In the 1920s, an unprecedented program of architectural and cultural renewal was established in the German city of Frankfurt am Main. This scheme became inscribed in cultural history under the name "The New Frankfurt." Under the city's lord mayor, Ludwig Landmann, and the head of the municipal planning and building control office, Ernst May, modernity as a way of life took shape there: As part of the housing and urban development initiative decided in 1925, more than 10,000 new residential units were planned. The Building Ministry's architects, recruited from home and abroad, created pioneering work in many areas. Examples include the typification of family-oriented flats, plans for affordable apartments for those on low incomes, the first standard kitchen, the industrial prefabrication of building shells, the construction of schools designed around children's needs, and integrated urban and green planning. In this book, four essays delve into the cultural background of the scheme and provide illuminating insights into the context of the work of its many actors. Richly illustrated short texts highlight the most important topics, settlements, and buildings, and provide an overview of the New Frankfurt phenomenon. Each featured object includes the address and information on public transport links, inviting readers on a tour of the New Frankfurt.

From the end of World War II until the mid-1960s, exciting things were happening in American architecture. Emerging talents were focusing on innovative projects that integrated at once modern design and low-cost materials. The trend was most notably embodied in the famous Case Study House Program, a blueprint for modern habitation championed by the era's leading American journal, Arts & Architecture. The complete facsimile of the ambitious and groundbreaking Arts & Architecture was published by TASCHEN in 2008 as a limited edition. This new curation-directed and produced by Benedikt Taschen-brings together all the covers and the highlights from the first five years of the legendary magazine, with a special focus on the Case Study House Program and its luminary pioneers including Neutra, Schindler, Saarinen, Ellwood, Lautner, Eames, and Koenig. A celebration of the first brave years of a politically, socially and culturally engaged publication, this special selection is also a testimony to one of the most unique and influential events in the history of American architecture.

A full-colour illustrated biography of the life of Susie Cooper and her ceramic company's output. During her sixty-five-year career, Susie Cooper introduced more than 4,500 ceramic patterns and shapes, making her one of the most prolific, versatile and influential designers the industry has ever seen. Between the 1920s and 1980s she moved from the bold hand-painting of the 'Jazz Age' through delicate wash banding and aerograph techniques to sophisticated lithographic transfer printing on both earthenware and bone china. Cooper not only led the charge of gifted female designers in the male-dominated Potteries but also pioneered the role of women in factory management. Alan Marshall here charts her progress from the creation of patterns for Gray's Pottery in the 1920s, to running her own Susie Cooper Productions from the 1930s to the 1950s, and designing for Wedgwood from the 1960s to the 1980s.

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.

One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.

The architecture of post-war Modernism poses particular challenges for building research and heritage preservation. Should its methods be adapted to the often prefabricated nature of the buildings? How should we rate these buildings, of which there are still a great many in existence, in terms of monument preservation? What challenges does modernizing them pose? Can individual components be replaced with mass-produced items without this detracting from the building's heritage-listed status? What are the risks in relation to certain materials that have since come to be classified as toxic? What strategies of knowledge distribution should be applied for buildings of post-war Modernism? At the MONUMENTO in Salzburg in 2018 and 2020, seasoned experts addressed these fundamental issues of preserving listed buildings with reference to selected projects.

Berlin has a special architectural treasure: six residential estates in the Modern Style, built between 1913 and 1932, are remarkable both for their high international importance and their good state of preservation. In July 2008 they were included in the UNESCO World Heritage List.

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.

Unter dem faschistischen Regime wurde im Sudtiroler Martelltal 1937 das vom Architekten Gio Ponti geplante Hotel Paradiso eroeffnet. Das heute verlassene, ehemalige Sporthotel, ein langgestreckter, geschwungener Solitar, der einst die Qualitaten eines Luxushotels mit denen einer Schutzhutte zu kombinieren vermochte, wurde als Gesamtkunstwerk geplant. Eine Besonderheit sind Gio Pontis Studien zum eigenwilligen und bis ins Detail entworfenen Farbkonzept, das auf vier Grundfarben basierend fur die Wande und Decken der Raume verwendet wurde. Mangelnde Wartung und Vandalismus haben dem Hotel seit der Schliessung 1946 arg zugesetzt. Vor dem Hintergrund der Wurdigung der Anlage als Gesamtwerk und einer sorgfaltigen Bestandsaufnahme ist es moeglich, den Entwurfsprozess von den ersten Skizzen bis zur Ausfuhrung zu verfolgen.

Dynamic and beautiful Art Deco ceramics blazing with eye-catching, bold--even confrontational--hand-painted designs on innovative vessel forms, produced by some of the most influential potteries in Britain during the 1920s and 1930s, are featured here in over 400 color photographs. Spectacular dinnerwares, vases, jugs, face masks, coffee and tea sets by Clarice Cliff, Susie Cooper, Beswick, Crown Devon, Myott, Royal Doulton, Shelley, and others appear in abundance. A thorough text provides brief histories of the makers, explanations of the origins and development of the Art Deco style, and valuable tips for today's enthusiastic collectors. Values for the wares displayed are given. This reference will be enjoyed by both art and ceramics enthusiasts the world over.

Be transported back to the heyday of modern style when architecture, design and style were de rigueur. This is an invaluable location guide for any art deco traveller in the United States and for all lovers of 1920s and 30s nostalgia and all that that entails: the opulence and decadence of the legendary Jazz Age era. Whether you are visiting the USA for business or pleasure or just wish to have a further insight into the art deco legacy left behind for us all to enjoy, this state-by-state guide highlights buildings and facades to see, local accommodation, theatres, monuments and associated places of interest. The guide has been compiled from the author's personal visits and her extensive research, resulting in a unique extravaganza of art deco words and pictures that any layman or aficionado will find a great companion to this iconic era.

This is an enormously readable history of modernist design, enhanced by the author's black and white drawings that both illustrate and elucidate the text. It is a book meant for lay readers and examines its subject with the kind of wit and insight found in John Berger's ""Ways of Seeing"" and Edward E. Tufte's ""Envisioning Information"". ""The Bauhaus Ideal"" is both a picture book and a guidebook to the fascinating and enduring legacy of modernist design, and to the continuing influence of Bauhaus on interior design - not just on architecture, but also on furniture, glassware, tableware, and kitchen utensils: the whole range of domestic arts. Le Corbusier, Mies van der Rohe, Buckminster Fuller, Charles and Ray Eames, and others were part of a movement to make sense of design in the modern world. Their experiments - both successes and failures - eloquently demonstrate what design can accomplish. 'Design' itself was an invention of the Bauhaus era to combine usefulness, beauty, and economy into a reasonable whole. This unique volume introduces modern design principles and examines them from an historically critical perspective. It concludes with some ideas for melding modern solemnity with postmodern irony. And in each phase the illustrations speak as eloquently as the text. This invaluable book is itself a work of art and is being issued in paperback at a time when there is revival of interest in modernism - furniture by Le Corbusier, Noguchi, and Eames have never been more popular. It serves as a beautifully illustrated design manifesto.

"I have learned profoundly from Nathan Glazer's cultural perspectives and deep insights, engaging the extraordinary and the ordinary. "From a Cause to a Style" is a work I consider most relevant and significant for our time via its all-encompassing range and its richness of detail involving multiple urban, architectural, technical, and social issues-recent, current, and future."--Robert Venturi, architect and author

"This collection is a reminder that in addition to being an urban sociologist, an astute commentator on social issues, and a public intellectual, Nathan Glazer is an insightful and provocative architecture critic."--Witold Rybczynski, author of "Home: A Short History of an Idea"

"Nathan Glazer stands in the grand but fragile American tradition of the humanist architectural critic. He is also one of our great complexifiers. Whether he is writing about cities, streets, public spaces, or particular buildings, he notices things that seem to escape the attention of the professional--though not always of the general public. To read him is to become aware of one's own architectural experience, and to begin thinking hard about how it might be improved."--Mark Lilla, University of Chicago

"This is a remarkable collection of essays that only Nathan Glazer could write. It sums up and partly explains the inability of contemporary architecture to deal with the problems of modern urbanism and to address many practical issues of building. As Glazer points out, an architectural tradition that identified itself by its capacity to focus the issues of functionalism has ended up by almost totally ignoring them."--Robert Gutman, Lecturer in Architecture, Princeton University

The Haus Am Horn, built in 1923 on the occasion of the first Bauhaus exhibition, is the first and only example of Bauhaus architecture in Weimar to have survived. It was with this experimental building that the Bauhaus presented itself to the public for the first time. All the Bauhaus workshops cooperated closely to fit it out completely with furniture, textiles, lights and the latest household equipment that they had designed themselves. Each detail of the house was an answer to numerous questions regarding living conditions in the future which remain topical to this day. From 1924 until well into the 1990s the house was lived in, changed and extended, so that little remains of the interior furnishings.This compact overview publication presents the chequered history of the house, which can be visited and toured as a monument from 2019.

This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.

For self-made artist and soldier Horace Pippin-who served in the 369th all-black infantry in World War I until he was wounded-war provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war. Illustrated with more than sixty photographs, including works in various mediums-many in full color-this is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreaking artist as it shows how this African American painter suffered from but also staged many artful resistances to racism in a white-dominated art world.

During states of emergency, normal rules and rights are suspended, and force can often prevail. In these precarious intervals, when the human potential for violence can be released and rehearsed, images may also emerge. This book asks: what happens to art during a state of emergency? Investigating the uneasy relationship between aesthetics and political history, Emilia Terracciano traces a genealogy of modernism in colonial and postcolonial India; she explores catastrophic turning points in the history of twentieth-century India, via the art works which emerged from them. Art and Emergency reveals how the suspended, diagonal, fugitive lines of Nasreen Mohamedi's abstract compositions echo Partition's traumatic legacy; how the theatrical choreographies of Sunil Janah's photographs document desperate famine; and how Gaganendranath Tagore's lithographs respond to the wake of massacre. Making an innovative, important intervention into current debates on visual culture in South Asia, this book also furthers our understanding of the history of modernism.

After 1918, post-war euphoria spread across Europe and America. Technology was changing the pace of life and aeroplanes, motorcars and ocean liners were making the world a smaller place with improved communications. Some were making their fortunes, and for those who could afford it, it was an exciting time of cocktail parties, nightclubs and jazz. Fashion was Paris, elegance, the Paris Expo of 1925 and Art Deco with the lure of the avant-garde; but much of the wealth was in America, represented by the jazz age, glamour, The Great Gatsby and Hollywood. And the emancipated, wealthy, fashionable woman of means wanted newly-designed jewellery and accessories decorated with contemporary motifs to reflect her new status. The vanity case, the ultimate jewelled fashion accessory, was designed and made mostly in Paris by the skilled designers and craftsmen who understood that the fashionable modern woman needed a practical solution to containing her lipstick, powder compact, cigarettes, lighter, theatre tickets, keys and all the other small paraphernalia about her person. Made of precious metals including platinum and gold, with inlays of lacquer, gemstones, mother of pearl, jade, or enamel, these 'reticules' took hundreds of hours of patient craftsmanship to complete and were very, very expensive. Objects of desire to be passed round and shown off at gatherings of the super-rich, they became miniature status symbols to be seen with at the opera or restaurant.

The first publication to focus on the Art Institute's outstanding collection of American modernism, this volume includes over 175 important paintings, sculptures, decorative-art objects, and works on paper made in North America between World War II and 1955. Together they fully reflect the history of American art in these decades, including examples of early modernism, Social Realism, Surrealism, and Abstract Expressionism. Among the paintings are such iconic works as Hopper's Nighthawks and Wood's American Gothic, along with notable pieces by Davis, De Kooning, Hartley, Lawrence, Marin, O'Keeffe, Pollock, and Sheeler. Among the sculptors represented are Calder, Cornell, and Noguchi. Spectacular decorative artwork by the Eameses, Grotell, Neutra, Saarinen, F. L. Wright, and Zeisel are also featured. Reproduced in full color, each work is accompanied by an accessible and up-to-date text, complete with comparative illustrations. The introduction traces the formation of this important collection by a number of noted curators, collectors, and patrons. Distributed for the Art Institute of Chicago

Over 23 years ago the first publication of Chiparus: Master of Art Deco brought this artist into the public eye. His name, lost in records and catalogues, was rejuvenated by Alberto Shayo's rediscovery of his works, effectively bringing artist and oeuvre back to life. This book dwells on the sources and inspiration of the Art Deco movement, with particular emphasis on sculptures created by Demetre Chiparus. However, Chiparus considered himself a painter above a sculptor. In this latest version of the book, many unpublished pictures come to light as well as newly discovered oils and 'sanguines', confirming his aptitude in both fields.

Short-listed for the Fage & Oliver Prize for outstanding scholarly work published on Africa. Finalist, African Studies Association Book Prize. Finalist, ASA Bethwell A. Ogot Prize for best book in east African studies. If modernism initially came to Africa through colonial contact, what does Ethiopia's inimitable historical condition--its independence save for five years under Italian occupation--mean for its own modernist tradition? In Modernist Art in Ethiopia--the first book-length study of the topic--Elizabeth W. Giorgis recognizes that her home country's supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context. Giorgis explores the varied precedents of the country's political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection of visual culture and literary and performance studies, Modernist Art in Ethiopia details how innovations in visual art intersected with shifts in philosophical and ideological narratives of modernity. The result is profoundly innovative work--a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.

As a result of its aspiration to design the world comprehensively and to take action pedagogically based on the arts, the Bauhaus established an inseparable link between architecture, design, art, and pedagogy. The effects of this in-depth desire for reform can also still be recognized in art, architecture, design, and contemporary processes of aesthetic education one hundred years after the school's founding. The resonance of the Bauhaus is thus the topic of this book. The various texts reflect on the Bauhaus from the perspectives of the history of art and design, art education, and educational science with respect to the aspects: reception in popular culture, education through design, material in teaching, and the Bauhaus as a regulative idea in the digital age.