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Photography at the Bauhaus will become the definitive resource and standard reference book on its subject.
Oskar Schlemmer (1888 - 1943) was one of the most versatile all - rounders of the last century and as unusual as a painter as he was as a sculptor, draughtsman, graphic artist, stage designer, wall designer, creator of epochal dance projects and author. His vision was the "n ew" man living in functional architecture, thinking clearly and acting clearly in the modern age which would never again sink into the chaos of war. The catalogue accompanying the first comprehensive Schlemmer retrospective for almost forty years presents over 250 high - quality works, in particular the seven original costumes of the Triadisches Ballett (Triadic Ballet) together with rare documents of the time. The connection between the all - encompassing attempts at reform of the Bauhaus are discussed as well as Schlemmer's vain attempts to reconcile his "unpolitical" art with the Nazi dictatorship's ideas of state - controlled art. The focus will be directed towards Schlemmer's lofty ethical demands, which always regarded man, typified as a "Kunstfigur" (artist ic figure) as the "measure of all things".
"Laszlo Moholy-Nagy is the first monograph on Moholy to attend to the fraught but central role painting played in shaping his aesthetic project. His reputation has been that of an artist far more interested in exploring the possibilities offered by photography, film, and other new media than in working with what he once called the 'anachronistic' medium of painting. And yet, with the exception of the period between 1928 and 1930, Moholy painted throughout his career. Joyce Tsai argues that his investment in painting, especially after 1930, emerged not only out of pragmatic and aesthetic considerations, but also out of a growing recognition of the economic, political, and ethical compromises required by his large-scale, technologically mediated projects aimed at reforming human vision. Without abandoning his commitment to fostering what he called New Vision, Moholy came to understand painting as a particularly plastic field in which the progressive possibilities of photography, film and other emergent media could find provisional expression."--Provided by publisher.
Catalog of an exhibtion held at the Tate Modern, London, Mar. 9-June 4, 2006, the Kunsthalle Bielefeld, June 25-Oct. 1, 2006, and the Whitney Museum of American Art, New York, Nov. 2, 2006-Jan. 21, 2007.
Max Baur is considered one of the great masters of modern pohotography, his work closely related to the photography of the Bauhaus school. This volume presents Baur's work from the period 1925-1960.
Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition. From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.
A fresh look at the influential pedagogy and practice pioneered by the Bauhaus Founded by architect Walter Gropius (1883-1969) in 1919, the Bauhaus was the 20th century's most influential school of art, architecture, and design. After the school was shuttered under pressure from the Nazis in 1933, many Bauhaus artists brought their innovative practices and teaching methods to the United States. Gropius himself accepted a position at Harvard, where he would help establish a collection of Bauhaus material that has since grown to more than 30,000 objects--the largest such collection outside Germany. Harvard in turn became an unofficial center for the Bauhaus in America. Written by established and emerging voices in the field, the scholarship presented here expands on the special link between the two institutions, while highlighting understudied aspects of the Bauhaus, such as weaving, photography, and art made by women. Accompanied by beautiful illustrations--some of never-before-published objects--this book yields fascinating insights for Bauhaus devotees and design aficionados. Distributed for the Harvard Art Museums
OBJECT:PHOTO shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality. This shift is especially significant for a study of the period during which photography developed a distinctive formal language. A growing awareness of the rarity of images made between the two world wars has altered historians' considerations, encouraging new approaches privileging the originality of each work and the density of references each contains. This richly illustrated publication culminates a four-year collaborative research endeavor between The Museum of Modern Art's Departments of Photography and Conservation, and nearly 30 visiting scholars, on the material and aesthetic evolution of avant-garde photography in the early twentieth century. The 341 modernist photographs known as The Thomas Walther Collection, a major museum acquisition made in 2001, is presented in its entirety, establishing a new standard of depth for the medium. Essays by curators, researchers, and conservators consider the history of collecting from this era to the present and how deepening knowledge has shifted the perspective on the medium; the material facts of the Walther pictures as a baseline for understanding the development of photographic materials in this era; and how the intellectual formation of the writers of critical photographic publications of the era and the societal and cultural pressures of that historical moment inflected the photography's sense of its own history. Together with thematic, object-based case studies of groups of pictures that demonstrate new approaches in specific, divergent examples, these contributions reanimate the dialogue on this formative era in photography.
"A collection of essays by a group of scholars, which examine Breuer's approach and way of working, his strategies and his signature buildings. These essays draw on an abundance of newly available documents held in the Breuer Archive at Syracuse University, which are now accessible online."--Site web de l'éditeur.