Book Description
The First Comprehensive Book to Examine the Teaching Methods of the Artist Renowned for the Homage to the Square Paintings.
Josef Albers (1888-1976) has long been admired for his progressive vision as an artist who blurred distinctions between fine and applied art, but rarely has his work as a teacher been examined in detail. The German-born artist was a remarkable classroom performer whose colorful language, wit, and dramatic flair held his students spellbound and turned his lessons into high adventure. Whether at the Bauhaus in prewar Germany, Black Mountain College in rural North Carolina during the 1930s and 1940s, or at Yale in the 1950s, Albers was driven by one thing--the desire to open his students' eyes to a different way of perceiving art and, ultimately, life.
JOSEF ALBERS: TO OPEN EYES by Frederick A. Horowitz and Brenda Danilowitz, is the first book to focus on how the legendary artist Josef Albers influenced generations of artists, architects, and designers, including Robert Mangold, Robert Rauschenberg, Donald Judd, Bertrand Goldberg, and Tom Geismar, through his work and legacy as an educator. Marking the 30th anniversary of Albers's death, the book examines his life and teaching methods, and reveals his philosophies on art, life, and the nature of perception based on first-hand accounts of more than 175 students and colleagues spanning more than 40 years. The book will coincide with a major exhibition at the Whitney Museum of American Art which will run from November 2, 2006- January 21, 2007.
JOSEF ALBERS: TO OPEN EYES takes the reader through Albers's life in teaching. He began his career in 1923, when Walter Gropius invited him to join the faculty of the Bauhaus in Germany, where he quickly replaced the school's standard course curriculum with his own innovative methods. After moving to the United States in 1933, he and his wife Anni became founding members and teachers at the experimental start-up Black Mountain College. In 1950, he was appointed to head Yale's newly restructured Department of Design and remained there until he retired in 1958.
Although he is widely perceived as a strong-minded theoretician, as this book reveals, Albers opposed rigid dogma and encouraged his students to develop lively and original solutions to his many and varied design exercises. On their first day in his classroom, Albers's students were informed that his goal was to educate their eyes and that he was going to teach them how to think and to see--an agenda belied by the somewhat prosaic course names "Basic Drawing" and "Basic Design" and "Color."
With energy and flair, Danilowitz and Horowitz have charted Albers's world-changing role as a teacher. Through their archival research of original correspondence, documents, student course notes, and student work produced in his courses, and their interviews of former students, colleagues, and associates of Albers, they reveal the way that Albers's ideas on education and his complex personality have made an indelible imprint in the lives and work of artists all over the world. This book provides not only a compelling study of a key figure of 20th century art, but also ponders what constitutes art and how it is made and taught.
Customer Reviews:
Outstanding Description of the Methods of A Superlative Art Teacher.......2007-02-08
Josef Albers: To Open Eyes by Frederick A. Horowitz and Brenda Danilowitz, is a beautiful, magnificent book about this internationally eminent artist, teacher of art, and theorist of design and color. It simply could not be better.
Brenda Danilowitz, Chief Curator of the Josef and Anni Albers Foundation in Bethany, Connecticut, writes about the biography of Albers, 64 pages, while Frederick A. Horowitz, a former student of Albers at Yale, who taught a The University of Michigan School of Art & Design in Ann Arbor and at Washtenaw Community College, devotes 181 pages to Albers as teacher of design, drawing, color and painting. An additional 34 pages cover Notes, Bibliography, Sources, Illustrations and Index. To find out what made Albers such a unique and revered teacher Frederick Horowitz interviewed a total of 160 students at Bauhaus, Black Mountain College, Yale and Harvard as well as 9 of his professional colleagues.
Albers was first a student and then a member of the faculty of the original Bauhaus in Germany. When Hitler took over Germany in 1933 and the faculty, led by Mies van der Rohe, closed the Bauhaus, Albers came to the U.S. to teach, first at Black Mountain College in North Carolina and then, beginning in 1950, at Yale as Head of the Department of Design. By 1962 Yale University awarded him an honorary Doctorate at the same time she similarly honored President John F. Kennedy and former Secretary of State Dean Acheson.
Albers experimented with color relationships in the form of nested squares of color. His great dedication resulted in a retrospective exhibition of his oeuvre at The Metropolitan Museum of Art, an honor only rarely given to a living artist. Another retrospective was organized in 1988 at the Guggenheim Museum in New York.
At Yale all first-year graduate students in architecture, undergraduates majoring in architecture and design, and all students in design took Albers' courses in color and in drawing, while his basic design course was meant for undergraduates majoring in architecture.
Albers had a wide influence on generations of artists, architecture and design. The book makes it eminently clear why Albers was as influential a teacher as he was and why his courses and theories became the basis of art teaching all over the United States.
The text of this truly remarkable book is very informative and well written. The illustrations are superlative, carefully chosen and in many instances unique, not available anywhere else since they come from the Albers Foundation. I counted 284 illustrations, 103 in color.
By describing the life and artful work of Josef Albers this book demonstrates to teachers and lovers of art at all levels how to impart a life-long desire to experiment with fundamental principles of art and with novel materials to create new objects of art.
Relevance.......2006-12-30
"Josef Albers: to Open Eyes" by F.A.Horowitz and B. Danilowitz is not only a review into the life and work of a great complex artist and teacher. It also signals the end of a debatable era called "postmodernism" whose glitz, pomp and kitsch we have been witnessing universally since Tom Wolfe's pamphlet "From Bauhaus to Our House". "Josef Albers: to Open Eyes" also gives hope to the rediscovery of relevance. This elaborate study deserves to be part of the curriculum of the future art generation in its defining process.
Frank R Schmidt, Princeton, NJ
An Essential Book for Art Teachers Everywhere.......2006-12-20
Many people may not know that Josef Albers played a large part in revolutionizing teaching art in the 20th Century. Many people do not know how many 2oth century artists lives were in some way affected by his teaching--either directly or indirectly.
It is surprising that it has taken this long for a book on the remarkable teaching career of Josef Albers to appear, but here it finally is. Fred Horowitz and Brenda Danilowitz do a superb job of bringing the pedagogical thinking of perhaps the greatest 20th century art educator to life as well giving us a clear picture of the teacher himself. If this is the only book you ever read on teaching art you will give yourself the greatest gift possible.
The explanations and analysis of individual projects in four foundations courses, are coherent and represent the meat of this remarkable book. Plentiful fine illustrations from the Albers Foundation Archives, the Bauhaus and Black Mountain College make clear the descriptions of the problems and the reasons Albers found these to be indispensible in developing visual thinking--in opening eyes.
The choice of type weight, spacing, margin widths, and the light value of the ink may make reading the text a little difficult, but you should persevere--because real gold lies within the text. This is not just a book for the pictures!!
The publishers should take note, however, that Josef Albers as a designer would have deplored the way the layout and typography makes the reading a difficult task. I wonder whether the book designers took the trouble to read the text, or if they might benefited from some of the basic lessons imparted in Albers' famous Design courses.
I hope that with the publishing of this book, the vital lessons that Albers made the core of his life teaching will once again be brought alive and vigorous into the Foundations classrooms of colleges and art schools worldwide.
Superb narrative of a brilliantly talented man.......2006-12-11
What a mammoth yet intriguing and masterful study of the brilliantly talented Josef Albers! This book has many substantial insights, but I was personally fascinated with the depth of passion that Albers demonstrated both for his art and his pedagogy. Fred Horowitz has elegantly evoked the ways that Albers sought to "open" the eyes of his students, so they could "bring the conscious mind to bear on the task at hand" and take risks as they became "creative, self-reliant, [and] independent."
Book Description
Many people think modernist architecture never flowered in California north of the San Fernando Valley. NorCalMod dispels that notion in a copiously illustrated history showcasing extraordinary examples of its proud contribution to the Bay Area and environs. As a style, modernist architecture was hotly debated in its day (why create modern structures where such distinctive Victorian and Arts and Crafts buildings already existed?) pulling heavyweights such as Frank Lloyd Wright, Lewis Mumford, and Walter Gropius into the fray. Ultimately, that existing "Bay Region Style" would remain the area's architectural hallmark, but not before hundreds of important modernist projects, many still standing yet unjustly neglected today, had been established. The remarkable photos in this book open our eyes to a long-lost chapter in the history of California architecture and make NorCalMod a volume to be enjoyed by those interested in California history and style as well as by architecture students and professionals.
Customer Reviews:
Of both particular and general value; a fine piece of work........2007-05-30
This is an accessible, well-written and thoughtful book; a rarity in current architectural discourse.
Furthermore, it is handsomely designed and illustrated with beautiful archival photography.
Though it focuses on the seemingly narrow topic of the neglected/suppressed history of modern architecture in Northern California, its value is much broader.
More generally, it provides lucid insights into the mechanisms of architectural history and, by extension, the very nature by which we come to understand and appreciate our built environment in the present age.
Great, Important Work.......2007-05-17
This underappreciated topic finally gets the attention it deserves. Great photos, interviews, etc which are obviously the result of extensive research. Color photos would have been nice.
Customer Reviews:
Disappointingly scant content.......2002-10-09
I know I'm going to anger some of the folks who really believe in this book, but I was really disappointed with how slim and scant the educational content was. There are very many black and white illustrations of the students' work related to Itten's teachings. And his outlook is very pure and creative. I really enjoyed that aspect of this book, but expected more meat! I wanted to know more specifically about conflict. I wanted him to go deeper. As it is, he brings up a well ordered set of concepts, explains them clearly and then moves on. In my opinion this book is wildly overpriced. I probably would give it four stars had it only cost me between seven and fifteen dollars. At thirty and change it's not worth it.
lighting the creative spark in everyone.......2001-07-18
This book is not a step by step syllabus to follow blindly. Itten wrote this book to share the fundamental principles that he taught all his students (no matter how advanced) before allowing them to pursue higher classes and goals at his school.
The book is broken down into sections that (to anyone who's had art training) seem simple enough: chiaroscuro, form, color, rhythm, etc. but Itten teaches not so much the technical aspect of art as a new way of seeing the world, a way of creating from the whole body and mind, not just with a paintbrush (or computer graphics program).
The sections are all punctuated with many examples of student work that relate to the topic covered. Often, it is these examples that really drive his points home.
Just as Itten believed that everyone was capable of being creative and thought the basic course was valuable to all levels of art students and even teachers, this book is applicable for both those who are looking for an introduction into creating, and those who consider themselves expert artists already. I guarantee there will be at least one idea in the book to make you stop and ponder and suddenly challenge your way of thinking on the matter.
Itten is a god, bow down........2001-04-27
Itten made the world as we know it today. Without his guidence, none of the products you buy, art you look at, or anything else would be what it is today. If you are a designer or art monger, you owe it to yourself to read this book. It is a discription of his Basic Course (everyone had to take it...) at the Bauhaus in Weimar written by Itten himself.
Average customer rating:
- For students of architecture and highly recommended
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Twentieth-Century American Architecture: The Buildings and Their Makers
Carter Wiseman
Manufacturer: W. W. Norton & Company
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ASIN: 0393320545 |
Book Description
Carter Wiseman presents an original, readable, and literate overview of the major figures, influential movements, and landmark buildings that have defined American architecture over the past hundred years. In a survey that is "as good . . . as anyone is likely to write . . . accurate in its facts, wise and fair in its judgments"(New York Times), he focuses to a large extent on architecture's makers--the commanding figures who by force of personality and sheer artistic ability indelibly influenced its progress: Louis Sullivan, Frank Lloyd Wright, Philip Johnson, I. M. Pei, Robert Venturi, Louis Kahn, Frank Gehry. The triumph of modernism; the growth of architectural preservation; the eclipse of the practical arts by money, theory, and abstraction; and the uncertain future of architecture in a country that celebrates both individualism and community are just some of the issues addressed in this highly praised work. Originally published in hardcover under the title Shaping a Nation.
Customer Reviews:
For students of architecture and highly recommended.......2001-02-15
Twentieth-Century American Architecture: The Buildings And Their Makers surveys the major figures, influential movements, and landmark buildings that have identified and defined the American architecture over the past century. Carter Wiseman's informative text is enhanced with photographs as he focuses on the architects whose personalities and abilities indelibly influenced architectural progress. These figures range from Louis Sullivan Frank Lloyd Wright, and Philip Johnson, to I.M. Pei, Robert Venturi, and Louis Kahan. Twentieth-Century American Architecture is an impressive, authoritative, narrative history that is "must" reading for students of architecture, and highly recommended, accessible reading for the non-specialist general reader with an interest in the development of American architectural trends and the men behind them.
Amazon.com
In the late '90s, publishers began to race to get a book out that would cater to the explosive interest in all things midcentury modern. There was Classic Modern, Naturally Modern, and Modernism Rediscovered, to name just a few of the better ones. With the publication of this volume by regular Architectural Digest contributor Michael Webb, we finally have a book that not only provides a plethora of design ideas we can steal for use in our very own living rooms, but also tells the often-captivating behind-the-scenes stories of each great home it showcases.
The focus here is on the saving of these houses, and Webb's text is wonderfully insightful. One of the 35 spectacular homes featured is celebrated architect John Lautner's Harvey House in Los Angeles, the very same once-dilapidated house (the book captures it in its newly restored state) over which actor Leonardo DiCaprio went head to head in a bidding war (and lost) with actress Kelly Lynch and her husband, screenwriter Mitch Glazer.
The house is a work in progress, full of difficult judgment calls. The expanded kitchen may be cut back and the original St. Charles cabinets reinstalled. The rotunda will be refined and there is a possibility of recreating the aluminum-framed glass breakfast nook--a kind of high-tech gazebo--originally located under the pergola. Meanwhile the owners and their small daughter adore living here. "At night, we can look all the way through and out at the lights of the city," says Lynch. "I find myself caught up in the spirit of the place, wander about, and forget I'm in the middle of watching a movie!"
Newly commissioned photography by Roger Straus, known for his panoramic shots of Frank Lloyd Wright structures, is another highlight. Designed and built in the 1940s, '50s, and '60s by architects such as Richard Neutra, Pierre Koenig, Philip Johnson, Eero Saarinen, John Lautner, H.H. Harris, Gregory Ain, Paul Rudolph, John Black Lee, Allyn E. Morris, and Ulrich Franzen, the 35 homes presented here are some of the most sought after in America. If you're into modern or want to know what all the fuss is about, this is the book you'll want to own. --Richard Olsen
Book Description
In the first book of its kind, architectural critic Michael Webb and Esto photographer Roger Strauss III examine 35 extraordinary modern houses that have been restored, enhanced, or extended by new owners who see them as timeless classics. Built in the heyday of modernism, from the 1930s through the early 1960s, these houses were designed by exceptional architects for themselves or for adventurous clients. A few were lovingly preserved as time capsules, but most endured years of neglect or abuse and might easily have been torn down.
Webb explores how these houses were created--as daring experiments or as creative responses to site and climate--and here are villas that fuse craft and invention, machines for living, and residences that embrace the landscape. Here, too, are houses inspired by the purity of classical temples, and frugal dwellings that have been sensitively enlarged. After a long eclipse, these houses and the enlightened attitudes they embody are being rediscovered by creative individuals searching for distinctive, open, light-filled places to live. Modernism is a way of living, more than a style, and this book celebrates the architects and owners who respect its character and scale.
Also included are nearly 200 photographs taken by Roger Strauss, all of which were specially commissioned for this book.
Customer Reviews:
Mid-Century Modern .......2007-08-08
If you want a strong, national (not just LA or Palm Springs) overview of mid-century modern, this is a good bet. Very well produced, beautiful imagery.
A Peek at many Architectural Rarities.......2006-12-02
The author provides a good overview of the history and restoration of 35 architecturally significant houses
of the 1930's through mid-century. The only thing keeping it from getting a 5 star rating is it's small format,
resulting in smallish pictures and smaller floor plans. These wonderful houses deserved a larger page size,
say 12" x 12", to show them to the best advantage. Still, given it's relatively modest price, this book provides
a lot of information between the covers.
Homes of the Brave.......2005-08-27
We are in danger of losing our mid-century domestic architectural heritage.
Yesterday's flat-roof, ultra-modern "home of tomorrow" is often perceived as the cramped and impractical "teardown" of today. Most real estate agents will confide that "Modern doesn't sell," and those modernist homes that are sold are usually fodder for the bulldozer; razed and discarded to make way for another McMansion.
Sometimes it seems that the only folks who have any fondness for "Home, Sleek Home" are advertising directors (who love to feature hip mid-century homes in TV commercials and print ads), and subscribers to Dwell Magazine (and subscribers to the Dwell Magazine lifestyle).
In his book MODERNISM REBORN: Mid-Century American Houses, architectural critic Michael Webb demonstrates that there is a growing appreciation for cutting-edge American residential architecture of the 1930s through the 1960s, and in it he highlights the intrepid homeowners who've assumed stewardship of 35 of these "Contemporary" domiciles of long, long ago. Tersely written, illustrated with floor plans, and enlivened by nearly 200 color photos by noted architectural photographer Roger Strauss III, MODERNISM REBORN explores the unique histories of these homes, and chronicles the research, labor, and expense that the adventurous owners have lavished on their preservation, restoration and sometimes, expansion.
Nearly all of the 20th Century architectural greats are represented here--Frank Lloyd Wright, Richard Neutra, Philip Johnson and R.M. Schindler--as well as iconic modernist structures such as Pierre Koenig's Case Study House #21, Ludwig Mies van der Rohe's Farnsworth House, and Charles and Ray Eames' own home-studio. Webb presents homes that embody various modernist impulses in thematic chapters that prove that there was no one right way (or Wright way) to be "modern."
Webb's survey argues a case for Modernism as a mode (or ideal) of living, rather than a mere style (or styles). Indeed, these light-filled, open plan, spartanly furnished "homes of the brave" imply an enlightened lifestyle of Zen-like purity somewhat at odds with the ever more acquisitive and materialistic American way of life.
Don't read too much into the Modernist rejection of consumerism, however, because these designer homes were status symbols in their day, and to furnish a home with "Modern classics" like Le Corbusier's Petit Confort sofa, the Eames lounge chair and ottoman, and a pair of Mies Barcelona chairs will set you back several grand. Modern don't come cheap.
Ultimately, the stories that Webb weaves about the people that commissioned, designed, built, restored and live in these homes are every bit as enlightening and memorable as the homes themselves. In fact, the author makes their histories seem inseparable, as if house and owner are joined in partnership against philistine taste, obnoxious neighbors, natural (and unnatural) disasters, and metal fatigue.
This is not a scholarly study, but Webb assumes a certain level of cultural awareness and familiarity with architectural terms in his reader. It is a fine book with a fresh look at a perhaps overly familiar subject, and is well worth owning for the photos alone.
Reading MODERNISM REBORN makes one wonder how the home of 1950 will inform and inspire the home of 2050, the mid-century home of tomorrow.
Fifties elegance.......2004-02-16
I bought this interesting book because I wanted something that would cover, visually, the best of mid-century American architecture. As another reviewer has said, don't expect a full technical account of the background to these beautiful houses but if you want excellent exterior and interior photos in a well designed and printed book, 'Modernism reborn' is the one to get.
The fact that these thirty-five houses have all been restored in some way gives the book extra interest. Many of them were featured in the architectural press years ago when they were first built and these are the photos you usually see in books. Some of them were neglected but fortunately the current owners thought restoration worthwhile and this is how Roger Straus photographed them.
An interesting companion book to 'Modernism reborn' is Classic Modern: Midcentury Modern At Home by Deborah K Dietsch, not directly concerned with the architecture but more to do with the furniture, fabrics, lighting and style that made these houses such wonderful homes. If only I could afford to live in one!
***FOR AN INSIDE LOOK click 'customer images' under the cover.
cotton candy.......2002-01-22
I'm surprised at the raves for this book. It is well produced. The photos are terrific. But: The building descriptions do little more than cheer-lead. He raves about features which are not illustrated. Most of the buildings only get 4 photos. The plans provided are far too small, usually only one plan is provided, though most of the buildings have more than one level. In at least one case the plans are mislabled. I'd only recommend this book to somebody who only wants a catalog of names. Still waiting for a really good book about mid-century modern architecture. This isn't it.
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Yearning for Beauty (Emanating)
Manufacturer: Hatje Cantz Publishers
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ASIN: 3775717781
Release Date: 2006-08-15 |
Book Description
The Wiener Werkstatte, founded in Vienna in 1903 by Josef Hoffmann and Koloman Moser, became the international trademark for art as well as arts-and-crafts in the twentieth century. The fascinating history of the Wiener Werkstatte is told in this beautifully designed volume, which features historic photographs (some of them published for the first time here), documents and original texts selected by experts from the MAK (where the Wiener Werkstatte archives have been housed since 1955). Full-page illustrations feature outstanding examples of Wiener Werkstatte objects, covering architecture, furniture, ceramics, glass, books, posters, postcards, carpets, jewelry, fashion and print design. The book also focuses on the innovative "total concept" used by this avant-garde association to establish an early "consumer culture," since the Werkstatte was one of the first organizations to develop a corporate identity that followed a product through every stage from concept and development to marketing. This exceptionally well designed and executed book features a deeply embossed monochromatic silver cover and matching edge pages, as well as a richly illustrated special section on Josef Hoffmann's Stoclet House.
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- Brilliant and Unsurpassed
- At Last !!
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First House: The Grid, the Figure and the Void (Architectural Monographs (Cloth))
Christian Bjone
Manufacturer: Academy Press
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The Harvard Five in New Canaan: Midcentury Modern Houses by Marcel Breuer, Landis Gores, John Johansen, Philip Johnson, Eliot Noyes, and Others
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ASIN: 0470845384 |
Book Description
First House: the grid, the figure and the void presents a range of innovative first houses designed by a group of famous Harvard graduates from the 1930s - many of which have never been published before. These include such influential figures as Edward Larrabee Barnes, Ulrich Franzen, John Johansen, Philip Johnson, I M Pei and Paul Rudolph.
This examination shows both what these soon-to-be-famous American architects were taught by their émigré Bauhaus instructors Walter Gropius and Marcel Breuer, and the development of their personal artistic vision.
Each building is accompanied by a rich collection of background period information. Artworks by American painters such as Calder, Pollock, Motherwell and Kline are incorporated as both emblems of their time and sources of design inspiration. The furniture designed and used in many of the buildings is also illustrated and ranges from the well-known work of Eames to the forgotten steel wire chairs of Landrum.
The book concludes with a review of the personalities involved in publishing these modern houses: the photographer Ezra Stoller, writer Peter Blake and historian Vincent Scully. These men also tried their hand at self-designed 'First Houses' for their own families.
This book provides an extensively researched text with previously unpublished discoveries that are tied together in a uniquely personal and emotional narrative that opens a clear view upon the designers and their time.
Customer Reviews:
Brilliant and Unsurpassed.......2003-03-11
As an architectural historian, I have read a number of books that approach this subject, but none so comprehensively and with such a thoughtful analysis. Clear and concise writing with intriguing visual comparisons and beautiful illustrations and drawings. I recommend this book by the brilliant author/architect to anyone interested in 20th-century American architecture.
At Last !!.......2002-12-08
This book reviews the box type architecture of the '40s, but with a twist, with details. This author features the first homes' interior gems. Yes, paintings, furniture and from old photographs, first time owners are rediscovered. Philip Johnson (also wrote at the end), I M Pei, Noyes, etc. its like the first album for a superband or superstar. Mr Bjone as an architect himself does an excellent job in this endeavor. Refreshing, the new cool.
Book Description
From teaspoons to cocktail shakers and unique objects made for New York World’s Fairs, this stunning book examines the influence of modernism upon industrially produced silverware made in the United States from 1925 to 2000. Featuring the Dallas Museum of Art’s Jewel Stern American Silver Collection— which comprises over four hundred extraordinary works in the modern idiom—as well as other objects in the Museum’s collection, and selected pieces on loan, Modernism in American Silver is the first book to study the full scope of progressive design in American silver of the twentieth century.
The book not only focuses on the works of such widely known designers as Michael Graves, Richard Meier, Tommi Parzinger, Elsa Peretti, Eliel Saarinen, Belle Kogan, and Lella and Massimo Vigelli, it also reveals the role of others largely unrecognized, among them Donald H. Colflesh, Kurt Eric Christoffersen, Helen Hughes Dulany, Robert J. King, and Elsa Tennhardt, who were instrumental in shaping silverware for a New Age.
For collectors, scholars, designers, students, and museum visitors interested in silver and design, this book is a beautiful and essential resource.
Book Description
This beautifully illustrated book highlights the contrasts and correspondences in the lives and work of two of Modernism’s greatest innovators, Josef Albers (1888–1976) and László Moholy-Nagy (1895–1947). Beginning in the 1930s, Albers and Moholy-Nagy each developed a rigorously abstract language that condensed art to its visual fundamentals: line, color, texture, light, and form. This language experienced a creative explosion during their Bauhaus years, when both artists moved freely between media and disciplines. Essays by leading scholars follow the artists’ separate paths through to their emigration to the United States, where each continued to push tirelessly the conventions of artistic practice—Albers at Black Mountain College in North Carolina and then at Yale University, and Moholy-Nagy in Chicago at the New Bauhaus School and the Institute of Design. As highly influential teachers, Albers and Moholy-Nagy became important catalysts for the transmission of Modernist ideas from Europe to America.
Spanning four decades and featuring works in a variety of media, including painting, collage, glass, moving sculpture, photography, film, furniture, and graphic design, Albers and Moholy-Nagy reveals for the first time the range of achievement of these two important figures and is essential to our understanding of the evolution of Modernism.
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The Dessau Bauhaus Building 1926-1999
margret Kentgens
Manufacturer: Birkhauser
ProductGroup: Book
Binding: Hardcover
General
| Architecture
| Professional & Technical
| Subjects
| Books
European
| International
| Architecture
| Professional & Technical
| Subjects
| Books
General
| Building Types & Styles
| Architecture
| Professional & Technical
| Subjects
| Books
ASIN: 3764352906 |
Book Description
With the Bauhaus in Dessau, Walter Gropius created a building in 1925/26 that represented a "demonstration of architectural Modernism". (Wolfgang Pehnt). During the few years of its original use as a school with studios, until it was closed down by the Nazis in 1932, it had also become a center of crystalization for the creative forces of its times. Today, the Dessau Bauhaus Foundation again makes the famous building, which has been undergoing extensive restoration since 1997, a center for cultural activities: numerous projects and events at the occasion of the eightieth anniversary of the Bauhaus' foundation in Weimar (1999) and the EXPO 2000 will provide the building with even more public attention. The book documents all phases of the Bauhaus Building's history, use and constructive changes. The authors look at its meaning for contemporary architecture, culture and politics, and describe its history during the Weimar Republic, the Third Reich, the GDR and up to the present. The themes range from the first architectural design to the future of the Bauhaus as a monument. With contributions by members of the Dessau Bauhaus as well as by independent specialists, and with picture documentation that also goes back to unpublished materials from the Bauhaus Foundation archives, the multifaceted book represents the new standard volume on the Bauhaus Building.
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