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Bauhaus Lounge ork / VG Bild-Kunst, Bonn Bild-Kunst, VG / ork y ), New ), New rs ociety (A s ights r Unknown photographer. Bauhaus masters on the roof of Gropius’s Bauhaus building Bauhaus building Bauhaus masters on the roof of Gropius’s Unknown photographer. 1998. on the occasion of its opening December 5, 1926 (detail).in Dessau, Print: Moderne, d’Art Musée National / Berlin Berlin. Courtesy Bauhaus-Archiv Bauhaus-Archiv © 2009 Artists Pompidou Centre From left: Josef Albers, Hinnerk scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost schmidt, Walter Gropius, Marcel Breuer, Vasily Kandinsky, Paul Klee, Lyonel Feininger, Gunta stölzl, and Oskar schlemmer. oTHEr programS in SympoSium: Hungary anD THE BAUHAUS Fri, nov 20 This daylong symposium, organized in conjunction with the Extremely Hungary conJuncTion WiTH 10:00 AM–5:00 PM Festival, surveys the extensive participation of Hungarians in Bauhaus Theater 3 activities such as photography, graphics, furniture, textiles, product design, BAUHAUS 1919–1933: film, music, and performance art. Lectures outline the geopolitical context of avant-garde activity in Hungary before, during, and after the Bauhaus years and present new perspectives on figures such as László Moholy-Nagy, WORKSHOPS FOR MODERNITY Marcel Breuer, and Andor Weininger. Juliet Kinchin, Curator, Department of Architecture and Design, and Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and co-organizer of Bauhaus 1919–1933: WOrKsHOPs for MODErNiTy, lead the morning and afternoon sessions. Admission is free. reservations are required and can be made by e-mailing [email protected]. For more information, please visit extremelyhungary.org. WomEn anD THE BauHauS muSic aT THE BauHauS: a concErT The Museum presents a series of four discussions of female members of the Bauhaus whose TuE, DEc 1 The interdisciplinary innovations in design, movement, and performance at important contributions have often been overlooked in histories of the school. 6:30 PM | Theater 2 the Bauhaus had a great impact on the era’s musical vanguard, stimulating a Leah dickerman, Curator, Department of Painting and sculpture, The Museum of Modern Art, new language that incorporated the school’s unique ethos. several significant and co-organizer of BAUHAUs 1919–1933: WOrKsHOPs FOr MODErNiTy, or adrian sudhalter, composers had ties to the Bauhaus and many others were represented in Assistant research Curator, Department of Painting and sculpture, moderates each conversation. Bauhaus performances. in this concert Maria Tegzes, soprano, and Geoffrey Burleson, pianist and Director of Performance studies and Coordinator of WED, NOV 18 WEaving/anni alBErS Piano studies, Music Department, Hunter College, City University of New 6:30 PM | Theater 3 york, perform selected Bauhaus compositions. The program includes pieces in this program, the first in the series, nicholas fox Weber, Executive by George Antheil, Ferrucio Busoni, Paul Hindemith, Ernst Krenek, Arnold Director, The Josef and Anni Albers Foundation, spotlights Anni Albers’s schoenberg, and Oskar schlemmer. Burleson’s introductory commentary sets works and experience at the Bauhaus, including her pivotal role in the the historical context. weaving workshop. Following the lecture, Mr. Weber signs copies of his new Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased book THE Bauhaus GrOUP: six MAsTErs OF MODErNisM (Knopf). at the lobby information desk, the film desk, or online at moma.org/thinkmodern. WED, DEc 9 mETal/mariannE Brandt 6:30 PM | Theater 3 aFTEr 1933: THE inTErnaTional elizabeth Otto, Assistant Professor, Department of Visual studies, University at Buffalo, state University of New york, addresses Marianne Brandt’s work in lEgacy oF THE BauHauS the Bauhaus metal workshop and in mediums such as collage, photography, Fri, Jan 22 After the forced closing of the Bauhaus in 1933, many of its faculty and and photomontage. 10:00 AM–5:00 PM students left Germany for the Americas, Palestine, south Africa, and elsewhere. Theater 2 Through this diaspora, varied understandings of the Bauhaus proliferated, and WED, JAN 6 puBlic RelaTionS/Ise gropiuS, lucia moHoly over many years it served as a key symbol in intellectual and political debates 6:30 PM | Theater 3 around the world. Bauhaus émigrés were influential in the United states as adrian sudhalter discusses ise Gropius’s role as spokesperson for the teachers of several generations of art and architecture students. The Bauhaus Bauhaus. Claire Zimmerman, Assistant Professor, Department of the History played a weighty symbolic role in both parts of divided postwar Germany of Art and Taubman College of Architecture and Urban Planning, University as an emblem of the aspirations of a new German democratic state. in this of Michigan, explores the central role of Lucia Moholy’s photographs in the symposium, scholars offer new perspectives on aspects of the international representation of modern architecture in the first decades of the twentieth legacy of the Bauhaus after 1933. century. Tickets ($12; members $10; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the film desk, or online at moma.org/thinkmodern. WED, JAN 13 inTErior Design/lily rEicH 6:30 PM | Theater 3 in this program, the fourth and last in the series, Matilda McQuaid, Deputy Curatorial Director, Cooper-Hewitt, National Design Museum, discusses Lily reich’s experience at the Bauhaus and the external projects she undertook during Ludwig Mies van der rohe’s tenure as director. Maria Makela, Professor, Visual studies, California Collage of the Arts, speaks about the emergence and significance of artificial fabrics in Germany during this period, and despina stratigakos, Assistant Professor, Department of Architecture, University at Buffalo, state University of New york, considers the educational and professional structures available to aspiring female architects before World War ii, when reich came of age. Tickets for Women and the Bauhaus programs ($10; members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the film desk, or at moma.org/thinkmodern. This series is made possible by the Modern Women’s fund. Umbo (Otto Umbehr). Josef Albers and students of the foundation course in a critique at course in a critique at Josef Albers and students of the foundation Umbehr). Umbo (Otto Courtesy Josef and Anni Albers The print. silver Gelatin c. 1928–29. the Bauhaus in Dessau, © 2009 Phyllis Umbehr/Galerie Conn. Berlin Kicken, Bethany, Foundation, sECOND FLOOr BAUHAUS LAB FirsT FLOOr AND THEATEr 3 MEZZANiNE 54TH sTrEET BauHauS loungE NOV 9, 2009–Jan 25, 2010 NFO NG i i The Lewis B. and Dorothy Cullman Education sCULPTUrE GArDEN LD and research Building, first floor i y Furnished with chairs, tables, and couches designed by Bauhaus iNFO faculty, this lounge offers visitors a relaxing space to further LOBB CULLMAN BU explore the creative processes of Bauhaus artists. Visitors CAFE 2 BAUHAUS may consult a wide selection of books and catalogues and LOUNGE enjoy screenings of documentary films that trace the history and development of the school, including Oskar schlemmer’s ENTrANCE TO TriADiC BALLET (1927). THEATEr 2 53rD sTrEET Organized in conjunction with the exhibition Bauhaus 1919–1933: WOrKshOps fOr MOderniTy, Bauhaus Lab is a new interactive 7 HanDS-on WorkSHopS space that reimagines the classrooms of the historic Bauhaus NOv 12, 2009–JAN 25, 2010 school in Germany, in which students and teachers of many forms of art experimented with innovative pedagogical approaches. Led by artists, educators, and art historians, an ongoing series of hands-on artmaking workshops offers participants the opportunity to engage in techniques and processes integral to the Bauhaus, such as drawing, collage, graphic design, color theory, and mechanical construction. Visitors can also explore the legacy of the Bauhaus through a series of lectures, symposia, and performances. moma.org/bauhauslab moma.org/thinkmodern [email protected] (212) 708 9781 paul klEE JoHannes Itten Bauhaus CUrricula NOV 12–15 Join us for workshops that introduce participants to the practices of two Bauhaus instructors, Johannes itten (at the Bauhaus from 1919 to 1922) and NOV 20–22 Paul Klee (1921 to 1931). Klee’s approach is grounded in line and color theory. DEc 6–7 itten’s curriculum, which includes automatic drawing, drawing simultaneously DEc 10–13 with two hands, and collages that explore contrasting forms, textures, and DEc 17–20 colors, encourages improvisation. students create works on paper based on Jan 7–10 Klee’s and itten’s theories and techniques. JAN 17–18 This program is free and participation is on a drop-in first-come, first-served basis. Jan 23–25 All materials are provided. Open to all ages. Children must be accompanied by an adult. 12:00–4:00 PM JO things inquiringly. to look at to be very careful be expected cannot one is being fooled by color, u ntil one has the experience of knowing that he that of knowing ntil one has the experience s EF ALBE Fri, NOV 13 RS JoSEF alBErS One-hour sessions begin at 5:00, During his tenure as a professor at the Bauhaus (1925 to 1933) and later, in 6:00 + 7:00 PM color WorkSHop teaching posts at Black Mountain College and yale University, Josef Albers mon, NOV 16 developed a highly specialized color theory and teaching method that was ExPLOrE COLOr AND PErCEPTiON One-hour sessions influential to generations of European and American artists, designers, and begin at 11:30 AM, architects. One major component of his thinking was the concept of the 12:30 + 1:30 PM relativity of color—the idea that color changes in relation to its surroundings WED, DEc 9 and the condition of the viewer. Using colored paper, this hands-on workshop, One-hour sessions begin at 11:30 AM, taught by artist and painting conservator Corey d’augustine, employs Albers’s 12:30 + 1:30 PM teaching methods to develop sensitivity to colors and an understanding of how they interact with each other and with the eye.
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