a Barry Byrne church in Pierre, SD Photo by Katherine Shaughnessy
In three weeks I will be speaking at Modernism Week in Palm Springs; my last post “What Is Modern” got a ton of hits; and I have just finished a draft of the Barry Byrne book following my JSAH article (still free during February 2011 online) “Barry Byrne: Expressing the Modern in 1920s Europe” so I have been thinking about Modernism a lot. Barry Byrne wrote a letter to Lionel Feininger at the Bauhaus in the mid-1920s disparaging the term, and he was right: What does “Modern” mean, especially now that it is overwith and reborn as a nostalgic style courtesy of Mad Men and Dwell magazine?
So I have been trying to figure our another term for it, like “20th Century” or “Late Industrial” but none are adequate and we do have to recall that Barry Byrne and all of his friends like Mies and Oud and Corbu were actively proselytizing “modern” whatever the heck it was. It was a movement. It certainly lasted two-thirds of the 20th century and it had some formal consistencies like machined finishes and ornamental abstraction or negation, but as my article noted, there were lots of different modernisms from the revolutionary asceticism of Loos to the painterly formalism of Corbu, the expressive romanticism of Mendelsohn, and the reborn classicism of Mies. Continue Reading
There is a movement afoot to try and save the Alfonso Iannelli studio in Park Ridge. This blog covered the unfortunate demolition of one of the five Cedar Court houses designed in 1923 by Barry Byrne and Alfonso Iannelli in the suburb where Iannelli lived and worked for 50 years. His work with Byrne alone is phenomenal – I have just published an article in the Journal of the Society of Architectural Historians “Barry Byrne: Expressing the Modern” which details the highlights of their half-century partnership and details their 1924 visit to the modernists of France, Germany, and the Netherlands. Here is one of the Felicity Rich photos from the article. Continue Reading