Bauhaus 1919–1933: Workshops for Modernity Museum of Modern Art Kandinsky Guggenheim Museum This is an autumn of anniversaries in two of New York’s most important museums. At the Museum of Modern Art, “Bauhaus 1919–1933: Workshops for Modernity,” the exhibition saluting the ninetieth anniversary of the opening of the legendary German school of art, architecture, and design, also marks the eightieth anniversary of the founding of the Modern.
I. THERE IS A PARADOX AT THE heart of any cultural institution. It is that the men and women who dedicate themselves to these essential enterprises exert a fiscal and administrative discipline that has nothing whatsoever to do with the discipline of art, which is a disciplined abandon. I imagine that for anybody who founds or sustains or rescues or re-invents a museum, an orchestra, or a dance company, this tension between the institution and the art comes to feel like a natural paradox. There is always a balancing act involved, which helps to explain why the very greatest institution-builder
"Matisse Picasso," the exhibition that has now arrived at the Museum of Modern Art after packing in the crowds at Tate Modern in London and the Grand Palais in Paris, begins as a sort of Butch Cassidy and the Sundance Kid for culture vultures, a study in male bonding in the artistic stratosphere that features the somewhat older, more formal Matisse and the younger, unabashedly bohemian Picasso. Later on, when the show really gets going, museumgoers are supposed to be agog at what amounts to a clash of the titans with avant-gardist sparks flying, a High Modernist love-hate-love kind of thing.