THE BAUHAUS: THINK TANK FOR MODERNISM Coordinators: Carol Millsom and Lila Shoshkes Established as an art school in Germany in 1919, the Bauhaus wanted to create a “New Man” after the disaster of World War l. Until it closed under pressure from the Nazis, the school was a think tank for artists, architects, and designers, ultimately changing the face of modernity. We discuss its philosophy; distinguished faculty; innovations in architecture, furniture, textiles, metal, ceramics, graphics, theater, and typography; and impact on our own times. Two field trips are anticipated. Readings and other Materials/Online Services: Bauhaus 1919-1933 Reform and Avant-Garde by Magdalena Droste, {Taschen, 2015, ISBN 978-3-8365-6014-6}. Articles by scholars writing for general audiences, available in print and online, supplement the text. Photocopies of these print materials will be distributed at cost, probably under $4.00. Participants are encouraged to visit relevant exhibits at museums, galleries, and auction houses. After retirement Carol Millsom earned a Master’s degree in the history of design at Parsons. She has coordinated study groups about art and design. Bauhaus principles influenced Lila Shoshkes’ career in architecture, planning, and design. She has coordinated study groups in 20th century architecture and the great architects of our time. * * * * * * * * Syllabus – A Work in Progress * * * * * * * * WEEK 1 PHILOSOPHICAL AND AESTHETIC BACKGROUND Reaction against industrial production in Britain and Europe. European art movements. German craft guilds and design innovations. Russian revolution and constructivism. READINGS TEXT: “Roots of Artistic Radicalism,” 12-14. “Design Reform,” Metmuseum.org/Heilbrunn Timeline/online publication/essays. “Design 1900-1925,” Metmuseum.org/Heilbrunn Timeline/online publication/essays. WEEK 2 ARCHITECTURE AT WEIMAR Early 20th century architecture. Frank Lloyd Wright and American innovations. Pre-war industrial architecture and design standards; Walter Gropius, Director; Summerfeld House and Haus am Horn. Influence of Reitveld and DeStijl; Gropius’ designs for Chicago Tribune Tower; Mies van der Rohe’s design for glass high rise tower. READINGS TEXT: 9-11; 31-33; 40-43. WEEK 3 LIFE AT THE BAUHAUS : THE PRELIMINARY COURSE Bauhaus students; Daily life; Celebrations. The preliminary course under Johannes Itten; Lazlo Moholy-Nagy, and Joseph Albers. Contributions by Wassily Kandinsky and Paul Klee. READINGS TEXT: 14-30. “Actually we’re all crazy at the Bauhaus,” in Bauhaus, ed. Jeannine Fiedler and Pete Feierabend (Cologne: Konemann, 1999), 188-203. WEEK 4 WORKSHOPS AT THE BAUHAUS Pottery, Graphics, Bookbinding, Stained Glass, and Wall painting. READINGS “Joseph Albers Lattice Picture, 1921,” in Bauhaus: Workshops for Modernity, Barry Bergdoll and Leah Dickerman (exh. cat., NY: MoMA, 2009), 64-67. “Marcel Breuer and Gunta Stolzl African Chair, 1921,” in Bergdoll and Dickerman, 2009, 101-103. “Theodore Bolger Teapots, 1923, in Bergdoll and Dickerman, 2009, 110-113. “Vassily Kandinsky Design for Wall Hanging,” in Bergdoll and Dickerman, 2009, 122-127. WEEK 5 PERFORMING ARTS AT THE BAUHAUS Theater workshops; Music, Dance, and Calisthenics. READINGS: Ute Ackermann, “Body Concepts of the Modernists at the Bauhaus” in Fiedler and Freierabend, 1999, 88-94. Arnd WesEmann, “The Bauhaus Theater Group,” in Fiedler and Freierabend, 1999, 532-547. WEEK 6 ARCHITECTURE AT DESSAU Gropius’ modern icon, 1925; Architecture as a separate department; the Werkbund housing exposition; Hannes Meyer and ties with industry; Housing projects in city of Dessau; Mies van der Rohe’s focus on architecture and design. READINGS: TEXT: 43-47; 52-57; 69-71; 75-81; 86-89; 90-91. WEEK 7 FIELD TRIP “Partners of Design: Alfred H. Barr and Phillip Johnson,” NYU’s Grey Art Gallery, 100 Washington Square East. WEEK 8 FURNITURE and METAL WORKSOP WEEK 9 WEAVING WORKSHOP WEEK 10 PRINTING WORKSHOP, TYPOGRAPHY and PHOTOGRAPHY WEEK 11 THE DISAPORA: BAUHAUS IN AMERICA AND TEL AVIV WEEK 12 MUSUEM FIELD TRIP .