By Jan Herman<\/p>\n\n\n\n
Because I don’t want to end the week on a sour note about Shrub and Der Grope<\/em>, I’d like to point to Timothy Noah’s challenge to Tom Wolfe<\/font><\/em><\/b><\/a>, yesterday in Slate. Will Wolfe take it? I hope so. <\/p>\n\n\n\n I’d wondered why Wolfe’s entertaining polemic in defense of Edward Durell Stone’s white marble Gallery of Modern Art (aka the Huntington Hartford museum) — “The Building That Isn’t There” Part 1<\/font><\/em><\/b><\/a> and Part 2<\/font><\/em><\/b><\/a> — which prompted Noah’s challenge, had gone pretty much unnoticed. (Even trusty Arts Journal didn’t to link to it.) <\/p>\n\n\n\n I personally agree with Noah that the museum is a monstrosity. Like him, I cringe whenever I pass it on Manhattan’s Columbus Circle. It seems so awkward, massive yet fragile and standing on puny legs, I always think it’s about to topple over and that maybe it should.<\/p>\n\n\n\n But there’s an infectious pleasure to Wolfe’s take on the building’s peculiar architecture and on Stone’s defection from the International Style. Besides, who can resist Wolfe in one of his killer harangues? You won’t find a swifter summary judgment about the orthodoxies of Modernism and a whole lot of other “isms.”<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" By Jan Herman Because I don’t want to end the week on a sour note about Shrub and Der Grope, I’d like to point to Timothy Noah’s challenge to Tom Wolfe, yesterday in Slate. Will Wolfe take it? I hope so. I’d wondered why Wolfe’s entertaining polemic in defense of Edward Durell Stone’s white marble […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4],"tags":[],"class_list":["post-405","post","type-post","status-publish","format-standard","category-main","entry"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-6x","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=405"}],"version-history":[{"count":2,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/405\/revisions"}],"predecessor-version":[{"id":77498,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/405\/revisions\/77498"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}