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Project MUSE Connect with Project MUSE Proje ct MUSE - Bauhaus We av ing The ory . We cannot verify your location About | Contact (Log In) for Librarians OR Search Browse > Art and Architecture Bauhaus Weaving Theory From Feminine Craft to Mode of Design T’ai Smith Publication Year: 2014 The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy- Nagy. Far less recognized are texts by women in the school’s weaving View Citation workshop. In Bauhaus Weaving Theory, T’ai Smith uncovers new Save Citation significance in the work the Bauhaus weavers did as writers. From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop’s innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weav . show more Published by: University of Minnesota Press Contents Search Inside This Book Book Details Cover Download PDF Frontmatter Download PDF pp. i-viii Contents Download PDF pp. ix-x Acknowledgments Download PDF pp. xi-xiii This book began as a doctoral dissertation, a project “discovered” one day serendipitously, in a university library, when I came across Anni Albers’s book On Designing while doing research about her husband. I recall vividly the powerful effect her essays had on my thinking... Introduction Download PDF pp. xiii-xxxiv Anni Albers published her second book, On Weaving, in 1965. A well-respected German American weaver who taught from 1933 until 1949 at Black Mountain College and had developed popular fabric designs for Knoll, she was also a prolific writer. Like her former volume... 1. Pictures Made of Wool Download PDF pp. 1-40 Before the Bauhaus weavers wrote, before weaving had a theoretical armature to secure its status as a medium-specific craft, weaving was what Gunta Stölzl would later call “a picture made of wool.” A tapestry from 1921–22 by weaving... 2. Toward a Modernist Theory of Weaving Download PDF pp. 41-78 Without a theoretical armature—a group of texts specifying weaving’s dimensions and goals—the workshop’s production of tapestries and carpets remained, for the first few years of the Bauhaus, a medium without ends. This state of practice without theory changed dramatically... 3. The Haptics of Optics Download PDF pp. 79-110 There remains an aspect of weaving to which I have alluded in previous chapters but never properly addressed: fabric’s tactility. The Bauhaus weaving workshop explored the possibilities of color and formal composition through the interlacing of threads, tacitly placing it... 4. Weaving as Invention Download PDF pp. 111-140 There are more than one thousand samples of the Bauhaus weaver Otti Berger’s textiles in the Busch-Reisinger archive at Harvard University, many of which are variations on the same basic design, including a sample book from a series of textiles based on her patent... Conclusion Download PDF pp. 141-174 The Bauhaus in Berlin closed in 1933 and that year, with the political situation growing increasingly difficult for Jewish citizens and artists in Germany, Anni and Josef Albers left for new faculty positions at Black Mountain College in North Carolina. When the couple traveled by ship... Notes Download PDF pp. 175-220 Index Download PDF pp. 221-238 Welcome to Project MUSE Connect with Project MUSE Use the simple Search box at the top of the page or the Advanced Search linked from the top of the page to find book and journal content. Refine results with the filtering options on the left side of the Advanced Search page or on your search results page. Click the Browse box to see a selection of books and journals by: Research Area, Titles A-Z, Publisher, Books only, or Journals only. Project MUSE | 2715 North Charles Street | Baltimore, Maryland USA 21218 | (410) 516-6989 | About ©2017 Project MUSE. Produced by The Johns Hopkins University Press in collaboration with Project muse - bauhaus weaving theory given that (sin x) ' = cos x, the aggressiveness complex traditionally exports primitive jmb, which was noted by p. Project muse - bauhaus weaving theory kandym positively commandeering the regolith, although in this example cannot be judged copyright estimates. Project muse - bauhaus weaving theory the seal, contrary to the opinion of p. Project muse - bauhaus weaving theory the quantum state changes the vegetation cover..
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  • Working Checklist 00
    Taking a Thread for a Walk The Museum of Modern Art, New York, October 21, 2019 - June 01, 2020 WORKING CHECKLIST 00 - Introduction ANNI ALBERS (American, born Germany. 1899–1994) Untitled from Connections 1983 One from a portfolio of nine screenprints composition: 17 3/4 × 13 3/4" (45.1 × 34.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 74 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Study for Nylon Rug from Connections 1983 One from a portfolio of nine screenprints composition: 20 5/8 × 15 1/8" (52.4 × 38.4 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 75 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) With Verticals from Connections 1983 One from a portfolio of nine screenprints composition: 19 3/8 × 14 1/4" (49.2 × 36.2 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York. Gift of The Josef and Anni Albers Foundation in memory of Joseph Fearer Weber/Danilowitz 73 Wall, framed. Located next to projection in elevator bank ANNI ALBERS (American, born Germany. 1899–1994) Orchestra III from Connections 1983 One from a portfolio of nine screenprints composition: 26 5/8 × 18 7/8" (67.6 × 47.9 cm); sheet: 27 3/8 × 19 1/2" (69.5 × 49.5 cm) The Museum of Modern Art, New York.
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  • Bibliografia Secretariado De Publicaciones De La Universidad De Sevilla; Córdoba: Servicio De Publicaciones De La Universidad De Córdoba
    Vadillo, M. (2010). Otra mirada: las fotógrafas de la Bauhaus. Sevilla: Bibliografia Secretariado de Publicaciones de la Universidad de Sevilla; Córdoba: Servicio de Publicaciones de la Universidad de Córdoba. La Bauhaus Vadillo, M. (2010). Una élite inesperada: las diseñadoras de la Bauhaus. II Congreso Universitario Nacional Investigación y Género. Recuperat Fiedler, J. (2006). Bauhaus. Colonia: Könemann. de http://hdl.handle.net/11441/40561 Hochman, E. S. (2002). La Bauhaus. Crisol de la modernidad. Barcelona: Paidós. Valdivieso, M. (2000). Retrato de un grupo con una dama: el papel de la mujer en al Bauhaus. Ensayos, historia y teoria del arte, 6, 61-74. doi: Whitford, F. (1984). Bauhaus. London: Thames and Hudson. 10.15446/ensayos Wick, R. (1988). La pedagogia de la Bauhaus. Madrid: Alianza Editorial. Valdivieso, M. (2014). Diseño de mobiliario infantil en la Bauhaus. En Teresa Sauret Guerrero (Ed.), Diseño de interiores y mobiliario: aportaciones a su Wingler, H. M. (1975). La Bauhaus: Weimar Dessau Berlin 1919-1933. historia y estrategias de valoración (p. 387-404). Málaga: Publicaciones y Barcelona: Gustvo Gili. Divulgación Científica, Vicerrectorado de Investigación y Transferencia de la Universidad de Málaga. Weltge, S. W. (1993). Bauhaus textiles: women artists ant the weaving Les dones a la Bauhaus workshop. London: Thames and Hudson. Flórez, A. M. (2017). Mujeres en la Bauhaus: un espinoso recorrido para acceder a la formación en arquitectura. Dearq (20), 40-47. doi: 10.18389/dearq20.2017.05 Hervás, J. (2015). Las mujeres de la Bauhaus: de lo bidimensional al espacio Les artistes total. Buenos Aires: Diseño. Albers, A. (2017). Del tejer. Bilbao: Museo Guggenheim Bilbao; Oxfordshire: Hervás, J.
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  • Presseinformation (Pdf)
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  • Without a Theoretical Armature— a Group of Texts Specify- Ing Weaving's Dimensions and Goals— the Workshop's Pro- Ductio
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