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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
Arvey Foundation Book Award, Association for Latin American Art,
2018 Many Latin American artists and critics in the 1920s drew on
the values of modernism to question the cultural authority of
Europe. Modernism gave them a tool for coping with the mobility of
their circumstances, as well as the inspiration for works that
questioned the very concepts of the artist and the artwork and
opened the realm of art to untrained and self-taught artists,
artisans, and women. Writing about the modernist works in
newspapers and magazines, critics provided a new vocabulary with
which to interpret and assign value to the expanding sets of
abstracted forms produced by these artists, whose lives were shaped
by mobility. The Mobility of Modernism examines modernist artworks
and criticism that circulated among a network of cities, including
Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps
the dialogues and relationships among critics who published in
avant-gardist magazines such as Amauta and Revista de Avance and
artists such as Carlos Merida, Xul Solar, and Emilio Pettoruti,
among others, who championed esoteric forms of abstraction. She
makes a convincing case that, for these artists and critics,
modernism became an anticolonial stance which raised issues that
are still vital today-the tensions between the local and the
global, the ability of artists to speak for blighted or
unincorporated people, and, above all, how advanced art and its
champions can enact a politics of opposition.
Danish Modern explores the development of mid-century modernist
design in Denmark from historical, analytical and theoretical
perspectives. Mark Mussari explores the relationship between Danish
design aesthetics and the theoretical and cultural impact of
Modernism, particularly between 1930 and 1960. He considers how
Danish designers responded to early Modernist currents: the
Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic
demands, their early fealty to wood and materials, and the tension
between cabinetmaker craft and industrial production as it
challenged and altered their aesthetic approach. Tracing the
theoretical foundations for these developments, Mussari discusses
the writings and works of such figures as Poul Henningsen, Arne
Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl.
Modernism's Other Work challenges deeply held critical beliefs
about the meaning-in particular the political meaning-of
modernism's commitment to the work of art as an object detached
from the world. Ranging over works of poetry, fiction, painting,
sculpture, and film, it argues that modernism's core aesthetic
problem-the artwork's status as an object, and a subject's relation
to it-poses fundamental questions of agency, freedom, and politics.
With fresh accounts of works by canonical figures such as William
Carlos Williams and Marcel Duchamp, and transformative readings of
less-studied writers such as William Gaddis and Amiri Baraka,
Siraganian reinterprets the relationship between aesthetic autonomy
and politics. Through attentive readings, the study reveals how
political questions have always been modernism's critical work,
even when writers such as Gertrude Stein and Wyndham Lewis boldly
assert the art object's immunity from the world's interpretations.
Reorienting our understanding of the period, Siraganian
demonstrates that the freedom of the art object from the reader's
meaning presented a way to imagine an individual's complicated
liberty within the state. Offering readers an original encounter
with modernism, Modernism's Other Work will interest literary and
art historians, literary theorists, critics, and scholars in
cultural studies.
Arthur Drexler (1921-1987) served as the curator and director of
the Architecture and Design Department at the Museum of Modern Art
(MOMA) from 1951 until 1986-the longest curatorship in the museum's
history. Over four decades he conceived and oversaw trailblazing
exhibitions that not only reflected but also anticipated major
stylistic developments. Although several books cover the roles of
MoMA's founding director, Alfred Barr, and the department's first
curator, Philip Johnson, this is the only in-depth study of
Drexler, who gave the department its overall shape and direction.
During Drexler's tenure, MoMA played a pivotal role in examining
the work and confirming the reputations of twentieth-century
architects, among them Frank Lloyd Wright, Le Corbusier, Richard
Neutra, Marcel Breuer, and Ludwig Mies van der Rohe. Exploring
unexpected subjects-from the design of automobiles and industrial
objects to a reconstruction of a Japanese house and
garden-Drexler's boundary-pushing shows promoted new ideas about
architecture and design as modern arts in contemporary society. The
department's public and educational programs projected a culture of
popular accessibility, offsetting MoMA's reputation as an elitist
institution. Drawing on rigorous archival research as well as
author Thomas S. Hines's firsthand experience working with Drexler,
Architecture and Design at the Museum of Modern Art analyses how
MoMA became a touchstone for the practice and study of midcentury
architecture.
The Frauen- und Carolinenbad bathing facility was opened in Baden
near Vienna in 1821. Two hundred years after this event, which was
significant from the perspective of both culture and economic and
architectural history, this book documents the history of the
planning and construction of the building, which has been dedicated
to the painter Arnulf Rainer since 2009. The Frauenbad is one of
the most important Classical buildings in Austria. Its designer,
the Frenchman Charles de Moreau (1758-1840), was one of the leading
architects of this epoch in Austria. The book communicates the
results of new research on the architecture of this key European
period between the Enlightenment, revolution, and reaction.
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.
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.
Working from a discourse analysis perspective, MA1/4ller examines
how a national art history was constituted through its linguistic
construction and transmission. The study demonstrates how German
art history was a ~manufactureda (TM) through language,
particularly in the 19th and 20th centuries. The study operates at
the interface between text linguistics, the history of concepts and
the history of words and makes an important contribution to the
history of national consciousness.
A lavishly illustrated catalogue that is the first to explore the
role of modernism in 20th- century American silver design From
teaspoons to cocktail shakers and unique objects made for New York
World's Fairs, this stunning book examines the influence of
modernism upon industrially produced silverware made in the United
States from 1925 to 2000. Featuring the Dallas Museum of Art's
Jewel Stern American Silver Collection- which comprises over four
hundred extraordinary works in the modern idiom-as well as other
objects in the Museum's collection, and selected pieces on loan,
Modernism in American Silver is the first book to study the full
scope of progressive design in American silver of the twentieth
century. The book not only focuses on the works of such widely
known designers as Michael Graves, Richard Meier, Tommi Parzinger,
Elsa Peretti, Eliel Saarinen, Belle Kogan, and Lella and Massimo
Vigelli, it also reveals the role of others largely unrecognized,
among them Donald H. Colflesh, Kurt Eric Christoffersen, Helen
Hughes Dulany, Robert J. King, and Elsa Tennhardt, who were
instrumental in shaping silverware for a New Age. For collectors,
scholars, designers, students, and museum visitors interested in
silver and design, this book is a beautiful and essential resource.
Published in association with the Dallas Museum of Art Exhibition
Schedule: Dallas Museum of Art ( June 18 - September 24, 2006) The
Dixon Gallery and Gardens, Memphis, Tennessee (April 22 - July 15,
2007) The Renwick Gallery, Smithsonian American Art Museum,
Washington, D.C. (September 16, 2005 - January 22, 2006) The
Wolfsonian-Florida International University, Miami Beach, Florida
(November 17, 2006 - March 25, 2007)
The name De Stijl, title of a magazine founded in the Netherlands
in 1917, is now used to identify the abstract art and functional
architecture of its major contributors: Mondrian, Van Doesburg, Van
der Leck, Oud, Wils and Rietveld. De Stijl achieved international
acclaim by the end of the 1920s and its paintings, buildings and
furniture made fundamental contributions to the modern movement.
This book is the first to emphasize the local context of De Stijl
and explore its relationship to the distinctive character of Dutch
modernism. It examines how the debates concerning abstraction in
painting and spatiality in architecture were intimately connected
to contemporary developments in the fields of urban planning,
advertising, interior design and exhibition design. The book
describes the interaction between the world of mass culture and the
fine arts.
Both critic and artist, Wolfgang Paalen was a highly influential
figure in the culture of the Modernist movements of the 20th
century. His work significantly informed Abstract Expressionism,
especially with his periodical DEGREESIDYN DEGREESR, published from
1942-1944, which became a seminal work for painters of that time.
This is the first book-length work to demonstrate his importance
and bring together the contexts--philosophical, scientific,
anthropological, political, and cultural--in which he worked. Thus
it provides a study not only of Paalen himself, but of the
relationships between modernist art movements of Europe and
America, including Expressionism, Cubism, and Surrealism--and the
cultural, social, and political histories in which they
developed.
Carefully and thoroughly detailing the events of Paalen's life
and the formation of his thinking, author Amy Winter shows how his
biography, art, and thought come together in the six issues of
DEGREESIDYN DEGREESR, which continued an exploration initiated by
the Surrealists and other avant-gardes, and which delved into many
problems which have preoccupied art in the last two decades.
Utilizing material gathered for the first time, including personal
interviews and archives never before consulted, Winter offers a
vivid portrayal of a painter, philosopher, critic, collector,
journalist, editor, historian, and ethnographer--in short, a
20th-century renaissance man.
Carter Wiseman presents an original, readable, and literate
overview of the major figures, influential movements, and landmark
buildings that have defined American architecture over the past
hundred years. In a survey that is "as good . . . as anyone is
likely to write . . . accurate in its facts, wise and fair in its
judgments"(New York Times), he focuses to a large extent on
architecture's makers--the commanding figures who by force of
personality and sheer artistic ability indelibly influenced its
progress: Louis Sullivan, Frank Lloyd Wright, Philip Johnson, I. M.
Pei, Robert Venturi, Louis Kahn, Frank Gehry. The triumph of
modernism; the growth of architectural preservation; the eclipse of
the practical arts by money, theory, and abstraction; and the
uncertain future of architecture in a country that celebrates both
individualism and community are just some of the issues addressed
in this highly praised work. Originally published in hardcover
under the title Shaping a Nation.
With an emphasis on painting and sculpture made in the United
States between 1910 and 1950, this gorgeously illustrated volume
offers a rich introduction to American modernism through the
world-class collection of the Philadelphia Museum of Art. The
lively text, which includes previously unpublished archival photos,
examines the roles that the museum and the city of Philadelphia
played in promoting modernism from its inception. Works by
internationally acclaimed artists from the circle of photographer
and gallerist Alfred Stieglitz, including Arthur Dove, Marsden
Hartley, Georgia O'Keeffe, and Charles Sheeler, are featured here
alongside works by artists left outside the mainstream of art
history. The book draws visual connections across works by these
artists while creating compelling juxtapositions that tell a story
of modern American art that is unique to the Philadelphia Museum of
Art. Published in association with the Philadelphia Museum of Art
Exhibition Schedule: Philadelphia Museum of Art (04/18/18-09/03/18)
The Zacherlhaus is located in the heart of Vienna, just 180 meters
from St. Stephen's Cathedral, and is one of the most important
buildings created by the Otto Wagner School. It was built in the
years from 1900 to 1913 and designed for its owner Johann Zacherl
by Joesef Plecnik, who later taught at the Academy of Fine Arts in
Prague and from 1925 worked on the urban renewal of Ljubljana. It
was the first combined residential and commercial building of
modern style in the historic inner city and is one of the best
known buildings in Vienna. This generously illustrated, authentic
publication documents the building and its thorough renovation,
which will be completed in 2015; it includes contributions by
experts on European architecture of the 20th century.
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