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Design Research: What Is It? What Is It For?
Design Research: What is it? What is it for? Victor Margolin University of Illinois, Chicago Abstract: The slippage in use between design research as an activity without a precise identity and its characterization of an intellectual field has caused considerable confusion. PhD programs in design are now offered and have become vehicles for producing academic design researchers. This has vastly increased the number of researchers with doctorates but it has not contributed to the coherence of a field and certainly not to the formation of a discipline. As more PhD graduates take up teaching positions, they are under pressure to continue their research and publish it. Without a set of shared questions, they are often left to their own devices to invent a research topic. While the authors adopt what appear to be valid methodologies to guide their investigations, the questions they pose are often narrowly drawn, have no relation to a larger set of issues, and are consequently of little interest or value to other scholars. When it comes to pedagogy, the lack of consensus about what course of studies would constitute a doctorate in design is especially disconcerting. By virtue of not having any consensual curriculum, it is difficult to assess the value of someone’s degree. A big problem in the field is the confusion between an academic degree in design and one in design studies. Instead of perpetuating the term ‘design research,” I suggest adopting the related terms “design’ and ‘design studies” to delineate more precisely the nature of the knowledge or capabilities they signify. Keywords: Design research; Design studies, doctoral design Prelude Since the end of World War II, design has grown in social importance, moving from the styling of products and the production of print material to the design of complex devices, ubiquitous digital media, and even social systems. -
11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those
11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those Days Photography The Idea of the at the Bauhaus Bauhaus: The Battle 16 for New Educational Josef Albers 76 Foundations Thirteen Years Howard at the Bauhaus Dearstyne 131 Mies van der Rohe’s Hans 22 Teaching at the Haffenrichter Alfred Arndt Bauhaus in Dessau Lothar Schreyer how i got to the and the Bauhaus bauhaus in weimar 83 Stage Walter voxel 30 The Bauhaus 137 Herbert Bayer Style: a Myth Gustav Homage to Gropius Hassenpflug 89 A Look at the Bauhaus 33 Lydia Today Hannes Beckmann Driesch-Foucar Formative Years Memories of the 139 Beginnings of the Fritz Hesse 41 Dornburg Pottery Dessau Max Bill Workshop of the State and the Bauhaus the bauhaus must go on Bauhaus in Weimar, 1920-1923 145 43 Hubert Hoffmann Sandor Bortnyik 100 the revival of the Something T. Lux Feininger bauhaus after 1945 on the Bauhaus The Bauhaus: Evolution of an Idea 150 50 Hubert Hoffmann Marianne Brandt 117 the dessau and the Letter to the Max Gebhard moscow bauhaus Younger Generation Advertising (VKhUTEMAS) and Typography 55 at the Bauhaus 156 Hin Bredendieck Johannes Itten The Preliminary Course 121 How the Tremendous and Design Werner Graeff Influence of the The Bauhaus, Bauhaus Began 64 the De Stijl group Paul Citroen in Weimar, and the 160 Mazdaznan Constructivist Nina Kandinsky at the Bauhaus Congress of 1922 Interview 167 226 278 Felix Klee Hannes Meyer Lou Scheper My Memories of the On Architecture Retrospective Weimar Bauhaus 230 283 177 Lucia Moholy Kurt Schmidt Heinrich Kdnig Questions -
Victor Margolin
VICTOR MARGOLIN 1307 S. Wabash #702 Dept. of Art History Chicago, IL 60605 University of Illinois 935 W. Harrison St Chicago, IL. 60607-7039 tel./312-413-2463 fax/312-413-2460 Education 1979–1981 Union Institute, Cincinnati, Ohio. Ph.D. in Design History. Dissertation: "The Transformation of Vision: Alexander Rodchenko, El Lissitzky, and László Moholy-Nagy as Graphic Designers, 1917-1933." 1963–1964 Fulbright Scholar, Institute of Higher Cinema Studies, Paris, France 1959–1963 Columbia University, New York. Bachelor of Arts. Majored in English. Film history and production courses at the Center for Mass Communication Current Position 1982–present University of Illinois at Chicago, History of Architecture and Art Department. Professor of Art and Design History (Department Chair, 1990-1993); Director of Graduate Studies, 2000- 2001 University Honors Fellow of the Institute for the Humanities, 1985 - 1986 Fellow of the Institute for Research on Race and Public Policy, 1998--2000 UIC Teaching Recognition Program Award, 1997 Silver Circle Award for Excellence in Teaching, 1991, 1997; nominated three additional times for the award UIC Excellence in Teaching Award, 2000 Featured as Outstanding Teacher in the UIC Annual Report, 2001 University Scholar, 2000-2001 Publications Books Culture is Everywhere: Selections from the Museum of Corntemporary Art (Munich; Prestel Verlag, 2002). The Politics of the Artificial: Essays on Design and Design Studies (Chicago: University of Chicago Press, 2002). The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946 (Chicago: University of Chicago Press, 1997). The Idea of Design, (Cambridge, MA: MIT Press, 1996). Co-editor. Discovering Design: Explorations in Design Studies (Chicago: University of Chicago Press, 1995). -
KUNSTLEX Juni 2020: Wolthers KUNSTLEXTM
KUNSTLEX juni 2020: TM Wolthers KUNSTLEX Udarbejdet af Anette Wolthers, 2020 Wolthers KUNSTLEXTM er udarbejdet i forbindelse med min research og skrivning af bogen: Kvindelige kunstnere i Odsherred gennem 100 år, publiceret af Odsherreds Kunstmuseums og Malergårdens Venner og Museum Vestsjælland i 2020. Bogen, der er på 248 sider, har også bidrag af museumsinspektør Jesper Sejdner Knudsen og formand for Venneforeningen Alice Faber. Bogen kan købes på de enkelte museer i Museum Vestsjælland eller kan bestilles på: [email protected] eller telefon 2552 8337. Den koster 299 kr plus forsendelsesomkostninger (ca. 77 kr.) Der var ikke plads i bogen til at alle mine ’fund og overvejelser’. Derfor har jeg samlet nogle af disse, så interesserede kan få adgang til denne viden i bredden og dybden, samt gå med ad de tangenter, der kan supplere bogens univers. Researcharbejdet til bogen Kvindelige kunstnere i Odsherred gennem 100 år er foregået 2016‐2019, og i denne proces opstod ideen om at lave mine mere eller mindre lange skrivenoter om et til et kunstleksikon. Så tænkt så gjort. Alle disse fund er nu samlet og har fået navnet Wolthers KUNSTLEX TM Man kan frit og gratis bruge oplysningerne i Wolthers KUNSTLEXTM med henvisning til kilden, forfatter, årstal samt placering: www.anettewolthers.dk Hvis der er brug for at citere passager fra Wolthers KUNSTLEXTM gælder de almindelige regler for copyright©, som er formuleret i Ophavsretsloven. Wolthers KUNSTLEXTM består af elementer af kunstviden fra ca. 1800‐tallet op til moderne tid og indeholder: 1. Korte biografer af overvejende danske kunstnere, deres familier, lærere, kolleger, kontakter og andre nøglepersoner i tilknytning til bogens 21 kunstnerportrætter samt enkelte tangenter ud og tilbage historien til vigtige personer – side 4 2. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
Berlin, 10 April 2019 BACKGROUND INFORMATION Museum Für
Berlin, 10 April 2019 GENERALDIREKTION PRESSE – KOMMUNIKATION – SPONSORING BACKGROUND INFORMATION Stauffenbergstraße 41 10785 Berlin Museum für Fotografie Bauhaus and Photography. On New Visions in Contemporary Art 11 April – 25 August 2019 MECHTILD KRONENBERG HEAD OF PRESS, COMMUNICATION, SPONSORSHIP László Moholy-Nagy and the FiFo László Moholy-Nagy – Bauhaus artist and pioneer of media art – co- MARKUS FARR curated the legendary exhibition Film und Foto (FiFo) in 1929, which was PRESS OFFICER set up by the Deutscher Werkbund in the exhibition halls on Interimthea- terplatz in Stuttgart. The FiFo, which subsequently travelled to Zurich, Tel: +49 30 266 42 3402 Mobile: +49 151 527 53 886 Berlin, Gdansk, Vienna, Agram, Munich, Tokyo and Osaka, presented a total of around 200 artists with 1200 works and showed the creations of [email protected] the international film and photography scene of those years. Moholy-Nagy www.smb.museum/presse curated the hall, which reflected the history and present of photography. His artistic perspective on the history of photography and his efforts to provide a comprehensive overview of the contemporary fields of photo- graphic application were fundamental. At the exit of the large hall, Moholy- Nagy suggestively posed the question of the future of photographic devel- opment. On the basis of extensive scientific research, the Moholy-Nagy room was virtually reconstructed with approximately 300 exhibits. The exhibition Film und Foto took its starting point in 1929 in Stuttgart, but was opened only a short time later in the Kunstgewerbemuseum (today: Gropius Bau) in Berlin. In the inner courtyard of the museum, large parti- tion walls were erected to present the numerous photo exhibits. -
ESD CAT Nov 2018 1-61 M2
YANN LE MOUEL SOCIÉTÉ DE VENTES VOLONTAIRES - DROUOT - PARIS Viviane Esders EXPERT EN PHOTOGRAPHIE PARIS - DROUOT - VENDREDI 23 NOVEMBRE 2018 VENDREDI 23 NOVEMBRE 2018 - 14H PARIS – DROUOT 9, rue Drouot 75009 PARIS Salle 2 photographie Commissaire-Priseur Yann Le Mouël SAS Société de Ventes Volontaires – Paris – Drouot 7, rue de Provence 75009 Paris Tél : 33 (0)1 47 70 86 36 - [email protected] SAS au capital de 15 000 euros / Agrément n°2002 –265 du 20/06/02 / Expert Viviane Esders SAS Expert agréé par le Conseil des Ventes volontaires n°2002-272 40, rue Pascal 75013 Paris Tél : 33 (0)1 43 31 10 10 - [email protected] Assisté d’Anatole Desachy pour les livres de photographie Expositions publiques - Drouot Jeudi 22 novembre 11h - 21h Nocturne Vendredi 23 novembre 11h - 12h Téléphone pendant l’exposition - Drouot 33 (0)1 48 00 20 02 Catalogue visible sur internet Enchérissez en direct sur internet www.yannlemouel.com www.viviane-esders.com « Femmes photographes du XXe siècle » « Corps révélés, lignes dévoilées » Sélection de photographies de la vente exposée à Sélection de photographies de la vente exposée à Carrousel du Louvre - 99 rue de Rivoli 75001 Paris 16 rue des Coutures Saint-Gervais 75003 Paris Vendredi 9 et samedi 10 novembre 11h-20h Jeudi 15, vendredi 16 et samedi 17 novembre 10h-19h Dimanche 11 novembre 11h-18h Vernissage jeudi 15 novembre à 18h fotofever.com 1 2 1 MAURICE TABARD 1897-1984 Sans titre, Mains, solarisation, ca. 1936. 1 Tirage argentique postérieur par Pierre Gassman, tampon au dos. 29 x 21,7 cm Bibliographie : Xavier Canonne "Maurice Tabard, le géomètre", Ed. -
Emotional Techniques Employed and Sources Used by Three Japanese Newspapers to Portray Selected Events Related to World War II Hiroto Fukuda Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-1992 Images of the enemy : emotional techniques employed and sources used by three Japanese newspapers to portray selected events related to World War II Hiroto Fukuda Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Fukuda, Hiroto, "Images of the enemy : emotional techniques employed and sources used by three Japanese newspapers to portray selected events related to World War II" (1992). Retrospective Theses and Dissertations. 17611. https://lib.dr.iastate.edu/rtd/17611 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. T ? •U Images of the enemy: Emotional techniques employed and sources used by three Japanese newspapers to portray selected events related to World War II by r / 9<± Hiroto Fukuda A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements of the Degree of MASTER OF SCIENCE Major: Journalism and Mass Communication Signatures have been redacted for privacy \ Iowa State University Ames, Iowa 1992 ii TABLE OF CONTENTS Page I. INTRODUCTION 1 II. JAPAN AND THE PACIFIC CONFLICT, 1931-1945 7 III. EMERGENCE OF THE JAPANESE PRESS, 1868-1945 26 IV. PROPAGANDA AND PRESS CONTROLS, 1914-1945 55 War Propaganda of the Allies: U.S. and 61 Great Britain Axis Propaganda: Germany and Japan under 67 Totalitarianism V. -
Graphic Design Studies: What Can It Be? Following in Victor Margolin’S Footsteps for Possible Answers
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2020 - Synergy Aug 11th, 12:00 AM Graphic design studies: what can it be? Following in Victor Margolin’s footsteps for possible answers Robert George Harland Loughborough University, United Kingdom Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Harland, R. (2020) Graphic design studies: what can it be? Following in Victor Margolin’s footsteps for possible answers, in Boess, S., Cheung, M. and Cain, R. (eds.), Synergy - DRS International Conference 2020, 11-14 August, Held online. https://doi.org/10.21606/drs.2020.372 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. HARLAND Graphic design studies: what can it be? Following in Victor Margolin’s footsteps for possible answers Robert George HARLAND Loughborough University, United Kingdom [email protected] doi: https://doi.org/10.21606/drs.2020.372 Abstract: Graphic design studies is proposed as a new way to differentiate practice in graphic design from reflection on that practice. Previous attempts to link design studies and graphic design have fallen short of arguing for graphic design studies, and consequently has not been explicit about how graphic design studies may contribute to better understanding the nature of graphic design practice. This has not been helped by the abstruse nomenclature that confuses graphic design’s relationship to and distinction from other visual practices. -
Une Exposition De Photographie Française À New-York En 1... 1988
UNE EXPOSITION DE PHOTOGRAPHIE FRANCAISE A NEW YORK EN 1948 du 21 septembre au 21 novembre 1988 En 1948, Louis Stettner secondé par Willy Ronis, rendit visite" "aux meilleurs photographes français du moment" pour faire avec eux une sélection de leurs travaux en vue d'une présentation dans, les nouveaux locaux de la "Photo League" New Yorkaise. Cette exposition retrouvée intacte et présentée ici comprend 106 photographies de douze auteurs. Elle avait été préfacée par Beaumont Newhall, le célèbre historien américain de la photographie, sous le titre de "Chasseurs d'Images". Ce texte, qui exprime certaines réticences doit être cité intégralement : "Les photographes qui traquent leurs sujets dans les rues, sur les boulevards, dans les cafés, les studios, les parcs ou les squares, dans les villages, les cours de ferme ou les champs, partout, en un mot, où l'on peut regarder vivre les hommes dans leurs diverses variétés, sont appelés en français "chasseurs d'images". C'est un terme bien adapté, et que l'anglais devrait adopter; il souligne ce que ces images ont de particulier et il marque la différence existant entre ces photographes et ceux qui demeurent confiné dans leur studio. La centaine de photographies réunies par Louis Stettner à Paris pour la "Ligue des Photographes" et présentées dans ses nouvelles galeries provient de ces "chasseurs d'images", elles ont une fraîcheur et une spontanéité qui raviront les spectateurs. On ne peut s'attendre qu'à des soupirs de nostalgie car rien n'y manque: les vieux toits en tuile et les forêts de cheminées, la Seine et ses quais, les rues pavées, les cafés, les boutiques et leurs habitués. -
Art for All: Photographs to Touch a Tactile Image Kit
Art For All: Photographs to Touch A Tactile Image Kit Elysée Lausanne Art For All: Photographs to Touch Elysée Lausanne A Tactile Image Kit 2/912/14 Art For All: Photographs to Touch A Tactile Image Kit For a Tactile Approach to Photography Convinced that access to art is a fundamental right, the Musée de l’Élysée has created an innovative project aimed at making photography accessible to blind audiences. Around thirty important works from the Museum’s collections have been transcribed into tactile images and posted online, making them accessible to blind audiences worldwide. Entitled Art For All: Photographs to Touch and designed with the invaluable collaboration of the Centre pédagogique pour élèves handicapés de la vue (CPHV) in Lausanne, this project offers a sensory approach to the image through the fingers instead of the eyes, thanks to a transformation of the photographic image making its different forms, subjects and contrasts palpable - and thus readable. Wishing to offer inclusive activities fostering dialogue and sharing, the Musée de l’Élysée conceived this kit as a tool that can be used by two people or more. It aims to enhance cooperation and dialogue between blind and sighted people, allowing them to discover photography and its heritage together. The activity begins with the reading of the text, introducing the artwork. It details the composition of the image and places the photograph in its historical, technical and aesthetic context. Then, the analysis of the tactile image starts. Along with its legend in braille, the duo decrypts the various elements of the artwork. The tactile images can be downloaded as a kit, and printed individually in A4 format with a tactile image printer. -
Entfernt Frauen Des Bauhauses Während Der NS-Zeit – Verfolgung Und Exil Frauen Und Exil, Band 5/13.09.2012/Seite 2
www.claudia-wild.de: Frauen und Exil, Band 5/13.09.2012/Seite 1 Entfernt Frauen des Bauhauses während der NS-Zeit – Verfolgung und Exil www.claudia-wild.de: Frauen und Exil, Band 5/13.09.2012/Seite 2 Frauen und Exil, Band 5 Herausgegeben von Inge Hansen-Schaberg www.claudia-wild.de: Frauen und Exil, Band 5/13.09.2012/Seite 3 Entfernt Frauen des Bauhauses während der NS-Zeit – Verfolgung und Exil Herausgegeben von Inge Hansen-Schaberg Wolfgang Thöner Adriane Feustel www.claudia-wild.de: Frauen und Exil, Band 5/13.09.2012/Seite 4 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.de abrufbar. ISBN 978-3-86916-212-6 Umschlaggestaltung: Thomas Scheer Umschlagabbildung: Gertrud Arndt: Otti Berger in der Eingangshalle des Bauhauses, Dessau 1930 (1932?) Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwer- tung, die nicht ausdrücklich vom Urheberrechtsgesetz zugelassen ist, Bedarf der vor- herigen Zustimmung des Verlages. Dies gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © edition text + kritik im Richard Boorberg Verlag GmbH & Co KG, München 2012 Levelingstraße 6a, 81673 München www.etk-muenchen.de Satz: Claudia Wild, Konstanz Druck und Buchbinder: Laupp & Göbel GmbH, Talstraße 14, 72147 Nehren www.claudia-wild.de: Frauen und Exil, Band 5/13.09.2012/Seite 7 Inhalt Vorwort 9 INGE HANSEN-SCHABERG, WOLFGANG THÖNER UND ADRIANE FEUSTEL: Entfernt: Frauen des Bauhauses während der NS-Zeit – Verfolgung und Exil 11 INGE HANSEN-SCHABERG: Die Bildungsidee des Bauhauses und ihre Materialisierung in der künstlerischen Tätigkeit ausgewählter Absolventinnen 17 RAHEL E.