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>> Home / Archives for Tom Wolfe

From Bauhaus to Our House

August 17, 2011 by Roy Johnson

cultural correctness and American designers

As a novelist, Tom Wolfe is something of a mixed blessing, but as an essayist and cultural historian he is invariably witty, entertaining, and amazingly well informed. From Bauhaus to Our House is his study which traces the influence of Bauhaus design on American architecture. His argument is that the USA (‘colonials’ as he calls them) was taken in by the revolutionary fervour and the empty slogans of the European cultural Left. It’s an essentially conservative view that claims native American design has been overwhelmed by a form of cultural correctness and a genuflection to False Gods. (His literary style is a bit infectious.)

From Bauhaus to Our HouseWhat could be a specialist report is made hugely entertaining by his ability as a writer. He pulls out fictional narrative devices and turns of style to take you into the Bauhaus where he gives a satirical account of what it was like to be there – full of tongue-in-cheek mock approval. The weakness of his argument is that he doesn’t take into account the disconnect between the theoretical arguments of artists and the work they produce. Painters, designers, and even architects are well known for making extravagant claims which are not substantiated in their work.

But Wolfe is well aware of the second part of this conundrum – and he pours ladle upon ladle of withering observation onto contradictions such as Mies van der Rohe’s claims to be designing for ‘workers’ – when he was producing the Barcelona chair which only rich patrons could afford.

Every Sunday, in its design section, The New York Times Magazine ran a picture of the same sort of apartment The walls were always pure white and free of moldings, casings, baseboards, and all the rest. In the living room there were about 17,000 watts’ worth of R-40 spotlights encased in white canisters suspended from the ceiling in what is known as track lighting. There was always a set of bentwood chairs, blessed by Corbusier, which no one ever sat in, because they caught you in the back like a karate chop

It’s certainly true that most of the Bauhaus pioneers emigrated to the USA and found influential positions in universities. Wolfe sees this as a baleful influence which squeezed out native talent. The heroes of his account are mavericks Edward Durrell Stone and Frank Lloyd Wright, and the villains are those who maintained the line of architectural orthodoxy – such as Philip Johnson, Louis Kahn, and Robert Venturi.

In fact he goes on to argue that the dead hand of university-based modernism and academic theory also affected the other arts such as painting, music, and literature. His essay also becomes a critique of the obscurantism of structuralist and deconstructionist theory that plagued cultural debate in the 1980s and 1990s (and still has not been dispersed today).

He’s delighted to recount the disaster stories of public housing designs influenced by Le Corbusier (another villain) – the ‘Projects’ such as the famous Pruitt-Igoe complex in St Louis which was so uninhabitable that the people it was built for voted to blow it up. (A similar fate befell the Manchester slum-clearance ‘Crescents’ in the 1990s.)

He doesn’t come to any particular conclusion, partly because these cultural battles are still raging, but he is very astute in pointing to the origins of faux modernism – chairs which are too uncomfortable to sit in (Gerrit Rietveld) room designs based on theories (Corbusier again) and buildings nobody wants to visit (the Millennium Dome).

This is a very entertaining and thought-provoking text. It’s been around for some time now, but the ideas, the history, and the arguments in it are as fresh as the day it was first published.

From Bauhaus to Our House Buy the book at Amazon UK

From Bauhaus to Our House Buy the book at Amazon US

© Roy Johnson 2011


Tom Wolfe, From Bauhaus to Our House, New York: Picador, 2009, pp.128, ISBN: 0312429142


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Filed Under: Architecture Tagged With: America, Architecture, Cultural history, Tom Wolfe

The Painted Word

August 23, 2011 by Roy Johnson

from abstract expressionism to op art and minimalism

The Painted Word is a companion piece to Tom Wolfe’s other book-length critical essay on architecture, From Bauhaus to Our House. This time his target is the world of modern American painting, the way reputations are established, and how the world of art has been turned into a form of commodity investment. His arguments are based upon the observation that the world of contemporary art is based upon two very small elite groups. First the artists themselves, who make radical visual statements scorning bourgeois values. Second  their very rich patrons, who court contemporary chic fashion with a similar purpose. There is in fact an even smaller third group – the critics and theorists – but they are counted along with the first.

The Painted WordHe adds for good measure the fact that as artistic reputations are established by the interactions between these groups, the general public plays no part in the process whatsoever. The focus of his critique is on New York, but he argues that the same forces are at play in any of the world’s (few) centres for modern art – be they London, Paris, or Tokyo.

He sees modern art post second world war as an ever more rapid flight from the tradition of realistic painting towards the ultimate dead end of an art based upon nothing but theory. The first stage of this trajectory is the arrival of abstract expressionism with artists such as Willem de Kooning, Franz Klein, and Jackson Pollock.

They ditched figurative painting and were urged on by critics such as Clement Greenberg and Harold Rosenberg, who spoke of ‘”essences” and “purities” and “opticalities” and “formal factors” and “logics of readjustment”  and God knows what else’. Wolfe reserves some of his most amusing yet scornful remarks for the wilful obscurity of such ‘criticism’.

The influence of this group was quickly replaced by the arrival of Pop Art in the 1960s, fuelled by painters such as Jasper Johns, Robert Rauchenberg, and Roy Lichtenstein

Pop Art was packed with literary associations … It was, from beginning to end an ironic, a camp, a literary-intellectual assertion of the banality, emptiness, silliness, vulgarity, et cetera of American culture, and if the artist said, as Warhol usually did, “But that’s what I like about it” – that only made the irony more profound, more cool.

And before you knew it, Pop  was replaced by Op Art, which reduced the notion of art as nothing more than stripes of colour on a flat surface. This in its turn was displaced by Minimalist Art, which reduced the colours and the shapes.

You can see the direction and the end goal of this argument. The next stage was to remove any painterly skill altogether, and reduce the subject to nothing more than words on paper – which gave us Conceptual Art.

It’s an argument which still holds good today, even if the names have been changed to Jeff Koons, Tracy Emin, and Damien Hirst.

The Painted Word Buy the book at Amazon UK

The Painted Word Buy the book at Amazon US

© Roy Johnson 2011


Tom Wolfe, The Painted Word, New York: Picador, 2008, pp.112, ISBN: 0312427581


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Filed Under: Art Tagged With: Art, The Painted Word, Tom Wolfe

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