Bauhaus Diaspora and Beyond presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world.

The Bauhaus master Johannes Ittenis one of the prominent protagonists of early Modernism in twentieth-century art. Few people are aware of the close links between his beginnings as an artist and his experience of landscape and nature in the town of Thun and Lake Thun. Johannes Itten gained decisive impulses for the development of his concept of art and his path towards abstraction through various stations and sojourns in Thun and its surroundings. By means of examples of the representations of nature in his early work the publication shows in scholarly depth how Itten discovered his own, very personal and later internationally famous approach to art and painting style and presents his pictorial transformation of natureextending through to the artist's late works.

The 1930s in Germany and Austria were marked by economic crisis, political disintegration, and social chaos. This beautifully illustrated catalog surveys the development of the arts in these two countries between the two world wars. Presenting nearly 150 paintings and works on paper, this book reveals artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Works by Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin are presented alongside pieces by lesser-known artists such as Friedl Dicker- Brandeis, Albert Paris Gutersloh, Karl Hubbuch, Richard Oelze, Josef Scharl, Franz Sedlacek, and Rudolf Wacker. This book features essays about the appropriation of artistic idioms, the reactions of artists toward their historical circumstances, and major political events that shaped the era.

More than 300 historic fabric samples from the mid-1920s and 1930s provide a visual textbook of design ideas prevalent during the Art Deco era. These were the everyday fabrics used for housedresses and curtains, adorned with the era's predominate geometric creations and spiced with the exotic inspirations that spurred one of the most popular artistic movements of all times. This book is an invaluable reference guide for costume historians and a treasure trove of inspiration for designers.

An illuminating biography of one of the most famous--and most famously unfinished--buildings in the world, the Sagrada Familia of Barcelona. The scaffolding-cloaked spires of Antoni Gaudi's masterpiece, the Sagrada Familia, dominate the Barcelona skyline and draw in millions of visitors every year. More than a century after the first stone was laid in 1882, the Sagrada Familia remains unfinished, a testament to Gaudi's quixotic ambition, his religious devotion, and the sensuous eccentricity of his design. It has defied the critics, the penny-pinching accountants, the conservative town-planners, and the devotees of sterile modernism. It has enchanted and frustrated the citizens of Barcelona. And it has passed through the landmark changes of twentieth-century Spain, surviving two World Wars, the ravages of the Spanish Civil War, and the Hunger Years of Franco's rule. Gijs van Hensbergen's The Sagrada Familia explores the evolution of this remarkable building, working through the decades right up to the present day before looking beyond to the final stretch of its construction. Rich in detail and vast in scope, this is a revelatory chronicle of an iconic structure, its place in history, and the wild genius that created it.

Art Deco is one of the most exciting chapters in the history of the decorative arts. Conceived in France before the First World War, it spread throughout Europe and had its greatest and most spectacular success in the United States. Myriad influences shaped the style - Cubism, Constructivism, Orientalism, the Ballets Russes, the Bauhaus - and its exponents included many of the century's most celebrated artists, designers and craftsmen.

A century after the Bauhaus's founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular. In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus's founding and beyond.

As one of the key players of modern jewellery in the '20s, Paul Brandt worked with the most famous jewellers of his time, like Fouquet or Sandoz. He followed eclectic studies in Paris (jewellery, painting, sculpture, medals and stones engraving, chiselling, etc) and finally decided to specialise in jewellery design. With his first creations he joined the art nouveau movement before focusing on an art deco style. He took part in the International Exhibition of Decorative Art of 1925 both as an artist and a jury member. Paul Brandt considered his jewellery as works of art in their own right and displayed them during exhibitions where the scenography kept getting more innovative. From the '30s, he extended his activity to interior design. This monograph displays the talent of this major artist who left his mark in France and abroad. Recounting his whole career, it highlights the extent of Paul Brandt's skills, not only in jewellery but also in medal making, decoration and interior design. Text in French.

The worldwide use of building envelopes in steel and glass is one of the characteristic features of modern architecture. Many of these pre- and post-war buildings are now suffering severe defects in the building fabric, which necessitate measures to preserve the buildings. In this endeavor, aspects of architectural design, building physics, and the preservation of historic buildings play a key role. Using a selection of 20 iconic buildings in Europe and the USA, the book documents the current technological status of the three most common strategies used today: restoration, rehabilitation, and replacement. The buildings include Fallingwater House by Frank Lloyd Wright, Farnsworth House by Ludwig Mies van der Rohe, Fagus Factory and Bauhaus Building by Walter Gropius.

The career of the pioneering designer Muriel Cooper, whose work spanned media from printed book to software interface; generously illustrated in color. Muriel Cooper (1925-1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)-seven bars that represent the lowercase letters "mitp" as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper's career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper's legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. She designed design's future.

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.

Over 300 spectacular pendants, combs, buckles, rings, bracelets, brooches, umbrella handles, penknives, buttons, clasps and scissors in detailed photographs reprinted from rare, turn-of-the-century folio. Elegant, copyright-free illustrations exquisitely detailed with flower, foliage and butterfly motifs. Readily adaptable to any design use.

A beautifully illustrated retrospective of Art Nouveau architect and designer Hector Guimard, positioning him at the forefront of the modernist movement The aesthetic of architect Hector Guimard (1867-1942) has long characterized French Art Nouveau in the popular imagination. This groundbreaking book showcases all aspects of his artistry and recognizes the fundamental modernity of his work. Known for, among other things, the decorative entrances to the Paris Metro and the associated lettering, he often looked to nature for inspiration, and combined materials such as stone and cast iron in unique ways to create designs composed of curves and waves that evoked movement. Guimard broke away from his classical Beaux-Arts training to advocate a modern, abstract style; he also pioneered the use of standardized models for his design objects and experimented with prefabricated designs in his social housing commissions, advancing the technology of the time. With copious, beautifully reproduced illustrations of his architectural drawings as well as his furniture, jewelry, and textile designs, this volume explores Guimard's full oeuvre and elucidates the significance of his work to the history of modern art. Essays by an international group of scholars present Guimard as a visionary architect, a shrewd entrepreneur, an industrialist, and a social activist. Published in association with the Richard H. Driehaus Museum Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum, New York (November 17, 2022-May 21, 2023) The Richard H. Driehaus Museum, Chicago (June 22, 2023-January 7, 2024)

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.

The orthodox concept of the Modern, as it was passed down from the 1920s to the post-war era, has been in a state of crisis for quite some time. This is particularly visible in the fields of urban planning, architecture, and design. Theorists and practitioners have either fiercely defended it as a crowning historical achievement to be upheld and further cultivated, or dismissively rejected it as a short-lived and outdated episode that needs to be replaced with something different and new. Architectural theorist and practitioner Vittorio Magnago Lampugnani suggests a third option: that we reformulate our understanding of the Modern, continuing to pursue its original social and humanist ambitions while radically re-examining its ideological, political, social, technical, functional, economic, ecological, and aesthetic assumptions. Our world, which continues to be shaken by dreadful wars, is also being sapped and polluted by our thoughtlessness and our greed. The capitalist compulsion to turn everything into a commodity has led to needless production and consumption, and we are both victims and accomplices of this predicament. The consumerist frenzy has brought completely new forms of exploitation and exacerbated the unjust inequalities between different parts of our world. Starting from these premises, the author puts forward a new design approach that strives for - and is defined by - durability. This is an approach that rejects the frivolous waste of resources and superficial prolif eration of images that have become commonplace today. It offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.

The mapping of the history and trajectory of Indian modern art is a project begun only in recent years and included in it is the recovery of lesser known names and moments from under the shadow of a few dominant ones. Within it, its conscience keeper-art criticism-has borne greater neglect and obscurity. One such voice, heard with considerable attention in its time, was that of the Delhi-based art critic K. B. Goel (1930-2018). Active from the late 1950s to the '90s, his career broadly coincided with the modernist period. Active mainly as a reviewer, Goel also wrote lengthy reflective assessments, and his art writings stand out for an interpretative and often theory-based approach that is quite unique to Indian art criticism. Writing on some of the most definitive artists, movements, and styles of twentieth-century Indian art, he bears the distinction of successfully transitioning from his modernist training to theorize on the earliest postmodern developments in Indian art, such as installation art. This annotated volume seeks to bring together Goel's major writings, accompanied by a critical introduction that draws attention to his frameworks, concerns, and methodologies. It has a foreword by the eminent art critic Geeta Kapur.

South African artist Irma Stern (1894-1966) is one of the nation's most enigmatic modern figures. Stern held conservative political positions on race even as her subjects openly challenged racism and later the apartheid regime. Using paintings, archival research, and new interviews, this book explores how Stern became South Africa's most prolific painter of Black, Jewish, and Colored (mixed-race) life while maintaining controversial positions on race. Through her art, Stern played a crucial role in both the development of modernism in South Africa and in defining modernism as a global movement. Spanning the Boer War to Nazi Germany to apartheid South Africa and into the contemporary #RhodesMustFall movement, Irma Stern's work documents important twentieth-century cultural and political moments. More than fifty years after her death, Stern's legacy challenges assumptions about race, gender roles, and religious identity and how they are represented in art history.

OMA - Office for Metropolitan Architecture - gehoert zu den weltweit einflussreichsten Think Tanks im Bereich Architektur und Stadtplanung. Rem Koolhaas, Grundungsvater und Pritzker-Preistrager, steht mit seiner intellektuellen Herangehensweise an Architektur fur weitaus mehr als den globalen Star-Architekten: Die Architektur bei OMA entsteht in enger Zusammenarbeit mit AMO, dem dazugehoerigen und doch eigenstandige Design- und Forschungsstudio. Hier wie dort heisst es: Architektur weiterdenken, sich von Konventionen loesen, neue Moeglichkeiten entdecken. Der Weg ist das Ziel, die Architektur ein nie endender Prozess dauernd wechselnder Bedingungen und Perspektiven. Diese Monografie uber OMA zeigt beeindruckende Projekte aus vielen Jahren des Architekturschaffens, sie beschreibt Ideen, Techniken und Prozesse und zeigt vor allem eines: viele Baudetails.