Queering the Bauhaus
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Ausstellungskalender
Zu loben ist, mit welch großer Genauigkeit sich Verf. des Kataloges angenommen, mit welcher Sorgfalt er jedes einzelne der Blätter geprüft hat, deren überraschend umfang reiche Zahl in den verschiedenen öffentlichen Sammlungen und im Privatbesitz mehr als 100 beträgt. Die auf Tafeln beigegebenen Abbildungen sind in der Auswahl als vor züglich zu bezeichnen. Leider sind die Zeichnungen alle in einem einheitlichen, rötlich braun getönten Offsetdruck wiedergegeben, selbst da, wo der Katalog z. B. grau laviert angibt, was häufig der Fall ist (vgl. dagegen die doch sehr gut auf Kunstdruck wiedergegebenen Taf. 66 u. 68!). Dem Verf. kommt das Verdienst zu, in dem vorliegen den repräsentativen Band einen wichtigen Beitrag zur Erforschung des südwestdeutschen Rokoko geleistet zu haben. Sein Werk ist außerdem ein wesentlicher Beitrag zur Kennt nis der deutschen Zeichnung im 18. Jahrhundert. Gerhard Woeckel PERSONALIA Der bisherige Konservator am Germanischen Nationalmuseum Dr. Peter Metz wurde mit Wirkung vom 1. Januar 1955 als Direktor der Skulpturen-Abteilung der Ehern. Staatl. Museen nach Berlin berufen. Der bisherige Leiter der Fürstl. Fürstenberg. Sammlungen Dr. Altgraf Salm ist mit der Gesamtleitung der Fürstl. Fürstenberg. Institute für Kunst und Wissenschaft be trautworden. GROSSE AUSSTELLUNGEN 1955 Venedig Palazzo Ducale. 25. 4.—23. 10. 1955: Giorgione e i Giorgioneschi. Paris Bibliotheque Nationale. Ab 15. 6. 1955: Les Manuscrits ä Peintures en France du XHIe au XVIe Siede. AUSSTELLUNGSKALENDER AACHEN Suermondt-Museum. Februar BREMEN Kunsthalle. Bis 20. 2. 1955: Zeit 1955: Gemälde von Günther Weißflog. Im graph. genössische Kunst des deutschen Ostens. Bis 27. 2. Kabinett: „Bilderbögen“ der Biedermeierzeit.1955: „Das Aquarell“. Meisterblätter a. d. Kupfer BASEL Galerie d’Art Moderne. -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Presentation of Rarely Seen Works by Early 20Th Century Female Practitioners Alongside Acclaimed Works Expands Narrative of Modern Photography
Presentation of Rarely Seen Works by Early 20th Century Female Practitioners Alongside Acclaimed Works Expands Narrative of Modern Photography A Modern Love: Photographs from the Israel Museum Brings Together Iconic Masterpieces and Unknown Avant-garde Artists from the Israel Museum’s Collections On view at Israel Museum July 16, 2019 – January 5, 2020 Jerusalem, Israel, August 1, 2019 – Modern Love: Photographs from the Israel Museum delves into the work of photographers who shaped and defined photography between 1900-1945, helping to expand public understanding of early modern photography through a presentation that brings together acclaimed and unknown works by male and female artists. Featuring around 200 works from seminal artists such as Alfred Stieglitz, August Sander, Edward Weston, and Man Ray, alongside lesser-known photographers such as Liselotte Grschebina, ringl+pit, Laure Albin Guillot, and Frieda Meyer Jakobson, the exhibition fosters a deeper level of understanding around the development of cultural production at the time and uncovers unexpected and surprising discoveries, including a personal note written by Alfred Stieglitz on the back of the 1916 print Portrait of Marie Rapp. The exhibition also fosters contemporary relevancy around the works, connecting camera techniques by Modern photographers to current images captured by cell phones. “Modern Love: Photographs from the Israel Museum showcases the Museum’s incredible photography collection and demonstrates its continued commitment to supporting the exploration and exhibition of images through robust programming and curatorial expertise,” said Ido Bruno, Anne and Jerome Fisher Director of the Israel Museum. “I am thrilled that our visitors will have the opportunity to experience this unique selection of iconic Modern photographs drawn from the Museum’s extensive holdings, many which are going on display for the first time.” Drawing on a recent gift from collector Gary B. -
The Bauhaus Photomontages of Marianne Brandt. by Elizabeth Otto
133 Book Reviews Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt. By Elizabeth Otto. Berlin: Jovis Verlag, 2005. 176 pp. $35.00 cloth. Elizabeth Otto’s recent exhibition catalogue and catalogue raisonnée of the photomontages of Marianne Brandt recovers a previously unpublished body 134 THE SPACE BETWEEN of work and addresses two issues of great importance during the Weimar Republic: the complicated roles of women, and the physical and emotional fragmentation of modern life. Women occupied a confl icted position in 1920s Germany, experiencing struggles over gender and work, sexuality, economic independence, and a general movement towards liberation. Much German art of the period, as seen in paintings by Otto Dix, featured the quasi-mythical fi gure of the Neue Frau, or New Woman, a construction heav- ily propagated by the popular press as well.1 Simultaneously, visual artists and other purveyors of culture, from musicians to playwrights, turned to the fragmentation of montage as a way to impart the disjointed, chaotic nature of life in the urban metropolis.2 In her photomontages, produced over the course of a decade, Marianne Brandt returned again and again to themes of the modern metropolis, new technologies, and the status of women. Brandt chose the medium of photomontage specifi cally for its critical potential: by carefully selecting, fragmenting, and recombining images from the mass media, Brandt implicitly questioned the apparent progress of women, the militarization of German society, and the quality of urban life. Born in Chemnitz in 1893, Marianne Liebe began her formal train- ing under Fritz Mackensen. Strongly infl uenced by the Expressionists, Liebe earned a degree in painting from the Hochschule für Bildende Kunst in Weimar in 1918. -
Sculptural Cubism in Product Design: Using Design History As a Creative Tool
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 3 & 4 SEPTEMBER 2015, LOUGHBOROUGH UNIVERSITY, DESIGN SCHOOL, LOUGHBOROUGH, UK SCULPTURAL CUBISM IN PRODUCT DESIGN: USING DESIGN HISTORY AS A CREATIVE TOOL Augustine FRIMPONG ACHEAMPONG and Arild BERG Oslo and Akershus University College of Applied Sciences ABSTRACT In Jan Michl's "Taking down the Bauhaus Wall: Towards living design history as a tool for better design", he explains how the history of design can become a tool for future design practices. He emphasizes how the aesthetics of the past still exist in the present. Although there have been a great deal of studies on the history of design, not much emphasis has been placed on Cubism, which is a very important part of design history. Many designs of the past, such as in the field of architecture and jewellery design, took their inspiration from sculptural cubism. The research question is therefore "How has sculptural Cubism influenced contemporary student product-design practices?" One research method used was the literature review, which was chosen to investigate what has been done in the past. Other methods used were interviews and focus groups, which were chosen to investigate what some contemporary design students knew about cubism. The researcher will also look to solicit knowledge from people outside the design community regarding designers and the work they do, as well as the general impression they have concerning design history and cubism. The concept of Cubism has been used in branding and as a marketing tool and in communication. Keywords: Design history, contemporary design practice, sculptural cubism, aesthetics. -
Irrational / Rational Production-Surrealism Vs The
MIT 4.602, Modern Art and Mass Culture (HASS-D/CI) Spring 2012 Professor Caroline A. Jones Notes History, Theory and Criticism Section. Department of Architecture Lecture 14 PRODUCTION AND (COMMODITY) FETISH: key dates: Lecture 14: Irrational Rational Production: Bauhaus 1919 (Sur)realism vs. the Bauhaus Idea Surrealism 1924 “The ultimate, if distant, objective of the Bauhaus is the Einheitskunstwerk- the great building in which there will be no boundary between monumental and decorative art.” -Walter Gropius (Bauhaus Manifesto. 1919) “Little by little the contradictory signs of servitude and revolt reveal themselves in all things.” - the Surrealist. Georges Bataille, 1929 “Bauhaus is the name of an artistic inspiration.” - Asger Jom, writing to Max Bill, 1954. “Bauhaus is not the name of an artistic inspiration, but the meaning of a movement that represents a well-defined doctrine.” -Bill to Jorn. 1954 “If Bauhaus is not the name of an artistic inspiration. it is the name of a doctrine without inspiration - that is to say. dead.'” - Jom 's riposte. 1954 “Issues of surrealist heterogeneity will be resolved around the semiological functions of photography rather than the formal properties … of style.” -Rosalind Krauss, 1981 I. Review: Duchamp, Readymade as fetish? Fountain by “R. Mutt,” 1917 II. Rational Production: the Bauhaus, 1919 - 1933 A. What's in a name? (Bauhaus” was a neologism coined by its founder, Walter Gropius, after medieval “Bauhütte”) The prehistory of Reform. B. Walter Gropius's goal: “to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftstnan and artist. [...] painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future.” C. -
Bauhaus Weimar Dessau Berlin Chicago Shreveport
weimar bauhaus dessau berlin chicago shreveport modernism101.com rare design books 2012 catalog modernism101.com The Road to Utopia is easy to find if you know how to read the signs. In the United States the road ran through Boston out to the colonial suburbs of Lincoln, then down to New Canaan and New York City. It dominated the Philadelphia skyline for years. The road detoured south- ward through Asheville and the Blue Ridge Mountains, and is still readily apparent radiating outward from Chicago. The Road to Utopia was the route of the Bauhaus immigrants and aco- lytes spreading the idea — “Art and Technology: A New Unity!” — throughout the New World. Walter Gropius founded the Bauhaus in 1919 Weimar to reconcile the disparity between the craftsman tradition and machine age mass-production. Gropius gathered the cream of the European Avant-Garde to his cause — visionaries with names like Wassily, Oskar, Marcel, László and Farkas. These visionaries believed in Utopia, political and social perfection. The political and social systems of the era failed to reciprocate. The United States, slowly recovering from the deprivations of the Great Depression, provided fertile soil for these Utopians as the lights slowly and surely went out all over Europe. The central thesis of this catalog is that American culture was forever changed by the immigrants who fled Europe before World War II. All aspects of American culture — art, ar- chitecture, design, advertising, photography, film — were infinitely en- riched by these fugitives’ ideals. I merged onto the Road to Utopia during a visit to the Gropius House in Lincoln, Massachusetts. -
Hebrew Type Design in the Context of the Book Art Movement and New
Philipp Messner Hebrew Type Design in the Context of the Book Art Movement and New Typography "New Book Art" ("Neue Buchkunst") was the motto under which efforts were made, in the spirit of the English Arts and Crafts Movement, toward the revival of book and type design in turn-of-the-twentieth century Germany. This revival movement perceived itself as a reaction to the country's accelerated industrialization, especially since the founding of the Reich in 1871. The replacement of traditional craft by increasingly industrial production lines effected a variety of everyday consumer products, including the manufacturing of books. According to contemporary commentators this led to deterioration in the material and aesthetic quality of books. Similarly to other industrially manufactured products around the turn of the century, an expectation emerged for books to have a contemporary, functional, and materially sound form. This demand encompassed all aspects of the book, including printing types. Consequently, visual artists were now engaged to design typefaces. Early examples were still heavily influenced by Art Nouveau, but after World War I there was a turn to historical forms with a bias toward handwritten scripts. This was influenced largely by the English calligrapher and type designer Edward Johnston, who taught at the Central School of Arts and Crafts in London. His calligraphic method, which he based on old handwriting forms, became famous in Germany, in part thanks to the work of his pupil and translator, Anna Simons. Type design issues thus received a notably traditional treatment, defined above all by intensive engagement with historical forms. This tendency largely defined the personal styles of Franzisca Baruch and Henri Friedlaender. -
MARCELLE CAHN PORTFOLIO Updated July 2021
GALERIE JOCELYN WOLFF MARCELLE CAHN PORTFOLIO Updated July 2021 GALERIE JOCELYN WOLFF Member of the group “Cercle et Carré”, Marcelle Cahn's works from the very first period of her production are linked to expressionism thanks to her expressionist master Lovis Corinth in Berlin, then to cubism by joining the courses of the Modern Academy in the studio of Fernand Léger and Amédée Ozenfant in Paris where she did not go beyond abstraction, proposing a personal style combining geometric rigor and sensitivity; finally she joined purism and constructivism. After the War, she regularly participates in the “Salon des Réalités Nouvelles”, where she shows her abstract compositions. It is at this time that she will define the style that characterizes her paintings with white backgrounds crossed by a play of lines or forms in relief, it is also at this time that she realizes her astonishing collages created from everyday supports: envelopes, labels, photographs, postcards, stickers. Marcelle Cahn (at the center) surrounded by the members of the group “Cercle et Carré” (photograph taken in 1929) : Francisca Clausen, Florence Henri, Manolita Piña de Torres García, Joaquín Torres García, Piet Mondrian, Jean Arp, Pierre Daura, Sophie Tauber-Arp, Michel Seuphor, Friedrich Vordemberge Gildewart, VeraIdelson, Luigi Russolo, Nina Kandinsky, Georges Vantongerloo, Vassily Kandinsky and Jean Gorin. 2 GALERIE JOCELYN WOLFF BIOGRAPHY Born March 1st 1895 at Strasbourg, died September 21st 1981 at Neuilly-sur-Seine 1915-1920 From 1915 to 1919, she lives in Berlin, where she was a student of Lovis Corinth. Her first visit to Paris came in 1920 where she also tries her hand at small geometrical drawings. -
"Pictures Made of Wool": the Gender of Labor at the Bauhaus Weaving Workshop (1919-23)
Tai Smith - "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) Back to Issue 4 "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) by T'ai Smith © 2002 In 1926, one year after the Bauhaus had moved to Dessau, the weaving workshop master Gunta Stölzl dismissed the earlier, Weimar period textiles, such as Hedwig Jungnik’s wall hanging from 1922 [Fig. 1], as mere “pictures made of wool.”1 In this description she differentiated the early weavings, from the later, “progressivist” textiles of the Dessau workshop, which functioned industrially and architecturally: to soundproof space or to reflect light. The weavings of the Weimar years, by contrast, were autonomous, ornamental pieces, exhibited in the fashion of paintings. Stölzl saw this earlier work as a failure because it had no progressive aim. The wall hangings of the Weimar workshop were experimental—concerned with the pictorial elements of form and color—yet at that they were still inadequate, without the larger, transcendental goals of painting, as in the Bauhaus painter Wassily Kandinsky’s Red Spot II from 1921. Stölzl assessed the earlier, “aesthetic” period of weaving as unsuccessful, because its specific strengths were neither developed nor theorized. Weaving in the early Bauhaus lacked its own discursive parameters, just as it lacked a disciplinary history. Evaluated against the “true” picture, painting, weaving appeared a weaker, ineffectual medium. Stölzl’s remark references a fundamental problem that goes unquestioned in the literature concerning the Weimar Bauhaus weaving workshop and the feminized status of the medium. -
Johannes Itten Wieder in Bern : Eine Ausstellung Über Das Frühe Bauhaus
Johannes Itten wieder in Bern : eine Ausstellung über das frühe Bauhaus Autor(en): Höhne, Günter Objekttyp: Article Zeitschrift: Hochparterre : Zeitschrift für Architektur und Design Band (Jahr): 8 (1995) Heft 1-2 PDF erstellt am: 29.09.2021 Persistenter Link: http://doi.org/10.5169/seals-120140 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch dem Gesamtkunstwerk strebenden Aufbruchjahre des Bauhauses. Nun Johannes Itten wird das «vergessene» Bauhaus zugänglich, anschaulich erfahrbar gemacht. Und da ist an grossen Namen und Werken wahrlich kein Mangel: Neben Itten-Originalen sind viele wieder in Bern weitere, unter anderem von Muche, Klee, Feininger, Kandinsky, Schlemmer und Marcks präsentiert. -
Bauhaus · Moderne · Design 2018 / 2019
Bauhaus · Moderne · Design 2018 / 2019 Editorial 1919 wurde in Thüringen mit dem Staatlichen Bauhaus zu Weimar nicht nur eine später weltberühmte Architektur- und Kunstschule begründet: Das Bauhaus war Ausdruck und Vorreiter einer international ausstrahlen- den Bewegung der Moderne. Es gilt heute als der wirkungsvollste deut- sche Kulturexport des 20. Jahrhunderts. Das Bauhaus steht für große gestalterische wie gesellschaftsreformerische Ideen. Es hat Architektur, Kunst und Design maßgeblich beeinflusst und wirkt auch noch heute nach. Mit dem Bauhaus verbinden sich Form- und Farbexperimente, Architekturikonen und Alltagsdesign, rauschende Feste und minimalisti- sche Bauten. Wo die Ursprünge dieser modernen Bewegung liegen, wie sie sich for- mierte, wie sie inspirierte und polarisierte – all das ist heute in und von Weimar aus eindrucksvoll wie in kaum einer anderen Region erfahrbar. Revolution. Neuanfang. Aufbruch in eine neue Zeit. In Deutschlands erster Demokratie, ebenfalls 1919 in Weimar begründet. Voller Hoffnung, mit unbedingtem Gestaltungs- und Veränderungswillen. Mut zum Experi- ment und Lebensfreude. Aber auch: Streit und Widerspruch. Ablehnung. Vertreibung. In Weimar und den umgebenden Städten Jena, Erfurt, Gera sowie dem Weimarer Umland erzählen eine Vielzahl von architektonischen Zeugnis- sen, künstlerischen Werken, historischen Schauplätzen, aktuellen Aus- stellungen und Veranstaltungen von der wechselvollen Geschichte des Bauhauses und der Moderne. Wer in Thüringen auf Reisen geht, trifft nicht nur auf die Überlieferungen der internationalen Kunstavantgarde von damals, sondern auch auf inspirierende Gestalter von heute und morgen. Nicht nur im Jahr 2019 – zum Jubiläum »100 jahre bauhaus« – bietet Thü- ringen ein reichhaltiges Kultur- und Besucherprogramm. Wir laden Sie ein, in Weimar die Wiege des Bauhauses und darüber hinaus eine ganze Region im Zeichen der Moderne zu entdecken.