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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
The Bauhaus Journal, now published in this gorgeous facsimile, is
the ultimate testimony to the school's diversity and impact One
hundred years after the founding of the Bauhaus, it's time to
revisit Bauhaus, the school's journal, as a crucial testimony of
this iconic moment in the history of modern art. This gorgeously
produced, slipcased, 14-volume publication features facsimiles of
individual issues of the journal, as well as a commentary booklet
including an overview of the content, English translations of all
texts and a scholarly essay that places the journal in its
historical context. Even during its existence, the influence of the
Bauhaus school extended well beyond the borders of Europe, and its
practitioners played a formative role in all areas of art, design
and architecture. The school's international reach and impact is
particularly evident in its journal. Bauhaus Journal was published
periodically under the direction of Walter Gropius and L szl
Moholy-Nagy, among others, from 1926 to 1931. In its pages, the
most important voices of the movement were heard: Bauhaus masters
and artists associated with the school such as Josef Albers,
Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Herbert Bayer,
Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld and many
more. The centenary of the Bauhaus provides an ideal opportunity to
reassess this history, to consider the ideals of the school and its
protagonists through this graphically innovative publication.
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.
Modernism is usually thought of as a shock wave of innovations
hitting art, architecture, music, cinema and literature - the work
of Picasso, Joyce, Schoenberg, movements like Futurism and Dada,
the architecture of Le Corbusier, T.S. Eliot's The Wasteland and
the avant-garde theatre of Bertolt Brecht or Samuel Beckett. But
what really defines modernism? Why did it begin and how long did it
last? Is Modernism over now? Chris Rodriguez and Chris Garratt's
brilliant graphic guide is a brilliant exploration of the last
century's most thrilling artistic work - and what it's really all
about.
A poster first printed in Germany in 1926 depicts the human body as
a factory populated by tiny workers doing industrial tasks. Devised
by Fritz Kahn (1888-1968), a German-Jewish physician and popular
science writer, "Der Mensch als Industriepalast" (or "Man as
Industrial Palace") achieved international fame and was reprinted,
in various languages and versions, all over the world. It was a new
kind of image-an illustration that was conceptual and scientific, a
visual explanation of how things work-and Kahn built a career of
this new genre. In collaboration with a stable of artists (only
some of whom were credited), Kahn created thousands of images that
were metaphorical, allusive, and self-consciously modern, using an
eclectic grab-bag of schools and styles: Dada, Art Deco,
photomontage, Art Nouveau, Bauhaus functionalism, and commercial
illustration. In Body Modern, Michael Sappol offers the first
in-depth critical study of Fritz Kahn and his visual rhetoric. Kahn
was an impresario of the modern who catered to readers who were
hungry for products and concepts that could help them acquire and
perform an overdetermined "modern" identity. He and his artists
created playful new visual tropes and genres that used striking
metaphors to scientifically explain the "life of Man." This rich
and largely obscure corpus of images was a technology of the self
that naturalized the modern and its technologies by situating them
inside the human body. The scope of Kahn's project was
vast-entirely new kinds of visual explanation-and so was his
influence. Today, his legacy can be seen in textbooks, magazines,
posters, public health pamphlets, educational websites, and
Hollywood movies. But, Sappol concludes, Kahn's illustrations also
pose profound and unsettling epistemological questions about the
construction and performance of the self. Lavishly illustrated with
more than 100 images, Body Modern imaginatively explores the
relationship between conceptual image, image production, and
embodied experience.
In this, the first collection of prose by "one of the U.S.'s most
controversial performance artists" (P-Form Magazine), Frank Moore
explores his deep and uncompromising vision of human liberation and
art as a "battle against fragmentation." In the essays, writings
and rants of Frankly Speaking, roughly covering the period from the
late 1970s until his death in 2013, Moore reveals his plan for the
complete political and social transformation of American society
(see Platform for Frank's Presidential Candidacy 2008), stirs up
the "art world," urging fellow artists to truly live their calling
and not accept censorship (see Art is Not Toothpaste or The Combine
Plot), pulls the reader deeply into the heart of magic,
responsibility, shamanism, play, and expanded sexuality (see
Inter-Penetration or Dance of No Dancers), and much much more.
Frank Moore's essays have been praised by political activists,
authors, artists and cultural icons like Bill Mandel, John
Sinclair, Penny Arcade, Annie Sprinkle and many others for their
comprehensive and revolutionary world-view. The reader gets to join
Frank's joyful and fearless digging into the core issues of human
experience to get to something deeper: intimacy, tribal community,
freedom. Frankly Speaking also gives us a peek into the history of
these pieces, which have been widely published all over the world,
from the smallest of underground zines to the most established
mainstream art journals. But Frank always focused on the small,
personal, intimate level, and always fought to stay "underground."
As he writes in Mainstream Avant-Garde?: "The underground is where
the real freedom and the real ability to change society are to be
found." The writings in this collection have this "beautiful slow
pace as if forcing the mind of the reader to change pace as well
and let the other world come to the forefront - the cartography of
the soul is where you take us ... each in our own way ... rather
than your way ... which is generous indeed of you." (Shelley Berc,
writer, teacher) "You've hit another homer ... You ought to publish
a book of essays or perhaps a Frank Moore anthology." - Bill
Mandel, broadcast journalist, left-wing political activist and
author, best known for his televised condemnation of Sen. Joseph
McCarthy in the early '50s and later for his dramatic defiance of
the House Un-American Activities Committee (HUAC) in May 1960.
Published by Inter-Relations
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