1981 exhibition catalogue, Architectural League NY, architecture, art, business, Collaboration, Controversial plan, culture, Demolition, design, Diller Scofidio+Renfro Architects, ennobled Ivy League, Eugene Halton author, Expansion plan, Folk Art Museum, Frank Llyod Wright, Glenn Lowry Director, history, Kultur Masseur, LeCorbusier, Lewis Mumford historian, Minyan, Munich Beer Hall style Putsch, Museum of Modern Art, New York City, Paupers, Pentagon of Power book title, Social Media, Theodore Dalrymple author, vulture magazine, world, writing
The Minyan must have taken place in early January 1914 in a quiet 1930’s Munich Beer Hall style Putsch. By January 14, the decision was out in New York for the world to see.
The Museum of Modern Art’s planned expansion does not include a little “Gem”, the American Folk Art Museum building. This “Gem” will be torn down against the wishes of the plainer folk. Plainer folk, considered by some to be culture hungry mobs that throng through the doors of that morally impoverished MOMA mausoleum in search of a kultur fix like others go for their quick fix somewhere else. These plainer folks liked that perhaps imperfect little “Gem“.
The MOMA Museum’s job is to make money at all costs. Pauper puppet director Glenn Lowry and his bosses must be pleased with the results of the Minyan.
Le Corbusier was right after all about New York City, when he wrote his impressions in his book published in the middle 1930’s under the title Quand les Cathedrales Etaient Blanches, voyage aux pays des timides.
( For the uninitiated “ohne kultur” the title translates into: When the cathedrals were white, travel to the land of the timid.
Le Corbusier never built anything in New York City! He knew all too well that the contents of the building provided the key to the envelope, not the other way around.
O.K.! So far so good, the whole controversial thing (where is the beef, or in mob jargon “la manche” a.k.a. the kickback in plain paupered speech) provides Union building jobs so desperately needed by the new socialist Mayor who cannot leech on his taxpaying minorities for very long (remember the socialist slogan “down with the old, long live the new, for progress we offer all”) .
Visitors to the proposed expanded MOMA have cleverly been folked off by the architects of the project, Diller Scofidio + Renfro, holy grail architects with ennobled Ivy League degrees and numerous projects in the city to their credit.(Political contributors to whom?)
I am sure that the clever culture masseur and massagers will throw New Yorkers and peasant visitors in Prada shoes some free bones for the picking, thrown down to those lo-brows who object to the “parcelling” out of Culture in a architecturally morally bankrupt city.
The whole thing reminds me of a superb exhibition catalog dating back to 1981 organized by the Architectural League of New York titled Artists and Architects Collaboration that emphasized the collaboration between “famous” and less “famous” architects and artists including those that had not seen Super Status yet.
This exemplary exhibition illustrated what can be achieved when there is true collaboration between two arts. Too bad the MOMA board and their wealthy supporters have not clearly understood the true meaning of the arts and the spiritual enrichment it provides to a beleaguered Civilized City Culture.
Here are some prophetic statements (1970) about architecture by a true architectural historian,urbanist,author and philosopher Lewis Mumford from the book The Pentagon of Power (part two of The Myth of the Machine 1970), about cities and buildings with respect to the photos above and below.
In case you and I would like another simpler, less painful but equally true statement, then below is another. I rest my case.