Before discussing Venturi's work in detail, it will be useful to first consult what Venturi himself has to say about both his own architectural production and the field in general. In his book Complexity and Contradiction in Architecture, which Venturi calls a "gentle manifesto" and, according to the New York Times, "did more than any other single work to create the current movement away from the simple austerity of modern architecture," he argues that "the doctrine 'less is more' bemoans complexity," which Venturi actually enjoys because for him, complexity in architecture is "based on the richness and ambiguity of modern experience, including that experience which is inherent in art" (Goldberger 1982, a
Before discussing Venturi's work in detail, it will be useful to first consult what Venturi himself has to say about both his own architectural production and the field in general. In his book Complexity and Contradiction in Architecture, which Venturi calls a "gentle manifesto" and, according to the New York Times, "did more than any other single work to create the current movement away from the simple austerity of modern architecture," he argues that "the doctrine 'less is more' bemoans complexity," which Venturi actually enjoys because for him, complexity in architecture is "based on the richness and ambiguity of modern experience, including that experience which is inherent in art" (Goldberger 1982, a
27). This is because like all other forms of artistic expression, a work of art implicitly comments on every other work, such that the Vanna Venture house must considered not only as a house for the architect's mother, but also for "the ways it contributed to the debate about what architecture was trying to deal with as it emerged from the Modern Movement" (Lawson 2002, 111)
27, & Venturi 2002, 16-17). He contrasts this complexity with "the incoherence or arbitrariness of incompetent architecture [and] the precious intricacies or pictoresqueness or expressionism" by suggesting that complexity is not a question of arbitrarily introduced detail or an aversion to classical geometry, but rather a feature of both human experience and artistic production that is ever-present and inescapable, as naturally occurring as the fractalized shape of leaves on a tree or erosion on a mountain, like a kind of "authentic natural order, self-emergent from spontaneous responses to prototypical situations" (Venturi 2002, 16, & Bachman 2008, 20)
This has the contradictory effect of elongating the right side when looking solely at the windows, but elongating the left side when looking at the image as a whole, because the leftmost portion of the curved line appears to terminate at a lower point due to its proximity to the window. Thus, the building represents the complexity and contradiction Venturi celebrates while simultaneously acting as a kind of direct challenge to Modernism by taking Modernist notions of geometrical simplicity and utilitarian function by "deemphasizing the roof as enclosure" and using simple ornamentation to complicate the viewer's reception and challenge preexisting notions of space and use (Theunissen 2010, 55)
She did just that. Although she was already 40 years old when first establishing her name, Graham become one of the supreme innovators of the twentieth century (Campbell)
The result was a new form of dance-play that did not lose any of the importance of dance but rather enhanced it in a way never accomplished before. Modern dancers strived to carve out a new kind of cultural event, using the theatrical conventions of ballet performances, but deriving the meaning of their work in initiating a more active participation of the audience (Foulkes 131)
" Graham transformed two areas of American dance: First was classical ballet that dated back several hundred years and included prescribed body positions, defined geometrical relationships among the dancers and, most of all, precision. Second were the folk dances of Asia, Africa and native America, which had long been considered popular art or craft forms instead of high art (Gardner 266)
There are times of complete frustration; there are daily small deaths. (Graham)
. more and more and more was stripped and stripped away" (Jowitt 40)
When she was two years old and sitting in the Presbyterian Church with her parents, she began pirouetting up the aisle to the organ music. She made her theater debut in the high school comedy "Prunella (Kendall 158)
She developed about 200 dances, a repertore of astonishing breadth and enormous power, often with herself at the center as a dancer. However, Graham was never content to be the only one driven and fanatical: Dancer Stephen Hodes once said with affection and admiration, "If she felt you were resistant when she was creating, she'd go at you like a savage animal" (Perron)
Her dances "Immediate tragedy" and "Deep song" were about this war, displaying sympathy for Spain and commitment towards social relevance. The working man in Depression America was another theme (Wheeler 38)
Already familiar with Gandhi's movement based on nonviolent resistance and civil protest, King was now able to formulate a comprehensive and strategic plan of action that would help dismantle the barriers of racism in America without a call to arms. "During these discussions he became more convinced than ever that nonviolent resistance was the most potent weapon available to oppressed people in their struggle for freedom," (Chew, 2011)
Although not the first march of its type, the March on Washington for Jobs and Freedom was the most successful and memorable. King himself called it, "the greatest demonstration for freedom in the history of our nation," (King 1963)
Although not the first march of its type, the March on Washington for Jobs and Freedom was the most successful and memorable. King himself called it, "the greatest demonstration for freedom in the history of our nation," (King 1963)
C. Known as the "March on Washington for Jobs and Freedom," it "included other religious leaders, labor leaders, and black organizers," (Mount, 2010)
Sam Patch's early years played a pivotal role in his eventual success as a daredevil, primarily because his parents' troubled work history brought them from the countryside into the city, where they worked in a series of mills and factories. Johnson notes the difficulty of tracing the history of the Patch family who, like many of their working-class contemporaries, did not keep journals or memoirs, but emphasizes how vital these "anonymous years" (Johnson x) were in understanding Patch's attraction to daredevilry and his later rise to fame
This era of open immigration came to an end after the passage of the Emergency Quota Act in 1921. Nonetheless, 13-15% of America's population was comprised of foreign-born population by this time (Kim par, 1)
As time passed, he decided to become an artist. Even at a very young age, Vincent was moody, self-willed, annoying and irritable (Blumer, 2002)