DOCSLIB.ORG

Anna Halprin's Dance-Events

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anna Halprin's Dance-Events AUTONOMY AS A TEMPORARY COLLECTIVE EXPERIENCE: ANNA HALPRIN’S DANCE-EVENTS, DEWEYAN AESTHETICS, AND THE EMERGENCE OF DIALOGICAL ART IN THE SIXTIES by Tusa Shea BA, University of Victoria, 2002 MA, University of Victoria, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History in Art Tusa Shea, 2012 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-88455-3 Our file Notre référence ISBN: 978-0-494-88455-3 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ii Supervisory Committee AUTONOMY AS A TEMPORARY COLLECTIVE EXPERIENCE: ANNA HALPRIN’S DANCE-EVENTS, DEWEYAN AESTHETICS, AND THE EMERGENCE OF DIALOGICAL ART IN THE SIXTIES by Tusa Shea BA, University of Victoria, 2002 MA, University of Victoria, 2005 Supervisory Committee Allan Antliff, Department of History in Art Supervisor Christopher Thomas, Department of History in Art Departmental Member Lianne McLarty, Department of History in Art Departmental Member Daniel Laskarin, Department of Visual Arts Outside Member iii Abstract Focusing on the event-based work of San Francisco dancer and choreographer, Anna Halprin, this dissertation argues that relational art and aesthetics is an integral feature of modernism that can be traced to the emergence of dialogue in art practices of the 1950s and 60s. I argue that John Dewey’s pragmatist aesthetics provided Anna Halprin, and other artists in her circle, with a coexistent experiential site for art’s conception and production. This alternative aesthetic model was based on an embodied, holistic approach to aesthetic experience that was fundamentally different from the Kantian-based formalism articulated by Clement Greenberg. Uncovering this alternative aesthetic model matters, not only because it is a neglected tradition with contemporary theoretical resonance, but because it allows us to see that event-based art produced during the 1960s was not merely deconstructive; it also had a constructive social purpose, namely the modeling of temporary, non-totalizing communal experiences. I analyze this contingent collectivism through an anarchist lens, in order to demonstrate that anarchic principles and models of agency were enacted and kept operational in art communities, networks, and events and, furthermore, were supported by holistic philosophies grounded in concrete experience. Supervisory Committee Allan Antliff, Department of History in Art Supervisor Christopher Thomas, Department of History in Art Departmental Member Lianne McLarty, Department of History in Art Departmental Member Daniel Laskarin, Department of Visual Arts Outside Member iv Table of Contents Supervisory Committee ...................................................................................................... ii Abstract.............................................................................................................................. iii Table of Contents............................................................................................................... iv List of Figures..................................................................................................................... v Acknowledgments ............................................................................................................. vi Dedication......................................................................................................................... vii Introduction....................................................................................................................... 1 Deweyan Aesthetics........................................................................................................ 9 The Problem of the Collective ...................................................................................... 18 Chapter One Anna Halprin's Interdisciplinary Dance Experience .................................................. 35 The Development of Modern Dance and the Liberated Body...................................... 39 Dance as Experience: A Holistic Approach ................................................................. 46 Chapter Two Postwar Individualism: Art Critical Frameworks and the Exclusion of Dialogue... 70 Postwar Anti-Collectivism: Autonomous Art vs. Mass Culture................................... 73 Autonomous Art: A Brief Overview ............................................................................ 83 Greenberg, Rosenberg, and the Hegemony of Silence ................................................. 91 Chapter Three Embodiment and Dialogue in the Communal Art Experience................................. 106 The Non-totalizing Collective and Field Theory........................................................ 114 Field Theory in Practice: the Shared Art Experience at Black Mountain College ..... 123 Chapter Four The Gesturing Body: Reconfiguring the Artist/Viewer Relationship...................... 138 Passive and Resistant Bodies...................................................................................... 142 The Lived Body and Audience Participation.............................................................. 150 Chapter Five Ten Myths: Mutual Creation and the Non-totalizing Collective.............................. 170 Ten Myths: an Experiment in Mutual Creation .......................................................... 173 Ten Myths: an Art Experience? .................................................................................. 188 Conclusion ...................................................................................................................... 205 Bibliography ................................................................................................................... 214 v List of Figures Figure 1. Anna Halprin and Welland Lathrop at their studio in San Francisco, 1949. Photo by Philip Fein. ........................................................................................................ 53 Figure 2. A. A. Leath, Anna Halprin, and Simone Forti on the dance deck, Kentfield, California, 1954. Photo by Warner Jepson. ...................................................................... 56 Figure 3. Experiments in Environment Workshop participants, 1966, Sea Ranch, California. Photo by Joe Ehreth........................................................................................ 67 Figure 4. Experiments in Environment Automobile Event, San Francisco, 1966. Photo by Paul Ryan.......................................................................................................................... 67 Figure 5. Experiments in Environment remnants of the driftwood village, Sea Ranch, California, 1966. Photo by Joe Ehreth.............................................................................. 68 Figure 6. 18 Happenings in 6 Parts, Allan Kaprow in centre with participants, 1959, New York City. Collection of the artist. ................................................................................. 154 Figure 7. Five-Legged Stool, 1962, Playhouse Theatre, San Francisco. Photo by Warner Jepson.............................................................................................................................. 161 Figure 8. Ten Myths advertisement, 1967, San Francisco. Collection of the artist. ....... 172 Figure 9. San Francisco Dancers' Workshop and participants performing "Atonement" from Ten Myths, 1967, San Francisco. Photo by Casey Sonnabend. ............................. 179 Figure 10. Participants performing "Trails" from Ten Myths, 1967, San Francisco.
Load more

Recommended publications
  • Courtesy of Theyood Family TABLE of CONTENTS
    Courtesy of TheYood Family TABLE OF CONTENTS Introduction 3 MIGRATIONS 4 Daniel Soyer: Goldene Medine, Treyfene Medine: Judaism Survives Migration to America 5 Deborah Dash Moore: The Meanings of Migration: American Jews, Eldridge Street and Neighborhoods 9 PRACTICE 13 Riv-Ellen Prell: A Culture of Order: Decorum and the Eldridge Street Synagogue 14 Jeffrey Gurock: Closing the Americanization Gap between the Eldridge Street Synagogue’s Leaders 19 and Downtown’s Rabbis ENCOUNTERS 23 Jeffrey Shandler: A Tale of Two Cantors: Pinhas Minkowski and Yosele Rosenblatt 24 Tony Michels: The Jewish Ghetto Meets its Neighbors 29 PRESERVATION 34 Samuel Gruber: The Choices We Make: The Eldridge Street Synagogue and Historic Preservation 35 Marilyn Chiat: Saving and Praising the Past 40 MUSEUM AT ELDRIDGE STREET | ACADEMICANGLES 3 he Eldridge Street Synagogue is a National Historic Landmark, the first major house of worship built by East European Jews in America. When it opened in September of 1887 it was an experiment, a response to the immigrants’desire to practice Orthodox Judaism, and to do so in America, their new Promised Land. Today the Eldridge Street Synagogue is Tthe only building on the Lower East Side—once the largest Jewish city in the world—earmarked for broad and public exploration of the American Jewish experience. The Museum at Eldridge Street researches the history of the building, uncovering new ways and stories to bring the building and its history to life. Learning about the congregants and their history ties us to broader trends on the Lower East Side and in American history. To help explore these trends, the Museum at Eldridge Street asks leading scholars to lend their expertise.
    [Show full text]
  • CAROLEE SCHNEEMANN B
    CAROLEE SCHNEEMANN b. 1939, Fox Chase, PA d. 2019, New Paltz, NY EDUCATION MFA, University of Illinois, Urbana, Illinois BA, Bard College, Annandale-On-Hudson, New York School of Painting and Sculpture, Columbia University, New York The New School for Social Research, New York La Universidad De Puebla, Mexico SOLO EXHIBITIONS 2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming) 2021 After Carolee: Tender and Fierce, Artpace, San Antonio, TX 2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bündner Kunstmuseum, Chur, Switzerland Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach, Saint-Gilles, Belgium All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA Don’t Let this be Easy, Walker Art Center, Minneapolis, MN Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan 2019 Carolee Schneeman, les Abattoirs, Toulouse, France Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland Exhibition of Edition Works, Michele Didier, Paris, France Carolee Schneeman, mfc-michele Didier, Paris, France 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY More Wrong Things, Hales Gallery, London, United Kingdom 2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY Further Evidence – Exhibit B, Galerie Lelong, New York, NY 2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg,
    [Show full text]
  • Philip Pearlstein
    PHILIP PEARLSTEIN 1924 Born in Pittsburgh, PA on May 24 1942-49 B.F.A. from Carnegie Institute of Technology, Pittsburgh, PA 1955 M.A. from New York University, Institute of Fine Arts, New York, NY 1959-63 Instructor, Pratt Institute, Brooklyn, NY 1962-63 Visiting Critic, Yale University, New Haven, CT 1963-88 Professor of Fine Art, Brooklyn College, Brooklyn, NY 1988 Distinguished Professor Emeritus, Brooklyn College, Brooklyn, NY 2003-06 President, American Academy of Arts and Letters, New York, NY The artist lives and works in New York City. Solo Exhibitions 2018 Philip Pearlstein, Today, Betty Cuningham Gallery, New York, May 10 – June 17 Philip Pearlstein, Paintings 1990- 2017, Saatchi Gallery, London, United Kingdom, January 17 – April 29 2017 Facing You, Betty Cuningham Gallery, New York, May 5 – June 30 Philip Pearlstein: Seventy –Five Years of Painting, Susquehanna Museum of Art, Harrisburg, PA, February 11 – May 21 2016 G.I. Philip Pearlstein, World War II Captured on Paper, Betty Cuningham Gallery, New York, September 14 – October 15 2015-16 Pearlstein | Warhol | Cantor: From Carnegie Tech to New YorK, Betty Cuningham Gallery, New York, NY, Dec. 3 – March 5, 2016 2015 Pearlstein | Warhol | Cantor : From Pittsburgh to New YorK, Andy Warhol Museum, Pittsburgh, PA May 30- September 6 2014 Philip Pearlstein, Betty Cuningham Gallery, New York, NY, May 8 – July 27 Pearlstein at 90, Russell Bowman Art Advisory, Chicago, IL, April 4 – May 31 Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, Feb. 27 – May 11 Philip Pearlstein – Just The Facts, 50 Years of Looking and Drawing and Painting, Curated by Robert Storr, New York Studio School, New York, NY, January 16 – February 22 2013 Philip Pearlstein’s People, Places, Things, Museum of Fine Arts, St.
    [Show full text]
  • ELCOCK-DISSERTATION.Pdf
    HIGH NEW YORK THE BIRTH OF A PSYCHEDELIC SUBCULTURE IN THE AMERICAN CITY A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History University of Saskatchewan Saskatoon By CHRIS ELCOCK Copyright Chris Elcock, October, 2015. All rights reserved Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of History Room 522, Arts Building 9 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT The consumption of LSD and similar psychedelic drugs in New York City led to a great deal of cultural innovations that formed a unique psychedelic subculture from the early 1960s onwards.
    [Show full text]
  • On Carolee Schneemann's Snows Erica Levin I Say 'I Use Materials'
    Dissent and the Aesthetics of Control: On Carolee Schneemann’s Snows Erica Levin I say ‘I use materials’ but I often sense that they use me as vision from which they re- emerge in a visual world which could not speak without them. At the same time in the art world today people often say, “I’m only interested in the useless.” The Fro- Zen, the expanse of slight sensation, the twist to existing conventions: not to be shocked, disturbed, startled, not to exercise the senses thoroughly… to be left as you were found, undisturbed, confirmed in all expectation. Not what is ‘useful’ but what moves me. —Carolee Schneemann, 19631 I begin with a statement by the artist Carolee Schneemann. Notice the strange formulation she uses to describe her relationship to materials: “they use me as vision.” Consider too the way this formulation resounds in the concluding phrase, “Not what is ‘useful’ but what moves me.” Written in 1963, the note speaks to the shift in her work from painting toward the production of large-scale assemblages, environmental collages, and performances undertaken in the context of happenings and the Judson Dance Theater. Four Fur Cutting Boards (1963), for example, employs materials left behind in the artist’s studio, a former furrier’s workshop. The large painted panels incorporate items that might well appear used up and useless: a dangling hubcap, a couple of ruined umbrellas, scraps of wood, fabric, and fur. For Schneemann however, use was not the measure of value that mattered. The distinct physicality of each found element within her composition solicits a form of looking that involves the body as much as the eye.
    [Show full text]
  • The Bird That Flew Backwards
    Ursinus College Digital Commons @ Ursinus College English Honors Papers Student Research 4-15-2018 The irB d That Flew Backwards Robin Gow Ursinus College, [email protected] Adviser: Meredith Goldsmith Follow this and additional works at: https://digitalcommons.ursinus.edu/english_hon Part of the American Studies Commons, Digital Humanities Commons, English Language and Literature Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Gow, Robin, "The irB d That Flew Backwards" (2018). English Honors Papers. 7. https://digitalcommons.ursinus.edu/english_hon/7 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Gow 1 The Bird that Flew Backwards Robin F. Gow 04/20/2018 Submission Statement: Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Honors in English Gow 2 Abstract: The Bird that Flew Backwards examines women poets from literary Modernism in the 1910s and Beat culture in the 1950s. Analyzing these eras in tandem reveals contrasting historical constructions of American womanhood and how sociocultural trends influenced how the “poetess” constructed herself and her work and illustrates the retrograde nature of women’s rights in the 1950s. Through close reading, digital mapping, and historical background, The Bird that Flew Backwards establishes a new critical perspective by linking the more well-known Modernists with lesser-known women in 1910s Greenwich Village Bohemia.
    [Show full text]
  • The Convergence of Video, Art and Television at WGBH (1969)
    The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). By James A. Nadeau B.F.A. Studio Art Tufts University, 2001 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2006 ©2006 James A. Nadeau. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known of hereafter created. Signature of Author: ti[ - -[I i Department of Comparative Media Studies August 11, 2006 Certified by: v - William Uricchio Professor of Comparative Media Studies JThesis Supervisor Accepted by: - v William Uricchio Professor of Comparative Media Studies OF TECHNOLOGY SEP 2 8 2006 ARCHIVES LIBRARIES "The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). "The greatest service technology could do for art would be to enable the artist to reach a proliferating audience, perhaps through TV, or to create tools for some new monumental art that would bring art to as many men today as in the middle ages."I Otto Piene James A. Nadeau Comparative Media Studies AUGUST 2006 Otto Piene, "Two Contributions to the Art and Science Muddle: A Report on a symposium on Art and Science held at the Massachusetts Institute of Technology, March 20-22, 1968," Artforum Vol. VII, Number 5, January 1969. p. 29. INTRODUCTION Video, n. "That which is displayed or to be displayed on a television screen or other cathode-ray tube; the signal corresponding to this." Oxford English Dictionary, 2006.
    [Show full text]
  • Mixed Race Capital: Cultural Producers and Asian American Mixed Race Identity from the Late Nineteenth to Twentieth Century
    MIXED RACE CAPITAL: CULTURAL PRODUCERS AND ASIAN AMERICAN MIXED RACE IDENTITY FROM THE LATE NINETEENTH TO TWENTIETH CENTURY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES MAY 2018 By Stacy Nojima Dissertation Committee: Vernadette V. Gonzalez, Chairperson Mari Yoshihara Elizabeth Colwill Brandy Nālani McDougall Ruth Hsu Keywords: Mixed Race, Asian American Culture, Merle Oberon, Sadakichi Hartmann, Winnifred Eaton, Bardu Ali Acknowledgements This dissertation was a journey that was nurtured and supported by several people. I would first like to thank my dissertation chair and mentor Vernadette Gonzalez, who challenged me to think more deeply and was able to encompass both compassion and force when life got in the way of writing. Thank you does not suffice for the amount of time, advice, and guidance she invested in me. I want to thank Mari Yoshihara and Elizabeth Colwill who offered feedback on multiple chapter drafts. Brandy Nālani McDougall always posited thoughtful questions that challenged me to see my project at various angles, and Ruth Hsu’s mentorship and course on Asian American literature helped to foster my early dissertation ideas. Along the way, I received invaluable assistance from the archive librarians at the University of Riverside, University of Calgary, and the Margaret Herrick Library in the Beverly Hills Motion Picture Museum. I am indebted to American Studies Department at the University of Hawai‘i at Mānoa for its support including the professors from whom I had the privilege of taking classes and shaping early iterations of my dissertation and the staff who shepherded me through the process and paperwork.
    [Show full text]
  • Altered States: the American Psychedelic Aesthetic
    ALTERED STATES: THE AMERICAN PSYCHEDELIC AESTHETIC A Dissertation Presented by Lana Cook to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2014 1 © Copyright by Lana Cook All Rights Reserved 2 ALTERED STATES: THE AMERICAN PSYCHEDELIC AESTHETIC by Lana Cook ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University, April, 2014 3 ABSTRACT This dissertation traces the development of the American psychedelic aesthetic alongside mid-twentieth century American aesthetic practices and postmodern philosophies. Psychedelic aesthetics are the varied creative practices used to represent altered states of consciousness and perception achieved via psychedelic drug use. Thematically, these works are concerned with transcendental states of subjectivity, psychic evolution of humankind, awakenings of global consciousness, and the perceptual and affective nature of reality in relation to social constructions of the self. Formally, these works strategically blend realist and fantastic languages, invent new language, experimental typography and visual form, disrupt Western narrative conventions of space, time, and causality, mix genres and combine disparate aesthetic and cultural traditions such as romanticism, surrealism, the medieval, magical realism, science fiction, documentary, and scientific reportage. This project attends to early exemplars of the psychedelic aesthetic, as in the case of Aldous Huxley’s early landmark text The Doors of Perception (1954), forgotten pioneers such as Jane Dunlap’s Exploring Inner Space (1961), Constance Newland’s My Self and I (1962), and Storm de Hirsch’s Peyote Queen (1965), cult classics such as Tom Wolfe’s The Electric Kool-Aid Acid Test (1968), and ends with the psychedelic aesthetics’ popularization in films like Roger Corman’s The Trip (1967).
    [Show full text]
  • A Finding Aid to the Reginald R. Isaacs Papers, Circa 1842-1991, Bulk 1928-1991, in the Archives of American Art
    A Finding Aid to the Reginald R. Isaacs Papers, circa 1842-1991, bulk 1928-1991, in the Archives of American Art Kym Wheeler Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. 1994 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1935-1986, undated.............................................. 5 Series 2: Legal Material, 1976-1984........................................................................ 6 Series 3: Financial Material,
    [Show full text]
  • Feminismo/S 32
    FEMINISMO/S 32 dosier monográfico: MAS-MES: Mujeres, Arquitectura y Sostenibilidad - Medioambiental, Económica y Social MAS-MES: Mujeres, Arquitectura y Sostenibilidad - Medioambiental, - Medioambiental, y Sostenibilidad Arquitectura MAS-MES: Mujeres, dosier monográfico: y Social Económica © María-Elia Gutiérrez-Mozo Feminismo/s, 32, diciembre de 2018 Dosier monográfico: MAS-MES: Mujeres, Arquitectura y Sostenibilidad - Medioambiental, Económica y Social FEMINISMO/S Revista del Instituto Universitario de Investigación de Estudios de Género de la Universidad de Alicante Revista semestral Editada por el Instituto Universitario de Investigación de Estudios de Género de la Universidad de Alicante con la colaboración del Vicerrectorado de Investigación y Transferencia de Conocimiento Número 32, diciembre de 2018 Directora: Helena ESTABLIER PÉREZ (Universidad de Alicante) Editora adjunta: Maribel PEÑALVER VICEA (Universidad de Alicante) CONSEJO DE REDACCIÓN Mar ESQUEMBRE CERDÁ (Universidad de Alicante) Purificación HERAS GONZÁLEZ (Universidad Miguel Hernández) Carmen MAÑAS VIEJO (Universidad de Alicante) Nieves MONTESINOS SÁNCHEZ (Universidad de Alicante) Mónica MORENO SECO (Universidad de Alicante) M.ª Dolores RAMOS (Universidad de Málaga) María Pilar RODRÍGUEZ PÉREZ (Universidad de Deusto) M.ª Teresa RUIZ CANTERO (Universidad de Alicante) CONSEJO ASESOR Nieves BARANDA LETURIO (UNED) Ester BARBERÁ HEREDIA (Universidad de Valencia) Karine BERGÈS (Université de Cergy-Pontoise) Mabel BURÍN (Universidad de Buenos Aires) Silvia CAPORALE BIZZINI
    [Show full text]
  • Bauhaus Und Bauhäusler : Erinnerungen Und Bekenntnisse / Hrsg
    Inhalt SLUB Alfred Arndt Ansprache zur Bauhaus-Einweihung in Dessau 1926 8 Vorwort: Jeder hatte sein eigenes Bauhaus von Eckhard Neumann 9 Walter Gropius Die Bauhaus-Idee - Kampf um neue Erziehungsgrundlagen 12 Johannes Itten Wie konnte die große Wirkung des Bauhauses entstehen? 18 Bruno Adler Damals in Weimar 21 Johannes Molzahn Aus einem Brief 74 Gerhard Marcks Mein kurzer Aufenthalt in Weimar ... 76 Felix Klee Meine Erinnerungen an das Bauhaus Weimar 78 Paul Citroen Mazdaznan am Bauhaus 86 Karl-Peter Röhl Idee, Form und Zeit des Staatlichen Bauhauses in Weimar 95 Alfred Arndt wie ich an das bauhaus in weimar kam 99 Robert Michel Im Nachbarhaus in Weimar 106 Herta Wescher Weimarer Maler in der Vor- und Frühzeit des Bauhauses 111 Hans Haffenrichter Lothar Schreyer und die Bauhaus-Bühne 116 Lothar Schreyer Hoffnung auf eine neue Welt 120 Kurt Schmidt Das Mechanische Ballett - eine Bauhaus-Arbeit 123 Werner Graeff Das Bauhaus, die >Stijl<-Gruppe in Weimar und der Konstruktivisten- kongreß von 1922 128 Sigfried Giedion Die Bauhaus-Woche in Weimar, August1923 132 Ferdinand Kramer Bauhaus und Neues Bauen 134 Gyula Pap Liberales Weimar 141 Alexander Bortnyik Etwas über das Bauhaus 144 Georg Muche Rede zum 75. Geburtstag von Johannesitten 149 Marianne Brandt Brief an die junge Generation 156 Erich üssner Rund ums Bauhaus 1923 162 Walter Dexel Der > Bauhaus-Stil <- ein Mythos. ... 165 Erich Buchholz bauhaus-bauhaus-bauhaus 170 Lou Scheper Rückschau 174 Heinrich König Das Bauhaus gestern und heute ... 180 Helene Schmidt- Interview 185 Nonne Carl Marx ...ein Augenblick bei Joost Schmidt . 193 Max Gebhard Reklame und Typographie am Bauhaus 196 Herbert Bayer Ehrungfür Gropius 201 Fritz Hesse Dessau und das Bauhaus 205 Gunta Stadler-Stölzl Über die Bauhaus-Weberei 209 Sigfried Giedion Über die praktischen Leistungen des Bauhauses 212 Xanti Schawinsky metamorphose bauhaus 213 Tut Schlemmer .
    [Show full text]