight, but now our exhibitions and catalogues take part in the unending campaign described by Alfred Barr as "simply the continuous, conscientious, resolute distinction of quality from mediocrity -- the discovery and proclamation of excellence."
They missed their mark.
After Johnson's 1928 visit to the Bauhaus Dessau his role as a proselytizer for the new architecture was set. "We were proud to be avant-gardists; we wore our enthusiasm as a badge of honor that distinguished us as culturally superior to those around us." Johnson said.
From this plateau of cultural superiority, Johnson and his MoMA collaborators Alfred H. Barr, Jr. and Henry-Russell Hitchcock labeled this architecture "The International Style" in the MODERN ARCHITECTURE INTERNATIONAL EXHIBITION catalog [New York: Museum of Modern Art, 1932].
But by 1940, Johnson had moved on to learn a vocation at the Harvard Graduate School of Design under Gropius and Breuer. In his absence, the Mandarins of MoMA couldn't always control the debate, but they kept a stranglehold on the terminology.
After Johnson's departure, John McAndrew headed the Department of Architecture. McAndrew and his staff identified and cataloged 297 examples of Modern Architecture in Connecticut, Delaware, the District of Columbia, Maine, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island and Vermont, and published their efforts in August 1940 as GUIDE TO MODERN ARCHITECTURE - NORTHEAST STATES [New York: Museum of Modern Art, 1940].
I bought a copy of McAndrew's GUIDE in Cherry Springs, NY during my last book hunting trip. This was the first copy I had actually ever found; for a book published in an edition of 10,000 copies, it is surprisingly uncommon. I paid $4.00 for my Ex-Library copy. I love a bargain.
As an historical document, it is invaluable. The GUIDE can be used to settle any argument about the Who, What, Where, When and Why of pre-war Modernism in the Northeast States. This 128-page book overflows with information.
As a Guidebook however, it has one serious flaw. McAndrew freely admits the word Modern is controversial in the cultural dialogue of 1940. He draws an irreconcilable distinction between Modern and the "Modernistic." That pejorative separation is historically interesting, but rather problematic. If I had attempted to use his guide on my travels through Rochester, Syracuse, Albany, Manhattan, etc., I would have missed the architectural highlight of my week-long trip.
In his foreword to the 60th Anniversary Edition of MACHINE ART [New York: Abrams/Museum of Modern Art, 1994], Philip Johnson wrote, "The battle of modern architecture has long been won. Twenty years ago the Museum [of Modern Art] was in the thick of the fight, but now our exhibitions and catalogues take part in the unending campaign described by Alfred Barr as "simply the continuous, conscientious, resolute distinction of quality from mediocrity -- the discovery and proclamation of excellence."
They missed their mark.
posted by Randall Ross at
11:38 AM
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