A Quote by Eva Zeisel
Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.
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Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.
The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.
Post-modernism is modernism with the optimism taken out.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
There's the tradition of the 19th-century ballets, and the 20th century has had a difficult time with that tradition. And it's had a difficult time with many components of the Romantic imagination because of modernism.
There is a species of moral, legal, and social modernism which we condemn, no less decidedly than we condemn theological modernism.
There is a fascination with violence and power in all modernism, and I sort of saw classic modernism as being more similar to Wyndham Lewis than to the Renaissance. It's not about flow and the presence of humanism and all those things.
Decoration is asked to be 'merely' pleasing, 'merely' embellishing, and the 'functional' logic of Modernism leaves no room, apparently, for such 'mereness.' This is part of the pity of Modernism, one of the sacrifices it enjoins.
Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.
From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.
I don't much like post-modernism, because post-modernist has become the basket in which every mediocre person can shuffle things and pretend to do something significant, and we could also mention who use post-modernism in this way - maybe we shouldn't.
The role of the architect as artist is an ancient one, but it was de-emphasized with the rise of modernism, which rejected the drawing-based Beaux-Arts tradition in favor of a more technocratic approach.
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