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All that exists deserves to perish

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Against the Proudhonian
popery of Père Naphtha

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Père Naphtha is a delightful contradiction: a self-identified papist with pretensions to Marxism. Specifically, he belongs to the Maoist/Stalinist persuasion. It’s possible that he, like Roland Boer, thinks his religiosity adds some sort of unexpected “twist” or nuance to his otherwise pedestrian “heartthrob for the welfare of humanity,” to quote Hegel. Recently his tempers have been roused by the controversy over Mark Fisher’s “Vampires’ Castle” article and identity politics on the Left, and by the flurry of responses (some okay, most bad) that issued from it. He has thus seen fit to pen his own reply “On Identitarianism: A Defense of a Strawman.”

Though it’s probably poor form to dismiss an entire article and its argument out of hand, in one sweeping gesture, I feel confident in characterizing Naphtha’s “response” as basically an excuse to bang on about Nietzsche‘s pernicious influence on the Left. Obviously, this has been getting a lot of play lately, with Malcolm Bull‘s book Anti-Nietzsche having come out recently, followed by a long and seemingly interminable debate on Doug Henwood’s wall about the (un)salvageability of Nietzsche, which has since been reprised several times in other contexts. Evidently Père Naphtha had a horse in the race here, though the main knight tilting at the Antichrist was Harrison Fluss, an Hegelian and HM groupie. (Fluss is, for the record, a far more worthy opponent than Naphtha in this debate). For Naphtha, the true problem plaguing the Left is not identity politics, as authors such as Fisher, Dean, and others believe, but rather the ominous silhouette lurking behind their haughty denunciation of ressentiment: Friedrich Nietzsche.

If for nothing else, however, we should thank Père Naphtha for proffering yet more proof of Nietzsche’s suspicion that most self-proclaimed socialists are in fact Christians in disguise. As if any more proof was needed given the maudlin, moralizing sentimentality of most leftists today. Naphtha’s brand of anti-Nietzscheanism seems to be lifted from the standard Stalinist sources: Georg Lukács and Domenico Losurdo.

Continuing our narrative: In the comment thread below his article, Naphtha took exception to the harsh rhetoric I slung his way, describing his own position as “an egalitarian argument against elitism.” Nietzsche was anti-egalitarian, to be sure, and anti-moralistic. Most pointedly so in his polemics against those famous anti-semites who were for him exemplars of socialism: Pierre-Joseph Proudhon (also by extension, the 1848 Proudhonist Richard Wagner), Bakunin, and Eugen Dühring. Continue reading →

Color and light in modern architecture

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In 1929, the Soviet avant-garde journal Modern Architecture (Современная архитектура, or СА) published a special issue devoted to color and light in design. Below is an embedded link to the full issue on Scribd, as well as some lower-quality scans of individual pages. More later. Enjoy these for now.

[scribd id=191568476 key=key-2oaapy3l0912komnfx5m mode=scroll]

Paintings by Song Wenzhi, 1972-1975

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The following scenes were painted by the Chinese artist Song Wenzhi during the 1970s. I find these much more interesting than the rather derivative Socialist Realist style that predominated from the 1950s-1970s. Superficially, at least (I’m no expert in East Asian art), these would seem to use non-realist “traditional” forms to depict quintessentially modern content. Technoindustrial alterations to the landscape are part of the landscape.

As I wrote in response to someone who felt the representation of industrial imagery “polluted” the purity of the traditional genre of Chinese landscape paining, there’s an ironic fidelity to Wenzhi’s paintings to this tradition. By this I mean that traditional Chinese landscape paintings often did include scattered human artifacts — bridges, huts, sometimes tiny people — embedded in the scenery. So it’s not as if humanity’s intervention into nature is wholly absent from such paintings. In the paintings of Wenzhi, however, the scale of these manmade structures, especially those involved in or facilitated by industrialization, is obviously much larger. On a whole different scale, one might say. Even then, these are integrated into the landscape.

Traditional Chinese landscape painting featuring small human artifacts

Traditional Chinese landscape painting featuring small human artifacts

However, I wouldn’t say that this is simply a continuation of tradition. Wenzhi was doubtless aware that a qualitative difference had resulted from this quantitative increase. Continue reading →

Utopia, Ltd.: Constructivism reconstructed

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There’s a piece I wrote up going over the Utopia, Ltd. show that’s been posted on the Metropolis Magazine blog, titled “Reconstructivism.” If anyone reading this is in London, I’d encourage them to check it out. Looks great, and everyone who’s been to it has had only good things to say. You can read my own thoughts on the matter by clicking the linked article above.

Paul Prudence, a photographer living in London, was the one who first got in touch with me about it. So he deserves some credit for alerting my attention, and major props on the photos he took of the models at the exhibit (shown below). I’m also grateful to Sammy Medina — Metropolis’ web editor — for looking it over and providing me with the interview materials sent in by the model-maker, Henry Milner, and the lead curator, Elena Sudakova.

All photos here were taken by Paul Prudence.

Art and politics in class society

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Book review:

Ben Davis, 9.5 Theses on Art and Class (Haymarket. Chicago, IL: 2013)

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The following review was originally published by the CUNY Grad Center’s journal The Advocate. It is available in print and online, and I’d encourage anyone who’s interested to pick up a copy.

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Ben Davis’ 9.5 Theses on Art and Class has clearly struck a chord with contemporary artistic communities, critics and practitioners alike. Not all have responded the same way, however. While most applaud the admirable clarity of its arguments and readily acknowledge Davis’ gifts as a writer, some have lamented the book’s “rather bleak” tone and the seeming despondency of its conclusions. One review went so far as to accuse Davis of drawing “lazy caricatures” of his opponents, panning Art and Class as “crudely reductive” and given to “smug, self-righteous dismissals.” Yet others have welcomed its challenge to the conventional image of artists as born radicals, and praise Davis’ sober reassessment of the lofty political ambitions often claimed for their work.

Despite a few cautious endorsements from figures like Molly Crabapple and William Powhida, the book’s reception among actual producers of art has likewise been mixed. At a recent talk held at Housing Works in downtown Manhattan, Davis invited to the stage a group of practicing artists with whom he’d been in close dialogue while writing Art and Class. The discussion that followed was polite enough, touching on some of the book’s central themes, but there were moments in which the panelists could be seen practically squirming with discomfort at the language Davis used to characterize their vocation. Even though they’d all read it before, and were thus familiar with the text’s provocations, it was as if the wound was still fresh.

So what is it about Davis’ thesis that makes it such a bitter pill to swallow? Part of it is semantic. Though the sociological framework he employs throughout his investigation into art under capitalism is generally sound, Davis encounters terminological difficulties as soon as he tries to conceptualize class. How does one talk about a mode of creative activity that doesn’t neatly fit the division of society into workers and capitalists? What accounts for this peculiar survival of quasi-artisanal forms of labor within such a rarefied commercial sphere as today’s art market? Art and Class approaches these questions from an avowedly Marxist angle. But this presents problems of another sort. For although classical Marxism had at its disposal an arsenal of readymade categories with which to comprehend the position of the artist, Davis finds terms like “petit-bourgeois” (probably the most fitting designation for artists at one time) irretrievably démodé. Looking for a more accessible word that might replace it, he arrives at “middle-class.” Davis emphatically asserts that “the contemporary artist is the representative of middle-class creative labor par excellence.”1

This nomenclature is unfortunate for a whole host of reasons, not least of which is the confusing cluster of connotations that already surrounds notions of “middle-class.” Class is commonly (mis)understood as a purely quantitative relation, a function of “pay scale” or “income bracket.” As Davis points out, this distorts the more precise definition offered by Marxist theory, which sees class as a specific relationship to the means of production — namely of ownership or non-ownership, combined with some owners’ ability to hire others to operate them. Beyond such bland technicalities, however, Davis anticipates a more basic objection artists might raise to his analysis. “The issue of class has moral overtones,” he recognizes.2 Artists, who tend to sympathize with vaguely leftist political ideas and issues of social justice, bristle at the suggestion that they are somehow “middle-class.”

Gustav Klutsis, Multilingual propaganda machine (1923)

Once one gets past this initial allergic response, and accepts the meaning assigned to “middle-class,” the rest of the book’s contentions about art in class society fall into place. Davis is hardly indifferent to artists’ plight, either. Quite the opposite: the narrative he unfolds in Art and Class has profound implications for the way artists orient their politics. “The upshot is that artists’ middle-class position is not merely a limit on their relation to larger social struggle but also on their ability to organize to transform their own conditions,” Davis writes. He goes over some of the efforts to orchestrate artists’ strikes in the 1960s and 1970s, virtually none of which could be considered a success. “From whom would the artists be withholding their art if they did go on strike?” the book asks, quoting Carl Andre. “Alas, from no one but themselves.”3 By contrast, the closer artists get to wage-labor — those instances where they actually constitute a paid workforce, as with studio animators or industrial designers — the more effectively they can unionize and leverage demands. Continue reading →

The modernism of Charlotte Perriand

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Charlotte Perriand is one of those rare figures from history (not just architectural history) about whom it is possible to say immediately and without reservation was a genius. By age 23, she had already designed the chaise longue for which she would become famous and established herself as a prominent collaborator alongside one of the most notoriously demanding architects of the age: Le Corbusier. What follows are a number of images — photos, sketches, drawings — of her work along with a brief reflection by the historian Mary McLeod on Perriand and the broader discourse of feminist historiography in architecture as a whole.

I include McLeod’s essay not because it offers a standard feminist reading of architecture in general or Perriand in particular. Quite simply, it doesn’t. Besides, I never found accounts such as Flora Samuel’s Le Corbusier: Architect and Feminist all that convincing, whatever her intentions might have been. Though McLeod remains committed to feminism in the context of architecture, she raises a number of issues that complicate simplistic approaches such as Beatriz Colomina’s which seek to “rescue” the neglected contributions of women in architecture and design from historical obscurity. Moreover, she challenges the “strategic essentialism” of poststructuralist accounts of gender, which tend to accept men’s self-identification with rationality, industry, and functionality and counterpose emotionality, domesticity, and formality as feminine alternatives. On the contrary, rather than cede these flattering associations to masculinity, McLeod demonstrates that Perriand was every bit as formalistically spare and ergonomically attuned as her male counterparts.
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La femme au Salon des Artistes Décorateurs, article de Gaston Derys, 1926

“La femme au Salon des Artistes Décorateurs,” by Gaston Derys (1926)

Perriand: Reflections of feminism and modern
………..……architecture

Mary McLeod
Harvard Design
Magazine (2004)

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In the United States today, feminist architecture history — like feminism in general — has nearly disappeared. The flood of publications during the early 1990s (Sexuality and Space, The Sex of Architecture, Architecture and Feminism) has by now ground to a halt; few schools continue to offer classes on “gender and architecture”; and scholars in their twenties or thirties tend to find other subjects — sustainability, digitalization, and globalization — more compelling. In addition to the larger social and political forces that seem to militate against feminist scholarship these days, its very success over the past three decades may have contributed to its decline. Names of once-forgotten women have been resurrected, the reputations of architecture’s male heroes have been taken down a notch or two, and blatant examples of sexual inequity and discrimination in the profession have been exposed, if not resolved. However, most feminist architecture historians and critics would reject any assessment of their project as complete, or its viability as dependent upon academic fashion. Although this lull is undoubtedly considered a setback, one positive byproduct may be that it offers a period of relative calm, removed from the heated polemics of an earlier period, to reflect on feminist historical writing and to reexamine its methods and premises.

Recently, I had just such an opportunity as the editor and one of the authors of a book on the French designer Charlotte Perriand.(1) Perriand is often grouped together with Eileen Gray and Lilly Reich as one of the unsung “heroes” of the European Modern Movement, whose design accomplishments have been eclipsed by those of the acknowledged giants: Le Corbusier and Mies van der Rohe. Aside from the three tubular-steel chairs that she designed with Le Corbusier and Pierre Jeanneret as a member of their firm, Perriand’s work was little known, even though her career spanned three-quarters of a century and extended to locales as diverse as Brazil, Congo, England, France, Japan, French New Guinea, Switzerland, and Vietnam. My initial interest in undertaking this book was sparked by a desire to redress this “wrong” and to make certain that her innovative designs would be removed from the shadow of Le Corbusier’s towering presence. However, the frequently collaborative nature of her work — like that of Reich, Ray Eames, and Alison Smithson — has made it more difficult to assess her contributions. In addition, like many successful women architects of her generation, Perriand did not wish to perceive herself first and foremost as a woman designer; nor did she particularly identify with the feminist movement in France, thus complicating efforts to cast her as a “role model” for contemporary women practitioners. Her career necessitated a more complex reading of the ways that gender intersected with Modern architecture than I had originally envisioned and raised several issues about the assumptions underlying many feminist readings of that architecture.

The first of these is the tendency to see women architects as victims, whose talent and vital contributions have been suppressed by their male collaborators or associates. This interpretation had a certain strategic value in the 1970s and 1980s, alerting architects to the shortcomings of the “Modern masters” and bringing the issue of gender discrimination to the fore. No doubt there were disturbing inequities in the profession, as is clearly evident in Le Corbusier’s oft-quoted, dismissive response to Perriand — “We don’t embroider cushions in my atelier” — when she first asked him for a job there. However, Perriand’s deep admiration for Le Corbusier, her insistence that being a woman did not interfere with her career, and her pleasure in seeing her work as part of a collaborative process all suggest that this characterization of women designers as victims, at least in Perriand’s case, has been overstated.

Here, a personal anecdote might be relevant. When I interviewed Perriand in 1997 and mentioned the photograph of her reclining on the chaise lounge with her head turned away from the camera, she responded angrily to a question about Beatriz Colomina’s reading of the image as representing Le Corbusier’s denial of her authorship and creative vision.(2) Perriand told me that she herself had set up the shot, that Pierre Jeanneret took the photo, and that Le Corbusier played no role in its conception and in fact was not there at the time. She insisted that it was her choice to turn her head in order to emphasize the chaise rather than its occupant, and that it was also her choice to use that image in her photomontage of the model apartment that she designed with Le Corbusier and Jeanneret for the 1929 Salon d’Automne apartment building. Continue reading →

Confronting the “death” of art criticism

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Introduction

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The crisis of art criticism is undeniable. Rigor, commitment, narrative, and judgment have become dirty, antiquarian, even authoritarian words. Art criticism has almost disappeared from newspaper columns. Historical awareness of the discipline fades further with every new online journal or blog. Art criticism with a persuasive voice, poetic aspirations, dedicated to new evaluative criteria for quality, and that attempts to critique an artwork is a rare, endangered species. With the proliferation of Ph.D. studio art programs and the expansion of the art world and global art market, it is neglected. For some, art criticism’s crisis has turned into a terminal disease with no cure in sight.

The turn of the 21st century has seen a plethora of articles, conferences, and publications devoted to the crisis in criticism. Publications include Critical Mess: Art Critics on the State of their Practice (ed. Raphael Rubenstein, 2006), and James Elkins’ What Happened to Art Criticism? (2003). The most recent and comprehensive accounts of the dilemmas confronting art critics today are included in The State of Art Criticism (eds. James Elkins and Michael Newman, 2008) and Judgment and Contemporary Art Criticism (eds. J. Khonsary and M. O’Brian, 2010). The latter endeavors to build upon the problems posed by Elkins’ and Newman’s book. In seeking to understand the crisis, both are driven to reexamine the relationship of art criticism to other disciplines (like curating, art history, and philosophy), the role of judgment in art criticism, and the challenges to art criticism posed by the emergence of certain critical art practices (or Conceptual art).

Arnold Böcklin, Self-Portrait with Death Playing the Fiddle (1872)

Arnold Böcklin, Self-portrait with death playing the fiddle (1872)

This thesis is motivated to approach the problem of the lack of historical self-awareness and continuity of the discipline of art criticism. The aim is to present the historical conditions of the crisis of art criticism as it was understood in the last decade, with priority given to questions raised by a rejection of judgment in art criticism. The other task for this thesis is to determine the deeper historical causes of the crisis. First, I will situate this crisis within the early history of art criticism and, especially, with respect to the interrelationship between critique and crisis. Following this, I will flesh out what this crisis looks like in the art world today, and review how this crisis has been registered by those currently writing about art, particularly with respect to large-scale transformations in the art market. The objective, here, is to specify what kind of criticism has become practically obsolete, grasp how this process of obsolescence unfolded, and reflect on the broader implications of the implausibility and apparent anachronism of art criticism in the present. In so doing, I hope to clarify the significance of what art critic and historian Benjamin Buchloh called “death of art criticism.”[1]

On earlier modes of art criticism

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To better understand the explanations of the current crisis, let us briefly revisit the emergence of criticism itself. Reinhart Koselleck’s Critique and Crisis: Enlightenment and the Pathogenesis of Modern Society (1988) elaborates on the significance of criticism and crisis in the 18th century. For Koselleck, criticism is an 18th century catchword; he describes countless volumes published during this period with the term “criticism” or “critical” in their titles. On the other hand, the term crisis was rarely used in the 18th century and cannot be considered a central concept in this period. The etymology of the words “criticism” and “critique” are at the root of his investigations. He points out that the word “critique” is derived from the Greek “krinein,” which means “to judge,” while the Greek “krisis” means “discrimination and dispute” to “select, judge, decide.” Thus “crisis” also meant decision, in the sense of final judgment or appraisal, which today extends into the category of criticism. In Greek, a single word encompassed concepts that today would usually be seen as separate: “subjective” criticism and “objective” crisis.

Later in the 20th century, this notion of the affinity between crisis and critique is recognized and elaborated in the discourse around the crisis of literary criticism. In Paul de Man’s 1964 essay the “Crisis of Contemporary Criticism,” crisis and criticism are very closely linked; much like the ideas presented by Koselleck, although he was moving beyond the issue of a shared etymology. De Man addresses the moment in which literary criticism is said to have entered a crisis because of the influence of French structuralist theory. In response he argues, “all true criticism occurs in the mode of crisis.” Furthermore, “in periods that are not periods of crisis, or in individuals bent on avoiding crisis at all cost, there can be all kinds of approaches to literature: historical, philological, psychological, etc., but there can be no criticism.”[2] If we agree with Koselleck and de Man, and consider crisis a constant element of art criticism, then claims about the death of art criticism imply an abandonment of the problems posed by crisis. Continue reading →

On the Marxism of Rosa Luxemburg

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Greg Gabrellas
Platypus Review

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This piece was originally published about two years ago in the Platypus Review. Greg Gabrellas, its author, was at that point a leading member of the organization in Chicago. He and the group have since parted ways, as happened in my case as well. I repost it here not only because it’s a good piece (it is), but also because it touches on the marginalization of Marxism within leftist politics in recent decades. Beginning in the 1960s an 1970s, Marxism came to be regarded, for better or worse, as just one strategy for emancipation among many. Some of this is quite understandable, insofar as revolutionary Marxism — not just in its Stalinist and Maoist but also its Trotskyist and left communist forms — had been vulgarized to such a point that it became little more than glorified class reductionism. Today, syncretistic approaches such as “intersectionality” have been anointed as the latest word in praxis. For his part, Greg devoted much of his own attention to problems of race relations in the US today and the persistent question of sexual liberation. Yet it’s my suspicion that it was his very dissatisfaction with these discourses that led him to the historical project of Marxism as offering a more radical vision of human freedom.

At the Marxist Literary Group’s Institute on Culture and Society 2011, held on June 20-24, 2011 at the Institute for the Humanities, University of Illinois at Chicago, Platypus explored “The Marxism of Second International Radicalism: Lenin, Luxemburg, and Trotsky.” What follows is an edited version of Greg’s opening remarks.

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Despite the contrary assertions of conservatives, Marxism as a body of thought is widely known and disseminated among activists, academics, and political intellectuals. They take Marxism to mean a theory of what is wrong in the world, and how it can be practically changed — essentially a normative political philosophy with a radical disposition. Marxism takes its seat next to feminism, queer theory, and critical race studies as a philosophy of liberation. But this view is insufficient, and would have been unthinkable to the radicals of the Second International. Moreover, Marxism today is not only practically ineffectual. It stands in the way of future developments within Marxism, and with it the possibility of socialism.

This judgment might seem surprising, perhaps even shocking, to the activists, academics, and intellectuals who consider themselves Marxists or at least sympathizers. There exist Marxist political organizations, journals, reading groups, and conferences. Activist projects continue to arise, countering imperialist war and punitive sanctions against the poor and working class, and Marxists play a definitive role in all forms of contemporary activism. But the historical optimism implicit in activism for its own sake, manifest by the slogan “the struggle continues,” condemns itself to impotence. Marxism is different from radical political theory only insofar as it is an active recognition of possibility amidst social disintegration and calamity. Marxists have forgotten that self-critical politics is the form in which progressive developments within Marxist theory take place.

At first this inward orientation might seem misplaced. But just as modern painting recovers and transforms the aesthetic conventions of previous generations, so the radicals of the Second International understood socialism to be exclusively possible through the self-criticism and advancement of the actually-existing-history of the movement. Understandably, the splotches on a Jackson Pollock painting, or the overlapping figures of a de Kooning, might confuse first-time visitors to any museum of modern art. With its historical link severed, Marxism too risks becoming unintelligible amid the chatter of contemporary theory.

For example, in The Crisis of German Social Democracy, written under the pseudonym Junius while imprisoned for her opposition to world war in 1914, Rosa Luxemburg wrote,

Unsparing self-criticism is not merely an essential for its existence but the working class’s supreme duty. On our ship we have the most valuable treasures of mankind, and the proletariat is their ordained guardian! And while bourgeois society, shamed and dishonored by the bloody orgy, rushes headlong toward its doom, the international proletariat must and will gather up the golden treasure that, in a moment of weakness and confusion in the chaos of the world war, it has allowed to sink to the ground.[1]

The “most valuable treasures of mankind” to which Luxemburg refers may be necessarily cryptic, but her phrase illuminates objective social sensibilities that have since vanished. Socialism was seen by the radical masses of workers and intellectuals alike as the fulfillment of humanity’s highest social and cultural achievements. Marxism was itself a historical achievement rendered possible by the organized politics of the working class. The task of Marxist theory was the criticism of socialist politics as a means of developing Marxism itself, and with it the possibility for new social freedoms. For Luxemburg, the project of political Marxism was not simply a matter of ideology or a political program that could be right or wrong. Socialism was, as she put it in the same pamphlet, “the first popular movement in world history that has set itself the goal of bringing human consciousness, and thereby free will, into play in the social actions of mankind.” In the wake of this movement’s crisis and ultimate collapse in the twentieth century, we must struggle to discern why and how this nearly forgotten generation of workers, intellectuals, and students came closest to achieving a real utopia. Continue reading →

Scary architecture: The early works of Hans Poelzig

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Expressionism was an odd style, architecturally speaking. Mendelsohn’s stuff in the early 1920s was amoebic, stretching, undulating; by the end of the decade, he was committed to Sachlichkeit. Some of the dynamism of his expressionist pieces carried over into his more functionalist designs, as in the Red Banner factory in Leningrad (1926). Taut’s work in glass was marvelous, of course — and his ideas concerning the dissolution of the city were interesting as well. Hans Scharoun’s curvaceous forms were closer to the International Style from the start, but rounded or gently beveled off along the edges. A ripple runs along the façade of certain of his structures, such as Siemensstadt (1929-1931), almost reminiscent of the Vesnins’ contemporaneous ZIL Palace of Culture in Moscow.

But the architecture of Hans Poelzig was from another planet entirely. Poelzig’s buildings were not merely idiosyncratic; they were positively psychotic. What Alfred Kubin’s The Other Side (1909) achieved in literary form, running alongside and counter to Secessionism and Jugendstil in the arts, Poelzig rendered into solid masses. The architecture journal San Rocco recently ran a call for papers on the theme of “scary architects,” with Poelzig as the cover-boy. It was no accident, that’s for sure. His buildings might never have been as formally modern as those of his peers, but they tower over the German industrial townscape with semi-traditional elements manifested at a terrifying scale. His renovations to the Großes Schauspielhaus in Berlin of his might even be described as a “stalactite” architecture. Nightmarish, but stunning.

Poelzig even looked demented: the circular glasses, the Moe Howard haircut, the slightly crossed eyes. Plus, in the 1934 Unversal Studios movie The Black Cat, the character Hjalmar Poelzig — an Austrian architect clearly modeled on Hans — is played by Boris Karloff. This was right after Frankenstein, too, when Karloff was at the height of his fame. Meanwhile, the costar was Bela Lugosi, right after Dracula. Below is a popular translation of his 1906 essay on “Fermentation in Architecture.” Also check out Fosco Lucarelli’s more expansive examination of Poelzig’s sulphuric acid factory in Luban over at SOCKS-Studio.

Hans Poelzig in 1927
The Architect [Hans Poelzig] 1929 August Sander 1876-1964 ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010

Fermentation in architecture

Hans Poelzig
Die Dritte Deutsche
Ausstellung (1906)

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Essentially, the buildings at the Dresden Exhibition of Applied Art of 1906 mirror the process of fermentation which our architecture is today passing through, whose end cannot yet be foreseen and whose products are as yet scarcely to be recognized.

The main tasks of modern architecture do not lie in the ecclesiastical sphere, nor do monumental constructions of a secular character exercise a decisive influence. Life in the modem era is dominated by economic questions; thus the participation of the people and of artists in architectural problems of this kind — from the private dwelling to town planning — is constantly growing.

This is the starting point for most of the movements towards formalistic constructions, in so far as we can speak of a movement at a time marked by the multiplicity of vacillating trends — trends which for nearly a hundred years have been changing in quick succession the fundamental principles upon which they were based.

Attempts, mostly based on the art of Schinkel, to transpose elements of the Greek language of forms onto our buildings, were followed by an unselective use of forms taken from the most varied styles of the past — from Gothic via the Renaissance in both its Italian and its German manifestation to Baroque and Empire — generally with no regard for the inner spirit of the forms, with no regard for the material from which these forms originally sprang.

And isolated attempts by outstanding teachers of architecture in South and North Germany to attain by detailed study a knowledge of the artistic language of the ancients and its true meaning were soon crossed with energetic attempts to invent a new world language of architecture, whose rules and roots would not parallel or resemble any of the styles of the past.

Interiors.

And once again there is beginning a shamefaced revival of foreign words from architectural idioms belonging to many stylistic epochs, even primitive ones, and these foreign words are frequently grafted onto stems of fundamentally different character.

In almost all the subdivisions of art that serve decoration, with its simpler basic requirements, the modern age has attained a genuine style of its own and has splendid achievements to show. After initial vacillation there was a wholesome return — influenced by a study of the art of early times and especially of that of an Asian people — to techniques adapted to the material in question and an artistic elaboration of the motif based on a detailed study of nature. Continue reading →

Moisei Ginzburg, Gosstrakh apartment complex in Moscow (1926)

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Photos and floor plans of Ginzburg’s famous housing mass (zhil’massiv) in Moscow.

Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), under construction
Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), view from the rooftop, photo 1927
Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), view from the rooftop, photo 1927
Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), early photograph
Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), early photograph
Vladimirov, V. Exterior view of the house-commune for State Insurance (Gosstrakh) employees showing the ground floor boarded up, 21 Malaia Bronnaia Street, Moscow, 1927 or later
Moisei Ginzburg, Gosstrakh apartment building in Moscow (1926), early photograph