Documentary’s Modernist Standard-Bearers
Today, I went to the exhibit “Modernism: Designing a New World, 1914-1939” at the Corcoran Gallery of Art. It’s open until July 29, so hurry and check it out. So many recognizable artists and architects appeared, it was like a roll call for early century iconoclasm and influence; I learned a lot. The exhibit launched with the nascent ideals of Utopia, innovations of Cubism, and radical concepts of Futurism (Giacomo Balla is my favorite). I first learned about the Futurists went I went to London’s Estorick Collection of Modern Italian Art in 1998 shortly after it opened. Today, I was again intrigued by their efforts to devise a comprehensive theory, juevenile antics, and ill-advised ties with fascism.
In the Corcoran’s “Promoting Modernism” and “Performing Modernism” rooms, I saw film clips from some of the big names in early cinema: Walther Ruttman’s Berlin: Die Sinfonie der Großstadt (1924), Fernand Léger’s Ballet Mécanique (1924), and Joris Ivens’ Philips Radio (1931). Ruttman’s ode to Berlin is urban and upbeat. It established the benchmark for all documentaries about cities to come. In the “Aetheticized Machine and Transportation” room, film clips included Fritz Lang’s Metropolis (1927); Abel Gance’s La Roue (1923); and Dziga Vertov’s The Man with the Movie Camera (1929) . A few years ago, I rented this one and watched it three times in a week. Vertov’s film did more for point-of-view in documentary filmmaking than any work that generation. It was good to see it included, among the architecture, industrial design, and plastic arts.
Above the entrway to the exhibit is a quote by Corbusier : “A great epoch has begun: there exists a new spirit.” If that’s the core of Modernism, then we’re still smack dab in the middle of a Modernistic age.