|
Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver, Iain McNab, in 1925. Situated in London's Pimlico district the school played a key role in the story of modern British printmaking between the wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight's star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day and are included in the print collections of the world's major museums, including the British Museum, the MoMA New York and the Australian National Gallery.
This new book which accompanies an exhibition at Dulwich Picture Gallery illustrates over 120 linocuts, drawings and posters by Grosvenor School artists and its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.
Bauhaus Imaginista is a major international project marking the
centenary of this fascinating and popular school, which championed
the idea of artists working together as a community. The Bauhaus
reconnected art with everyday life, and was active in the fields of
architecture, performance, design and visual art. Its original
teachers included such renowned figures as Paul Klee, Wassily
Kandinsky, Laszlo Moholy-Nagy and Josef Albers. Placing a rare
emphasis on the international dissemination and reception of the
Bauhaus, this book accompanies a touring exhibition, and presents
four chapters that extend from Bauhaus education to the school's
diverse history beyond Europe. Rethinking the Bauhaus school from a
global perspective, it sets the school's entanglements against a
century of geopolitical change. The reader is taken to art and
design museums, campus galleries and art institutes in India,
Japan, China, Russia, Brazil and the United States, as well as
Berlin.
The architecture of social reform explores the fascinating
intellectual origins of modern architecture's obsession with
domesticity. Copiously illustrated, Rousset's revealing analysis
demonstrates how questions over aesthetics, style, urbanization,
and technology that gripped the modernist imagination were deeply
ingrained in a larger concern to reform society through housing.
The increasing demand for new housing in Germany's rapidly growing
cities fostered critical exchanges between a heterogeneous group of
actors, including architects, urban theorists, planners, and social
scientists, who called for society to be freed from class
antagonism through the provision of good, modest,
traditionally-minded domestic design. Offering a compelling account
of architecture's ability to act socially, the book provocatively
argues that architectural theory underwent its most critical
epistemological transformation in relation to the dynamics of
modern class politics long before the arrival of the avant-garde.
-- .
This vibrant book tells the history of the Modernist design
movement and how it completely revolutionized graphic design.
Graphic Design as an artistic genre wasn't universally accepted
until the early 20th century. This striking book focuses on the
pivotal years of 1919-1933 to show how fifty artists redefined the
field and helped create modern graphic design. Art historian and
graphic artist Alston Purvis provides a concise and engaging
overview of the dawn of modern graphic design and the artistic
possibilities that were laid bare in a seismically shifting Europe.
He explores how a variety of burgeoning and established movements
contributed to the innovations of graphic design such as the German
Dadaists, the Bauhaus School, and the European avant-garde artists.
He looks at how groundbreaking trends in typography, the rise of
consumerism, and a new focus on schools of graphic design combined
to create a new language of design that is still in use today.
Featuring the designs of 50 pioneering artists, such as Walter
Gropius, Paul Klee, and El Lissitzky, this book shows how their
work in color, typography, and composition broke conventions and
set new standards in a seminal period of graphic design.
|
Living In
(Hardcover)
Andrew Gestalten, Trotter, Luz
|
R1,713
R1,329
Discovery Miles 13 290
Save R384 (22%)
|
Ships in 9 - 15 working days
|
|
In Making Dystopia, distinguished architectural historian James
Stevens Curl tells the story of the advent of architectural
Modernism in the aftermath of the First World War, its
protagonists, and its astonishing, almost global acceptance after
1945. He argues forcefully that the triumph of architectural
Modernism in the second half of the twentieth century led to
massive destruction, the creation of alien urban landscapes, and a
huge waste of resources. Moreover, the coming of Modernism was not
an inevitable, seamless evolution, as many have insisted, but a
massive, unparalled disruption that demanded a clean slate and the
elimination of all ornament, decoration, and choice. Tracing the
effects of the Modernist revolution in architecture to the present,
Stevens Curl argues that, with each passing year, so-called
'iconic' architecture by supposed 'star' architects has become more
and more bizarre, unsettling, and expensive, ignoring established
contexts and proving to be stratospherically remote from the
aspirations and needs of humanity. In the elite world of
contemporary architecture, form increasingly follows finance, and
in a society in which the 'haves' have more and more, and the
'have-nots' are ever more marginalized, he warns that contemporary
architecture continues to stack up huge potential problems for the
future, as housing costs spiral out of control, resources are
squandered on architectural bling, and society fractures. This
courageous, passionate, deeply researched, and profoundly argued
book should be read by everyone concerned with what is around us.
Its combative critique of the entire Modernist architectural
project and its apologists will be highly controversial to many.
But it contains salutary warnings that we ignore at our peril. And
it asks awkward questions to which answers are long overdue.
Modernists of the early twentieth century were transfixed by the
X-ray-a means of seeing through skin into systems of bones and
tissue. What, nearly a century later, can X-rays reveal about the
systems of modernism itself? Modern Management Methods asks how the
value of a building is produced through instruments of expertise,
management ideologies, and historical narratives. Through
unorthodox survey practices, the project uses the imaging
techniques of conservation and the documentary detritus of heritage
preservation to show how scientific methods attempt to produce
stable notions of history and value. Deploying the medium of the
X-ray, Caitlin Blanchfield and Farzin Lotfi-Jam tell two related
histories of building conservation, internationalism, and the
making of modernist meaning through the architect Le Corbusier's
building Stuttgart's Weissenhofsiedlung and the United Nations
Headquarters in New York City.
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.
Gunnar S. Gundersen (1921-1983) was one of the most important
Norwegian artists of the post-war period. Together with several
other artists, he was part of a modernist breakthrough. He started
abstract painting in 1947, and by around 1960 his art had evolved
towards a fully non-figurative form. Gundersen became one of the
few Concrete artists in Scandinavia, together with Richard
Mortensen in Denmark and Olle Bonnier and Olle Baertling in Sweden.
An important part of his oeuvre consists of the many rich,
colourful wall paintings made from 1950 to 1980. Despite Gundersen
having exhibited all over the world, an international breakthrough
eluded him. A gallery dedicated to his art was opened in Hoyanger
in Western Norway in November 2018. Text in English and Norwegian.
An urban history of modern Britain, and how the built environment
shaped the nation's politics Foundations is a history of
twentieth-century Britain told through the rise, fall, and
reinvention of six different types of urban space: the industrial
estate, shopping precinct, council estate, private flats, shopping
mall, and suburban office park. Sam Wetherell shows how these
spaces transformed Britain's politics, economy, and society,
helping forge a midcentury developmental state and shaping the rise
of neoliberalism after 1980. From the mid-twentieth century,
spectacular new types of urban space were created in order to help
remake Britain's economy and society. Government-financed
industrial estates laid down infrastructure to entice footloose
capitalists to move to depressed regions of the country. Shopping
precincts allowed politicians to plan precisely for postwar
consumer demand. Public housing modernized domestic life and
attempted to create new communities out of erstwhile strangers. In
the latter part of the twentieth century many of these spaces were
privatized and reimagined as their developmental aims were
abandoned. Industrial estates became suburban business parks.
State-owned shopping precincts became private shopping malls. The
council estate was securitized and enclosed. New types of urban
space were imported from American suburbia, and planners and
politicians became increasingly skeptical that the built
environment could remake society. With the midcentury built
environment becoming obsolete, British neoliberalism emerged in
tense negotiation with the awkward remains of built spaces that had
to be navigated and remade. Taking readers to almost every major
British city as well as to places in the United States and
Britain's empire, Foundations highlights how some of the major
transformations of twentieth-century British history were forged in
the everyday spaces where people lived, worked, and shopped.
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
Material Modernity explores creative innovation in German art,
design, and architecture during the Weimar Republic, charting both
the rise of new media and the re-fashioning of old media. Weimar
became famous for the explosion of creative ingenuity across the
arts in Germany, due to experiments with new techniques (including
the move towards abstraction in painting and sculpture) and
inventive work in such new media as paper and plastic, which
utilized both new and old methods of art production. Individual
chapters in this book consider inventions such as the camera and
materials like celluloid, examine the role of new materials
including concrete composites in opening up fresh avenues in the
plastic arts, and relate advances in the understanding of color
perception and psychology to an increased interest in visual
perception and the latent potential of color as both architectural
ornament and carrier of emotional force in space. While art
historians usually argue that experimentation in the Weimar
Republic was the result of an intentional rejection of traditional
modes of expression in the conscious attempt to invent a modern art
and architecture unshackled from historic media and methods, this
volume shows that the drivers for innovation were often far more
complex and nuanced. It first of all describes how the material
shortages precipitated by the First World War, along with the
devastation to industrial infrastructure and disruption of historic
trade routes, affected art, as did a spirit of experimentation that
permeated interwar German culture. It then analyzes new challenges
in the 1920s to artistic conventions in traditional art modes like
painting, sculpture, drawing, architecture, textiles, and
print-making and simultaneously probes the likely causes of
innovative new methods of artistic production that appeared, such
as photomontage, assemblage, mechanical art, and multi-media art.
In doing so, Material Modernity fills a significant gap in Weimar
scholarship and art history literature.
In less than half a century, the Socialist Federal Republic of
Yugoslavia successfully defeated Fascist occupation, fended off
dominating pressures from the Eastern and Western blocs, built a
modern society on the ashes of war, created its own form of
socialism, and led the formation of the Nonaligned Movement. This
country's principles and its continued battles, fought against all
odds, provided the basis for dynamic and exceptional forms of art.
Drawing on archival materials, postcolonial theory, and Eastern
European socialist studies, Nonaligned Modernism chronicles the
emergence of late modernist artistic practices in Yugoslavia from
the end of the Second World War to the mid-1980s. Situating
Yugoslav modernism within postcolonial artistic movements of the
twentieth century, Bojana Videkanic explores how cultural workers
collaborated with others from the Global South to create
alternative artistic and cultural networks that countered Western
hegemony. Videkanic focuses primarily on art exhibitions along with
examples of international cultural exchange to demonstrate that
nonaligned art wove together politics and aesthetics, and
indigenous, Western, and global influences. An interdisciplinary
book, Nonaligned Modernism highlights Yugoslavia's key role in the
creation of a global modernist ethos and international postcolonial
culture.
They were not only two of the outstanding artists of the Bauhaus,
but also a well-known couple. Their many famous works and the
artists they influenced as teachers and role models bear witness to
their life and work. But that is not all, as another ingenious
couple literally shows us. The photographer duo Lake Verea has
joined forces with the Josef and Anni Albers Foundation to trace
the material and intellectual traces of their artistic creativity
in their estate. Correspondence with Bauhaus colleagues, tubes of
paint and fabric fibers are captured with an extraordinary feel and
vividness. Seeing the objects gives wings to the imagination. For
inevitably, one sees the hands of the artists at work, who formed
their very own contribution to 20th century art history from these
objects, conversations and trains of thought.
Caught between the Lines examines how the figure of the captive and
the notion of borders have been used in Argentine literature and
painting to reflect competing notions of national identity from the
nineteenth to the twenty-first centuries. Challenging the
conventional approach to the nineteenth-century trope of
"civilization versus barbary," which was intended to criticize the
social and ethnic divisions within Argentina in order to create a
homogenous society, Carlos Riobo traces the various versions of
colonial captivity legends. He argues convincingly that the
historical conditions of the colonial period created an ethnic
hybridity-a mestizo or culturally mixed identity-that went against
the state compulsion for a racially pure identity. This mestizaje
was signified not only in Argentina's literature but also in its
art, and Riobo thus analyzes colonial paintings as well as texts.
Caught between the Lines focuses on borders and mestizaje (both
biological and cultural) as they relate to captives: specifically,
how captives have been used to create a national image of Argentina
that relies on a logic of separation to justify concepts of
national purity and to deny transculturation.
|
You may like...
Barbican Centre
Harry Cory-Wright
Paperback
R403
R315
Discovery Miles 3 150
Agnes Pelton
Gilbert Vicario
Hardcover
R246
Discovery Miles 2 460
Bauhaus
Magdalena Droste
Hardcover
(1)
R376
Discovery Miles 3 760
|