Last week, my eye caught an article in the New York Times about the need to acquaint our generations with real farm life, especially the smaller, private farms. The staple in outdoor museums, often called "living history farms," is a bonneted maid churning butter, or women cooking at a fireplace or men bringing in "freshly-killed game."
What would visitors learn? Some stereotyped glimpses of history: Old timey music and dances (often using contemporary instruments), log cabins, so neatly landscaped and perfumed that one can hardly imagine it as a dwelling inhabited by people and animals with neither plumbing nor electricity, so cut off from urban centers that news of scientific, political, and social issues are long-delayed.
If settlers in 1836 Indiana combed flax for linen garments, how do we learn about our garments today? Or our current overwhelming notion of "style"?
Then another memory, a cogent conversation in my museum office with a colleague from Des Moines, folklore professor Jay Anderson (living history museum specialist, photo archivist and scholar), during which the idea emerged that museum planners should consider "shrink-wrapping" a 1970s home and preserve it as a museum artifact. Imagine: tricycles, toothbrushes, plastic dinnerware, TV trays and an Amana Stor-More freezer.
Though the development house design has proliferated across the country, today's aesthetic does not adore a major home design, termed a ranch house. (sometimes denigrated as a "raunch house") . But they were built at a specific time (post-war boom years) and for a fairly specific reason (to reflect the new "casual" life style presumably borrowed from he Southwest). Think bolo ties, family rooms and swimming pools.
Curiously, twenty-first century preservationist movements have begun in some ranch house neighborhoods, as well as renewed interest in the style from a younger generation who did not grow up in ranch-style houses
First built in the 1920s, the ranch style was extremely popular with the booming post-war middle class of the 1940s to 1970s. The style is often associated with tract housing built at this time, particularly in the western United States, which experienced a population explosion during this period, with a corresponding demand for housing.
Now, putting a contemporary home under a scholar's spotlight is leads us to understand that the present is tomorrow's "history." Just as a newspaper reader scanning headlines about a scientific break-though or the front-line soldier theoretically might having the time to reflect that he is,in fact, in the middle of history in the moment, or the teenager recovering from a deadly disease cured with the newest medication. Or an attorney buys a necktie, knowing that this item is rapidly loosing its place in male haberdashery.
aneesocila enviroment for futue mueu goeers but also acceps tat what is NOW is also historicaly significant L
conrased to collecing xxx photos offarming histotry Jensen adn MUeum o Man and his dail btraad Such a step not only saves
In order to do so one removes a "preferenc efor " objedcts (ie stil lifes of
gfood or Cole landscapes or eve Pollocck's gestural art Whit on Whiter goes beryond to a higherlevelof sensitivity
Well, that connects us to conversations that I have had numerous times with my check-out clerk at the grocery store. "What's this?" he asks, holding up brussels sprouts or majooli dates or a rutabaga or even the gentle parsnip. No problem with okra, though.
Malevich (1878-1935)White on Whiter and other suprematist canvases a newe freedom ,a supremacy of pure feeling, not from forms since ithas atextural form infinite space rather than definite borders suggest a near-zero relianceon respreseenative art and color variaton, away from represantatio or figuration a fnastep toward abstraction but also inclusiveness
"desperate struggle to free art from the ballast of the objective world" by focusing only on pure form and pure color However, while the paintings found favour with intellectuals, they did not appeal to the general viewer and as a result Malevich lost official approval. He was later persecuted by Stalin, who had an implicit mistrust of all modern art.
A camera set on a street crner, rrcordimng indiscrimantly ll actio no editing al incusive
OR, Imagine a camera unmoving, butfixed on a diner counter for 2 hours. Culd Micky
Rourke's performanced in"Diner" have been surpased? Only fr REAL realism a
Venturi (b. quaker from Philly 1925) inclusive acceptance and undersanding urbn and sub urban enivroments as inclusive, later, “Learning From Las Vegas,” (MIT Press, 1977)was one of the last of the big architectural manifestos and a heartfelt embrace of American popular culture that would be hard to imagine anyone attempting today.
Geetz de-myholgi n of the Pilgrams of Mass a way to ralism oyom;u gopt janthropological fac but also to make us sensitive to faux cultural things like Turkey and overblown religious thot
LENZ mFGAZINE - MALLS AS BLIGHT VISUALLY UNSTIMULATING, DEPENDENT UPOMN CAR TRAFFIC A DANGER TO PHYS ENVIRONMENT AND HUMAN IMAGINATION Where White on white reduces variety, the mall emphasizes both variety and sameness (tootermalls--a logicl aor at lest "learnable" lay out)
KAZIMIR MALEVICH (1878-1935) 1918 White on White
2006Malevich described his aesthetic theory, known as Suprematism, as "the supremacy of pure feeling or perception in the pictorial arts." He viewed the Russian Revolution as having paved the way for a new society in which materialism would eventually lead to spiritual freedom. This austere painting counts among the most radical paintings of its day, yet it is not impersonal; the trace of the artist's hand is visible in the texture of the paint and the subtle variations of white. The imprecise outlines of the asymmetrical square generate a feeling of infinite space rather than definite borders.
Inventing Abstraction, 1910–1925
December 23, 2012–April 15, 2013With his White on White series Malevich pushed the limits of abstraction to an unprecedented degree.In May 1923, the UNOVIS group, directed by Kazimir Malevich, showed 2 white monochromes in the exhibition Works of Petrograd Artists of All Movements at the Petrograd Art Academy. This presentation was accompanied by a manifesto entitled "Suprematicheskoye zerkalo" ("The Suprematist Mirror"), which goes far beyond Rodchenko's "end of art". Malevich embraces a radical, all-encompassing nihilism.
GREEN ON GREEN With the creditable exception of Burle Marx, and perhaps James Corner, landscape architects have been slow in responding to Suprematicism. Kasimir Malevich used this term as an alternative to Non-objective Art, which is itself an alternative to the more common Abstract Art. Malevich was thinking of its supremacy over previous art movements. Part of Malevich’s inspiration, like Corner’s, was from aerial photography: he abstracted patterns from landscapes. His suprematist ‘grammar’ was based on the elemental geometric forms, particularly the square and the circle. In the Eastern Orthodox tradition the holy family were believed to have a presence in icons. Comparably, a square is a square: it is not a picture of a square. This gives non-objective art a supremacy over representational (objective) art. Landscape architecture shares this type of supremacy over landscape painting: it is about making real places, not pictures of places. But landscape architects should also be fine artists in the sense of expressing truths about the nature of the world. Green-on-Green abstracts a truth about humanity’s relationship with the natural world:
Reducing pictorial means to their bare minimum, he not only dispensed with the illusion of depth and volume but also rid painting of its seemingly last essential attribute, color. What remains is a geometric figure, barely differentiated from a slightly warmer white ground and given the illusion of movement by its skewed and off-center position. With its richly textured surface and delicate brushwork, Suprematist Composition: White on White emphasizes painting’s material aspects, and its simplicity suggests a radical reinvention of the medium. In 1918, a year after the Russian Revolution, the connotations of this sense of liberation were not only aesthetic but sociopolitical. Malevich expressed his exhilaration in a manifesto published in conjunction with the first public exhibition of the series, in Moscow in 1919: "I have overcome the lining of the colored sky. . . . Swim in the white free abyss, infinity is before you."
. In 1985, folklore professor Jay Anderson was hired as the director of the Farm, a position he held from 1985 to 1993. Dr. Anderson oversaw a newly created Master's degree program where he and graduate students collected historical information on such items as dress, foods, crops, livestock, etc. to make the farm more historically accurate. In the late 1990s, the Festival of the
The History of the Ronald V. Jensen Living Historical Farm and Man and His Bread Museum. Logan, UT: Utah State UP, 1987
THE LENS carltocollege imdepend student magazine, 2013 superb student writng
.convenient scapegoat for all of the environmental and social problems of a car-dominated, suburban society. Blogs such as DumpyStripMalls.com (practically a tour of the Twin Cities’ sections of I-94) illustrate the popular distaste for the model, cataloguing drab fast food restaurants and closed ice arenas with a connoisseur’s thoroughness. Urban researchers defend these emotional musings with facts and theories on the blight strip malls bring to a community. Their main grievance with strip malls lies in their dependence on automobile transportation. If shoppers are coming and going to strip malls in their cars, they are not walking, socializing, and interacting with the community. Furthermore, the abundance of cars aggravates traffic congestion and pollution.
So, to paraphrase Robert Venturi (qUAKER, B. pHILY 1925), one of the authors of the 1977 city-planning classic Learning From Las Vegas: If it's so baIn 1972, Venturi, Scott Brown and Izenour published the folio, A Significance for A&P Parking Lots, or Learning from Las Vegas later revised in 1977 as Learning from Las Vegas: the Forgotten Symbolism of Architectural Form using the student work as a foil for new theory.
The book they produced four years later, “Learning From Las Vegas,” (MIT Press, 1977)was one of the last of the big architectural manifestos and a heartfelt embrace of American popular culture that would be hard to imagine anyone attempting today.