Examining how art has been commissioned and conceived for modernist architectural settings reveals not only conceptual or formal connections between the two, but also their social and practical interrelationships. Doing so is especially useful for projects built between 1945 and 1975, the three decades of modernism's ascendency in the United States. The apparent spareness of some new architecture led to arguments about the need for artwork within architecture as a moral and even spiritual necessity. Whether in public or private development, the relationship between art and architecture was the subject of debate among architects and public alike. Throughout that period, architect and educator Percival Goodman (1904–89) advocated for including artists in the process of making architecture. Answering his call was Baltimore artist Amalie Rothschild (1916–2001), who worked with Goodman and other architects to develop installations appropriate to their designs. Two such projects are extant: a tapestry for Baltimore Hebrew Congregation (Percival Goodman, 1952) and mosaics for Martin Luther King Jr. Elementary School (Watkins & Magee, 1971). The story of these installations illustrates art-making's dependency upon artist-community relationships, art's public role as an emblem of prestige, and modernism's endorsement by cultural and governmental authorities in their time.

中文翻译：

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现代主义建筑中的艺术：Amalie Rothschild 和 Percival Goodman 的两件装置艺术作品

检查艺术是如何为现代主义建筑环境设计和构思的，不仅揭示了两者之间的概念或形式联系，还揭示了它们的社会和实践相互关系。这样做对于在 1945 年至 1975 年之间建造的项目特别有用，这是现代主义在美国兴起的三个十年。一些新建筑的明显闲置导致了关于建筑中艺术作品的必要性的争论，作为一种道德甚至精神上的需要。无论是在公共开发还是私人开发中，艺术与建筑之间的关系都是建筑师和公众争论的话题。在那个时期，建筑师和教育家珀西瓦尔·古德曼（Percival Goodman，1904-89 年）主张让艺术家参与到建筑的制作过程中。巴尔的摩艺术家阿玛莉·罗斯柴尔德（Amalie Rothschild，1916-2001）接听了他的电话，她与古德曼和其他建筑师合作开发了适合他们设计的装置。现存两个这样的项目：巴尔的摩希伯来会众的挂毯（Percival Goodman，1952）和马丁路德金小学的马赛克（Watkins & Magee，1971）。这些装置的故事说明了艺术创作对艺术家与社区关系的依赖、艺术作为声望象征的公共角色，以及现代主义在当时的文化和政府当局的认可。小学（沃特金斯和马吉，1971 年）。这些装置的故事说明了艺术创作对艺术家与社区关系的依赖、艺术作为声望象征的公共角色，以及现代主义在当时的文化和政府当局的认可。小学（沃特金斯和马吉，1971 年）。这些装置的故事说明了艺术创作对艺术家与社区关系的依赖、艺术作为声望象征的公共角色，以及现代主义在当时的文化和政府当局的认可。