The Brutalist asks who owns the memory of the Holocaust and who defines an artist's legacy
Briefly

In the decades following the Holocaust, Jewish congregations commissioned architects like Erich Mendelsohn to design synagogues that reflected their intertwined histories in America.
Tóth's high-vaulted concrete ceilings in Doylestown signal an outsider's arrival, representing the conflict between radical aesthetics and traditional American tastes.
Brady Corbet's film uses the arrival of Tóth in 1947 as a commentary on the melting-pot myth, contrasting the hope of America with the realities of acceptance.
Tóth's first design, a sleek office chair and desk, symbolized a futuristic vision amidst the traditional aesthetics of mid-20th century American design.
Read at The Art Newspaper - International art news and events
[
|
]