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So who did this swanky playboy think he was, anyhow, coming in here with his Pre-Raphaelites and his Surrealists - those window dressers, fairy-tale illustrators, perfume bottle designers - and his building that looked like a gift spray flacon of My Sin blown up to the scale of a Macy's Thanksgiving Day float? How dare he call this poodle Modern Art! Hartford's museum might have sounded oddly familiar. If you had sharp ears, you would have recognized the whirring of wheels, the creaking of old gears. The mechanisms for producing stigma were at work, an apparatus designed to give prejudices the appearance of ideas.

And if you had been a target of this prejudice, you were less likely to discount the Gallery of Modern Art for any number of the aesthetic transgressions of which it stood accused. Sexual ambiguity was integral to swank, for example. A prelude to the recent phenomenon of the metrosexual, the swanky guy adorned himself to a degree more commonly associated with feminine fashion. The taste culture of swank was socially ambiguous, too. It was a pop vernacular for those seeking to transcend their exclusion from the WASP establishment. Sammy Davis Jr.

There was even room in it for gay WASP's, though by the mid's they were more likely to prefer the Rolling Stones to the Everly Brothers for fashion inspiration. Pop, in every form, had emerged by then as a paradoxical code for difference, a sign of independence from establishments of all kinds.

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Hartford's collection, too, held a different set of meanings for the gay audience. No stranger to us, Burne-Jones was part of the Victorian repertory. Still, I doubt it occurred to anybody since Ruskin's time to think of his work as "modern art. Vuillard, another artist represented in depth, spoke for Mr. Hartford's support for work that was often belittled at the time as "merely" decorative. It was the Surrealist work, however, that aroused the greatest discrepancy between gay and straight perspectives.

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By , conventional wisdom had consigned Surrealism to the dustbin. Abstract Expressionism was the flower of New York's pre-eminence as the world's artistic center. Surrealism, by contrast, stood for a Europe in decline, for empty theatrics, adolescent stunts and commercial corruption. The gay audience didn't quite see it that way; or, if we did, we were not put off. Decadence was our family tree, weirdness our ancestral home, pathology our stock in trade.

Theatrics went with the territory. And the dominance of Abstract Expressionism over Surrealism looked a lot like the dynamic between high school jocks and the fairies they'd tortured. And, as some of us would later learn, if we didn't know already, sexual preference did play a part in the politics of the New York art world. Ballet queens were not an ideal choice to carry the artistic standard for American supremacy in the 50's. In any case, Modernism had become integral to our identity even before we'd left the suburbs.

High Modern New York represented the antithesis of the nostalgic village appearance dictated by suburban developers. But the homogeneity of the International Style buildings revealed that city architecture, too, had become subject to a strict aesthetic code. Formalist functionalism. The code wasn't the problem.

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The problem was that there weren't more of them. And why should American painting be governed by a winner-takes-all mentality? Why did we have to go on demanding that all comers be measured by a single yardstick? Isn't that the defining tactic of a closed mind? Why leave so much out, especially the unknown? In fact, he'd helped to set it. In , with Philip L. Goodwin, he had built the Museum of Modern Art, the temple where the codes were kept.

In the postwar years, however, Stone abandoned modern orthodoxy for a more frankly decorative approach that featured the use of perforated ornamental screens. In his United States Embassy building for India, he perfected what you might call First Lady architecture, a lacy, soft power look to screen the harsh realities of the Cold War. By the mid's, the screen motif had been adopted by architects of institutional buildings nationwide.


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For the Huntington Hartford Gallery, established to expand and reconsider the history of modern art, Venetian Gothic was a logical inspiration. The style had long been associated with Ruskin, the first British critic to pay serious attention to the work of living artists such as the Pre-Raphaelite Brotherhood. He was a natural source for a building where Burne-Jones would be restored to public view. Modern architects in the 20th century had no use for Ruskin.

A critic who contended that ornament was the principal part of architecture held little appeal for designers whose aesthetic was based on engineering and the manipulation of abstract geometric form. But for Stone, who had broken with that aesthetic, Ruskin offered the welcome authority of historical precedent.

Venetian Gothic provided a similar authority for Stone's screens. A composite of Oriental and European influences, a Venetian Gothic building deploys screens in abundance. Talk about lingerie: with rows of delicate, filigreed arches, rosettes and quatrefoils arranged in colonnades and window banks, even the lowliest Grand Canal palazzo could set a young man's heart a-flutter.

It helped to have an aptitude for Victoriana to appreciate the design's references. No special knowledge was required, however, to see that the building departed from the modern norm. What the building exposed was how philosophically hollow that norm had become. And who dares to disobey the will of an epoch?


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  6. As Karl Popper recognized, such prescriptive formulas are relics of historicism, the 19th-century's linear view of the past as a sequence of distinct epochs, each with its own distinctive style of art. Since the Egyptians, the Greeks and the Florentines each had produced a great style, we would be a lesser people if we did not do likewise.

    Historicism had fallen out of favor some time before the International Style skyscrapers started marching up Park Avenue, however, and the ideology of the Modern Movement's universal progress could not be sustained indefinitely without it. As the philosopher Allan Megill has argued, historicism was a secular religion to the Victorians, a source of authority for stable meanings and values at a time of disorienting change.

    The founding academy of Modernism was supposed to refute this.

    Instead, it simply made the present yet another historical period. In place of tradition, the Bauhaus preached the idea of progress. But the premise was exactly the same. An International Style steel-and-glass tower might look all shiny and new, in other words, but its heart belonged to Queen Victoria. On what basis, then, could we exclude Ruskin, or Stone's homage to him, at 2 Columbus Circle? Its heart belongs to Victoria's Secret. The quarrel in the 60's was not with modern art but with the politics that came attached to it, the politics that mistook artistic preferences and dogmas for universal standards, that devoted itself to enforcing taboos and stigmatizing those who challenged them.

    But the gay audience knew from personal experience that one way to resist is to inventory those taboos and put them in a new frame of reference. The pioneer modernists had done just that in getting their movement off the ground.

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    As we saw it, we were closer to them in spirit than were those who inherited the movement, who failed to see how unyielding it had become. We were constructing a new framework from the stuff left behind by the mainstream even as we were entering the mainstream ourselves. Not the least of Mr.

    Hartford's gifts to us were the negative responses his museum aroused.