• The Architecture of R.M. Schindler

    The Museum of Contemporary Art (MOCA)
    250 South Grand Avenue
    February 25–June 3, 2001

    During his life, R.M. Schindler (1887-1953) garnered precious little praise from hard-line International Style contemporaries or the press, but in the past three decades his aesthetic—fusion of the reductivism of Adolf Loos and the planarity of Frank Lloyd Wright—has been celebrated as the exemplar of High Left Coast Modernism. The largest Schindler show ever will include 110 drawings, fifteen models, and a selection of furniture designs, charting the architect’s career from his early years in Vienna through his apprenticeship with Wright and on to the California houses of the ’20s, ’30s, and ’40s. Feb. 25-June 3; National Building Museum, Washington, DC, June 29-Oct. 7; MAK Vienna, Nov. 13, 2001-Feb. 5, 2002.

  • Public Offerings

    The Museum of Contemporary Art (MOCA)
    250 South Grand Avenue
    April 1–July 29, 2001

    Helter Skelter, Part Two? Initially planned as a sociological inquiry into the impact of art schools on the contemporary scene, Paul Schimmel’s latest curatorial scoop has metastasized into nothing short of a sprawling overview of the ’90s. London, New York, Berlin, and Tokyo have joined the lineup of pedagogical pressure points. Now, alongside the ubiquitous Jorge Pardo and Diana Thater, we can consider such figures as Renée Green, Manfred Pernice, and Takashi Murakarni—all relatively young artists who hit it big, fast. Some key shows will be reproduced in full, others not. Hackles are sure to be raised re: arbitrariness and favoritism—then again, it’s all part and parcel of this difficult decade.

  • L'Esprit Nouveau: Purism in Paris, 1918-1925

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    April 29–August 5, 2001

    In 1918, Charles-Edouard Jeanneret (aka Le Corbusier) and the decidedly lesser-known Amédée Ozenfant founded Purism, a movement in architecture and painting that emphasized the geometric order and clarity of urban industrial technology. The basic tenets of Purism were given eloquent expression in the Pavillon de l’Esprit Nouveau, a structure designed by Corbu for the 1925 Exposition des Arts-Décoratifs in Paris and partially reconstructed at LACMA for “Purism in Paris,” More than sixty paintings and works on paper by Corbu, Ozenfant, and frequent collaborator Fernand Léger further illuminate the nascent stirrings of modernism.