i Frederick Kiesler tjArnold Newman Kiesler u a. V 2 by Lisa Phillips with essays by Dieter Bogner Cynthia Goodman Barbara Lesak Jeanne T. Newlin Lisa Phillips Whitney Museum of American Art, New York in association with W.W. Norton & Company, New York, London 1 Digitized by the Internet Archive in 2013 This publication was organized at the Whitney Museum of American Art by Doris Palca, Head, Publications and Sales; Sheila Schwartz, Editor; Susan C. Winslow, Associate Editor; Vicki Drake, Supervisor, Printing Services; and Aprile Gallant, Secretary/Assistant. Design: Michael Glass Design, Inc. Typesetting: AnzoGraphics Computer Typographers Printing: Meridian Printing Library of Congress Cataloging-in-Publication Data Phillips, Lisa. Frederick Kiesler. Exhibition catalog. Bibliography: p. 1 63 I. Bogner, Dieter. I. Kiesler, Frederick—Exhibitions. Art. III. Title. II. Whitney Museum of American N6537. K5A4 I989 709'.2'4 88-33847 ISBN 0-87427-063-4 (Whitney paper) ISBN 0-393-02670-I (Norton cloth) t, I989 Whitney Museum of American Art 945 Madison Avenue, New York 1 002 Frontispiece: fcj|962, Arnold Newman, portrait of Kiesler °el^^ Contents Foreword 7 Acknowledgments 9 Architect of Endless Innovation 13 Lisa Phillips Visionary of the European Theater 37 Barbara Lesak Kiesler and the European Avant-garde 46 The Art of Revolutionary Display Techniques 57 Cynthia Goodman Part of the Cosmos: Kiesler's Theatrical Art in America 85 Environmental Artist 108 Lisa Phillips Chronology 1890-1965 139 Selected Bibliography 163 Works in the Exhibition 164 Whitney Museum of American Art Trustees and Officers Flora Miller Biddle Robert F Greenhill Chairman Frederick B. Henry Benjamin D. Holloway Leonard A. Lauder George S. Kaufman Vice Chairman Henry Kaufman William S. Woodside Berthe Kolin President Emily Fisher Landau Learsy Raymond J. Joel S. Ehrenkranz Howard Lipman Wee President Gilbert C. Maurer Stephen E. O'Neil Adrian Mnuchin Vice President Elizabeth M. Petrie Jules D. Prown Charles Simon C. Lawson Reed Treasurer Mrs. Laurance S. Rockefeller Thomas N. Armstrong David M. Solinger, Director Honorary President A. Alfred Taubman George Weissman Joanne L. Cassullo Nancy Brown Wellin Joan Hardy Clark Leslie H. Wexner Wilfred P Cohen Robert W Wilson Ana R. Daniel Beth Rudin DeWoody Honorary Trustees Brendan Gill B.H. Friedman Faith G. Golding Susan Morse Hilles Sondra Gilman Gonzalez-Falla Michael H. Irving Foreword On Friday, November II, 1932, a diminutive, energetic man entered the Whitney Museum of American Art at 8 West 8th Street to hear Royal Cortissoz deliver a talk entitled "The Basis of American Taste." Cor- tissoz might have been surprised to learn that there was one person in his audience who would truly influence American taste. More than half a century later, it is now our distinct honor to celebrate the accomplish- ments of this man, Frederick Kiesler, who came to this country in 1926 and developed vital creative associations with vanguard American art- ists in the thirties and forties. Known primarily for his work as an architect and stage designer, he was also an important catalyst in the conceptual thinking of his time. He worked closely with the pioneering American abstract artists John Graham and Arshile Gorky; his spirit energized his associates; and in 1942, he transformed a tailor shop into Peggy Guggenheim's Art of This Century gallery. Lisa Phillips has organized this first American retrospective of Kiesler's work. Kiesler was included in the Museum's 1985 exhibition "High Styles: Twentieth-Century American Design," and three of his furniture designs in the show were widely reproduced by critics as inno- vations in American design. In her research for the present exhibition, Lisa has had access to the vast resources of visual and documentary material owned by Mrs. Frederick Kiesler. It is my great pleasure on this occasion to announce that Lillian Kiesler has promised the Whitney Museum of American Art the large model of the Endless House, a sculp- tural, biomorphic, architectural environment that Kiesler developed over a long period and that has had a remarkable influence on both sculptural concepts and architectural design. The Whitney Museum is devoted to bringing all aspects of American art to the attention of the public. We do not have a depart- ment of architecture and design, but our curators are sensitive to inno- vation and accomplishments in all fields. I am pleased that we are able to familiarize the public with an interdisciplinary artist so important to the fabric of twentieth-century American art. Once again, our endeavor could not have been realized without the cooperation and support of those who have carefully tended Keisler's legacy in their private and public collections. We are indebted to the owners of his works, especially Lillian Kiesler, who have made our efforts successful. Tom Armstrong, Director The exhibition is sponsored by the Enid and Crosby Kemper Foundation, The Mnuchin Foundation, and the National Endowment for the Arts, with additional support from the Nathan Cummings Foundation and the Graham Foundation. The catalogue is supported in part by Z. Bank of Vienna. Research for this publication is supported by income from endowments established by Henry and Elaine Kaufman, the Andrew Mellon Foundation, Mrs. Donald A. Petrie, and the Primerica Foundation. Acknowledgments An exhibition of this magnitude and complexity would not have been possible without the generous support and cooperation of many individ- artist's wife, uals and institutions. Above all, I am most grateful to the Lillian Kiesler, for her unflagging efforts and enthusiastic help with every aspect of the project. Her willingness to embark on this adven- ture, to provide ac< •ks, letters, and works that have never been shown befon hibition and catalogue possible. I am indebted as well to who represents the Kiesler Estate, for his generous assist; ration in every stage of this project. In preparing this i catalogue, I have had extraordinary colleagues in America and Eu- cooperation from : useum rope. In particular :hank Dieter Ronte and Dieter Bogner of the Museum M< Vienna, with whom we collaborated, and the team of ar ural historians in Vienna who provided new and valuable n Kiesler's activities in Europe. This group, under the d Bogner, includes Matthias Boeckl, Bar- bara Lesak, Susan and Thomas Weingraber. Bogner and Lesak have contri lys to this catalogue, as have Jeanne Newlin, curator of heatre Collection, and Cynthia Good- have man, director of tl of Science and Art. Others who contributed recol -nnortant material include Raimond Abraham, Dore A; berg. Ward Jackso and lleana Sonnab Thic unrlrrf ,T Lf in aft and Pat Hynes to raise th ilso indebted to the f effort required to o due to my former or their work in the early stage ch for her assistance with resea has coordinated the many det: ation with diligence, capability, ought to bear on the Others > organizatu Winnie Bendi Paul Blazek, Angela Gentilcore na McCown, I" > and Larry Ornstein of Meridian Labs, Leslie Phillips, Len Pitkowsky, Kevin Ryan, Mary Whit- ten, and Armando Zetina. Wolfgang Waldner and the Austrian Institute have been of great help. We have been fortunate to work with Michael Glass, designer of this catalogue, and with architects Christian Hubert and Andy Zelnio, designers of the installation, who share a passion for Kiesler's interdisciplinary activities. Finally, I express my deep appreciation to the supporters of the ex- hibition, who are listed on the previous page, and to the lenders, who have made their works available for this presentation: The Solomon R. Guggenheim Museum, the Harvard Theatre Collection, The Lannan Foundation, The Museum of Modern Art, the Museum Moderner Kunst, Vienna, and the Osterreichisches Museum fur Angewandte Kunst, Vienna, as well as Martha Bartos, Nicholas Brown, Isidore Ducasse Fine Arts, Incorporated, Isobel Grossman, Mrs. Nelson A. Rockefeller, John Shore, and Michael Werner. L.R Hans Namuth Kiesler, East Hampton, 1960s 10 I t •-> \ . A't! - m\. +'>„£>£:, Architect of Endless Innovation Lisa Phillips Frederick Kiesler— architect, artist, designer, poet, philosopher —was part Renaissance man, part space-age prophet. He bridged the past and the future, while maintaining that "the artist can never be of his time, he is always by necessity ahead of it." 1 He also bridged boundaries between media, challenging conventional definitions of disciplines. Though his activities were far-ranging, they were not disconnected. His lifelong creed was continuity — the essential relatedness of all his seemingly diverse practices. "Everyone has one basic idea," he said, 2 "and he will always come back to it." For Kiesler this idea was the concept of spatial continuity — of endlessness. Much of his life was spent designing and redesigning the Endless House (Fig. I) — a biomorphic structure that proposed a new sculptural model for architecture, a model of free-form spaces rather than the usual grid configuration. Though never built, it was considered one of the most original architec- tural concepts of the century. 3 Despite his achievements— or perhaps because of them — Kiesler lived and worked in America for forty years in relative obscurity. But in vanguard circles his name was legendary, as was his personality. Small (4 feet, 10 inches tall), spry, tough, and intense, he always made an unforgettable impression. He is remembered as much for his enormous stamina, dynamic energy, wit, candor, and pas- sionate provocation as he is for the remarkable visionary works that survive him. According to his lifelong friend Virgil Thomson, "being with Kiesler was like touching an electric wire that bore the current of con- temporary history." 4 Born in 1890 in Romania, Kiesler studied art and design in Vienna with the leaders of the Secessionist movement. He claimed to have served in the German military press corps during World War I and afterwards to have worked with Adolf Loos on a slum-clearing project.