In 1967 a 29-year-old Israeli-born Canadian architect by the name of Moshe Safdie gained international recognition for his groundbreaking, visionary design for high-quality, affordable urban housing.
Did you ever wonder about the origin of the distinctive round thermostat that regulates the temperature in your home? Or how about the pink Princess phone every teenage girl once coveted or those eye-catching images that promoted such films as The Man with the Golden Arm, Anatomy of a Murder or Exodus? All these items, it turns out, are evidence of the vital role that Jewish architects, designers and patrons played in the development and dissemination of modernism in America.
“Marc loved the small-town feeling of Georgetown,” Evelyn wrote. “He liked being able to greet our neighbors and walking to Woolworths to buy postcards and an art-supply store to buy more brushes.” One day he told her that he wanted to “do something for the house,” but later, he said, “No, the house is perfect; I’ll make a mosaic for the garden.”
In July 1937 Germany’s National Socialist Party opened an exhibition in Munich it termed “Entartete Kunst,” or “Degenerate Art.” Intentionally housed in cramped, poorly lit conditions and awkwardly hung, the works on view were accompanied by inflammatory, denigrating labels. The exhibition was an open declaration of the Nazis’ state-run war on modern art and the effort to impose their officially sanctioned conception of art through propaganda and force.