The Bauhaus, the legendary school in Dessau, Germany, transformed architecture and design around the world. This book broke new ground when first published in 1991 by introducing psychoanalysis, geometry, early childhood education, and popular culture into the standard political history of the Bauhaus. The ABC's of Triangle, Square, Circle also introduced two young designers, Ellen Lupton and J. Abbott Miller, whose multidisciplinary approach changed the field of design writing and research. With a new preface by Lupton and Miller, this collection of visually and intellectually stimulating essays is a must-read for educators and students.

One of the most extraordinary artists associated with the Bauhaus school, Herbert Bayer united graphic design, art and architecture in an uncompromising artistic vision that came to represent the bold aesthetic approach of the movement. A teacher with the school until 1928, Bayer went on to become a highly successful graphic designer in Germany, and later one of the most prominent figures in the 20th-century art scene of the United States. This broad biographical account, which presents previously unseen archival photographs and episodes from the life of Bayer and other influential Bauhaus artists such as Walter Gropius, Marcel Breuer and Laszlo Moholy-Nagy, follows Bayer through the Weimar Republic, Nazi Germany and finally to his exile in the United States. Specifically, Patrick Roessler reveals for the first time Bayer's unique experience of 1930s Germany, where, with his commercial and artistic life shattered by terror and censorship, he distracted himself with leading a hedonistic life. Shining a light on Bayer's time in Berlin during the Weimar Republic, and his route out of the Nazi state, Roessler provides rich new insights into how Bauhaus artists navigated a protracted period of social upheaval and dictatorship, where commercial success was fraught with a deep hostility towards the regime and the temptations of emigration. Revealing the tensions of an avant-garde artist struggling to practice during a period of repression, Herbert Bayer, Graphic Designer speaks to both the memory of those who left Nazi Germany, but also the perseverance of artists and intellectuals throughout history who have worked under authoritarian regimes. Drawing on never before interpreted documents, letters and archival material, Roessler tells Bayer's compelling story - documenting the life of a unique artist and offering a valuable contribution to research in emigre experiences.

In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression--the art collection, the anthology, and the archive--and their importance in the development of institutional and artistic culture in the United States.

Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting.

"Collecting as Modernist Practice" demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of "The New Negro" anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States.

Insane Acquaintances explores a range of exhibitions, organisations and institutions that mediated and promoted modernism in Britain. In a series of case studies on subjects ranging from the first Postimpressionist exhibition in London in 1910, the teaching of modernist art in schools, the decoration and design of the modernist home, the International Surrealist exhibition in London in 1936 and the Festival of Britain in 1951, Insane Acquaintances charts some of the ways in which modernism not only sought to improve the quality of art but also the quality of art's reception in Britain. It also provides an institutional history of some of the groups and organisations that fostered modernist art in Britain during that period.

Although race - a concept of human difference that establishes hierarchies of power and domination - has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality - from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants - Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.

Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women's important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons. This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book's rigorous approach reshapes Jugendstil historiography by positing women's lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.

This new edited volume of critical essays examines designs for modern living in Asia between 1945 and 1990. Focusing particularly on the post-World War II and postcolonial years, this book advances multidisciplinary knowledge on approaches to and designs for modern living. Developed from extensive primary research and case studies, each essay illuminates commonalities and particularities of the trajectories of Modernism and notions of modernity, their translation and manifestation in life across Asia through design. Authors address everyday negotiations and experiences of being modern by studying exhibitions, architecture, modern interiors, printed ephemera, literary discourses, healthy living movements and transnational networks of modern designers. They examine processes of exchange between people, institutions and with governments, in and across Asia, as well as with the USA and countries in Western Europe. This book highlights the ways in which the production and discourses of modern design were underscored by economic advancement and modernization processes, and fuelled by aesthetic debates on modern design. Critically exploring design for modern living in Asia, this book offers fresh perspectives on Modernism to students and scholars.

Seen as a step toward addressing this gap, this catalogue seeks to position Mohidin within Berlin art circles of the 1960s, and unravel what could be contingently described as painting from within the tradition. The catalogue also explores the formative role of Mohidin's Pago Pago series not only in his oeuvre, but also in our very ability to write about Southeast Asian history.

Four major communities, four buildings constructing their identities in the contested urban space of Jerusalem. This book examines a fascinating and critical epoch in the architectural history of Jerusalem. It proposes a fresh and analytical discussion of British Mandate-era architecture by studying four buildings that have had a lasting impact on Jerusalem's built environment. Applying relational history methodology, the book reveals how these building projects evolved as an outcome of cross-cultural influences and relations among the British, American, Jewish-Zionist and Muslim-Palestinian communities. Further, the building and design processes behind these structures give new perspectives on the adaptation of modern architecture in the Middle East and the negotiation of historicism and vernacular architecture during the first half of the 20th century.

Mervyn Taylor - wood engraver, painter, illustrator, sculptor and designer - was one of the most celebrated New Zealand artists of the 1930s to 1960s. He was highly connected to modernism and nationalism as it was expressed in New Zealand art and literature of the period. In the 1960s he created twelve murals for major new government and civic buildings erected in that era of great economic prosperity, during which New Zealand first began to loosen its apron-string ties to England. Tragically, some have been destroyed and others presumed lost - until now. This fascinating book, bursting with archival material, details the detective hunt for the murals and tells the stories of their creation. They cement Taylor's place as one of New Zealand's most significant artists, and are a celebration of the art and culture of our modernist era.

The outbreak of the First World War coincided with the beginnings of high modernism in literature and the visual arts to make 1914 a pivotal moment in cultural as in national history. Yeats, Wyndham Lewis, Gaudier-Breszka, Sickert, Epstein and many other avant-garde artists were at work in London during 1914, responding to urgent political as well as aesthetic problems. London was the setting for key exhibitions of high modernist paintings and sculptures, and home to a number of important movements: the Bloomsbury Group, the Whitechapel Boys and the Vorticists among them. The essays in this 2010 book collectively portray a dynamic, remarkable year in the city's art world, whose creative tensions and conflicts were rocked by the declaration of war. A bold, innovative account of the time and place that formed the genesis of modernism, this book suggests new routes through the fields of modernist art and literature.

A lavishly illustrated survey of American Art Deco architecture.

Art deco flourished in cities and small towns throughout America during the 1920s and 1930s. Extremely popular as a statement of modernity and technological progress, art deco movie palaces, dime stores, department stores, courthouses, and schools were ubiquitous in the American landscape; numerous examples of the style continue to be viable spaces.

American art deco was unique. Unlike their European counterparts, architects in the United States had "exotic" indigenous cultures for inspiration. Arts such as Navajo chiefs' blankets, Hopi pottery, and Sioux beadwork, characterized by geometric ornament, were easily assimilated into the art deco style. Regionalism—a good example of which is the Prairie style, advocated by Frank Lloyd Wright and other progressive architects—also influenced American art deco. America's pioneering and westward migration provided powerful themes and motifs, producing an art deco with authentic national and regional characteristics.

American Deco features descriptions—and over 500 color photographs—of 75 opulent buildings across the country that have been preserved. The photographs document interiors, exteriors, and details of deco skyscrapers, courthouses, theaters, and other significant buildings.

The infamous literary hoax that fooled the art world On January 8 1960, artist Nat Tate set out to burn his entire life's work. Four days later he jumped off a Staten Island ferry, killing himself. His body was never found. When William Boyd published his biography of Abstract Expressionist Nat Tate, tributes poured in from a whole host of artists and critics in the New York art world. They toasted the troubled genius in a Manhattan launch party attended by David Bowie and Gore Vidal. But Nat Tate never existed. The book was a hoax. Will Boyd's biography of a fake artist is a brilliant probe into the politics of authenticity and reputation in the modern art scene. It is a playful and intelligent insight into the fascinating, often cryptic world of modern art.

Before the Bauhaus re-evaluates the political, architectural, and artistic cultures of pre-World War I Germany. As contradictory and conflict-ridden as the German Second Reich itself, the world of architects, craftsmen and applied-arts 'artists' were not immune to the expansionist, imperialist, and capitalist struggles that transformed Germany in the quarter-century leading up to the First World War. In this study, John Maciuika brings together architectural and design history, political history, social and cultural geography. He substantially revises our understanding of the roots of the Bauhaus and, by extension, the historical roots of twentieth-century German architecture and design. His book sheds new light on hotly contested debates pertaining to the history of Germany in the pre-World War I era, notably the issues surrounding 'modernity' and 'anti-modernity' in Wilhelmine Germany, the character and effectiveness of the government administration, and the role played by the nation's most important architects, members of the rising bourgeois class, in challenging the traditional aristocracy at the top of the new German economic and social order.

As riveting as a World War II thriller, The Forger's Spell is the true story of three men and an extraordinary deception: the revered artist Johannes Vermeer; the small-time Dutch painter who dared to impersonate him years later; and the con man's mark, Hermann Goering, the fanatical art collector and one of Nazi Germany's most reviled leaders.

The early twentieth century is usually remembered as an era of rising nationalism and military hostility, culminating in the disaster of the First World War. Yet it was marked also by a vigorous campaign against war, a movement that called into question the authority of the nation-state. This book explores the role of artists and writers in the formation of a modern, secular peace movement in Britain, and the impact of ideas about "positive peace" on their artistic practice. From Grace Brockington's meticulous study emerges a rich and interconnected world of Hellenistic dance, symbolist stage design, marionettes, and book illustration, produced in conscious opposition to the values of an increasingly regimented and militaristic society, and radically different from existing narratives of British wartime culture. Published for the Paul Mellon Centre for Studies in British Art

Art Deco is arguably the twentieth century's most popular and memorable design movements. The style defined the interwar period with its clean sleek lines, streamlined shapes, bold abstract forms, and luscious colours.This book charts the impact of this daring new style on the production of tiles and architectural faience in Britain. It shows how they were made and decorated, examines the output of firms like Carter, Pilkington's and Doulton and describes the innovations introduced by creative designers like Edward Bawden and Dora Batty.With photographs of the tiles and architectural faience, individually and in situ of buildings and homes, the author examines the diverse range of animal, floral, human and abstract Art Deco designs.