Das Bauhaus ist weltweit in der Architektur ein Begriff. 100 Jahre nach der Gru ndung der Avantgarde-Schule sind die Grundsatze, die UEberzeugungen und die Erinnerung an das Bauhaus nach wie vor lebendig: Das Bauhaus ist ein Mythos, dessen Erbe auch die heutige Welt in vielerlei Hinsicht pragt. Zum 100. Geburtstag legt Detail ein Poesiealbum auf, in dem 100 Architekten und Architektinnen aus verschiedenen Kontinenten gratulieren. Der Geburtstagsband zeichnet ihre Sicht auf das Bauhaus in Kurztexten, Fotos und Skizzen auf. So entsteht ein buntes Album, das Anekdoten, Erfahrungen sowie individuelle Erlebnisse festhalt und zum Schmunzeln oder Nachdenken einladt. Anstelle einer Definition zeigen die kurzen Statements, inwiefern das Bauhaus auch heute von Bedeutung ist.

Text in English & German. When architects design a house for themselves, the often tense relationship between clients and builders is usually absent. That is why in many such buildings the architect-designers artistic stance and political position, preferences and antipathies, temperament and character are more pronounced than usual. Moreover the architectural theories, debates and trends of an epoch also leave their traces in them in a particular way. We encounter both attachment to tradition and commitment to the avant-garde, willingness to experiment and pragmatism, distinctive artistry and views shaped by the fact that a building is also a product of engineering. And last but not least, expressed in their houses are the personal life circumstances of the people concerned, or the messages the houses are meant to convey above and beyond their actual purpose: as a 'manifesto', as the 'self-portrait' of the architect, but also as an advertising tool or as a sign of connection to specific milieux or positions. Building for oneself has a special connotation under the conditionsof migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood (1921/22), Richard Neutra in Los Angeles (1932), Walter Gropius in Lincoln, Massachusetts (1937/1938), Ernst May near Nairobi (1937/1938), Bruno Taut in Istanbul (1937/1938), Ernoe Goldfinger in London (19371939), Marcel Breuer in New Canaan, Connecticut (1938/1939 and 1947/1948), Josep Lluis Sert in Lattingtown, New York (19471950) and Max Cetto in Mexiko-Stadt (1948/1949). What expression could voluntary migration or forced change of location find in these buildings? To what extent do the architects other buildings differ from such 'homes of ones own' in a foreign country, to use an expression borrowed and modified from Virginia Woolf? The book is a collection of contributions by internationally renowned authors and examines not only the buildings themselves but also other aspects of the topic that have hitherto received little attention.

Maurice Blanchot and Theodor W. Adorno are among the most difficult but also the most profound thinkers in twentieth-century aesthetics. While their methods and perspectives differ widely, they share a concern with the negativity of the artwork conceived in terms of either its experience and possibility or its critical expression. Such negativity is neither nihilistic nor pessimistic but concerns the status of the artwork and its autonomy in relation to its context or its experience. For both Blanchot and Adorno negativity is the key to understanding the status of the artwork in post-Kantian aesthetics and, although it indicates how art expresses critical possibilities, albeit negatively, it also shows that art bears an irreducible ambiguity such that its meaning can always negate itself. This ambiguity takes on an added material significance when considered in relation to language as the negativity of the work becomes aesthetic in the further sense of being both sensible and experimental, and in doing so the language of the literary work becomes a form of thinking that enables materiality to be thought in its ambiguity. In a series of rich and compelling readings, William S. Allen shows how an original and rigorous mode of thinking arises within Blanchot's early writings and how Adorno's aesthetics depends on a relation between language and materiality that has been widely overlooked. Furthermore, by reconsidering the problem of the autonomous work of art in terms of literature, a central issue in modernist aesthetics is given a greater critical and material relevance as a mode of thinking that is abstract and concrete, rigorous and ambiguous. While examples of this kind of writing can be found in the works of Blanchot and Beckett, the demands that such texts place on readers only confirm the challenges and the possibilities that literary autonomy poses to thought.

In sixty-seven exquisite watercolors and drawings, nationally famous architect Eugene Aubry captures on paper the sensibilities, the memories, and the grace that evokes Galveston, especially for those who are BOI ("born on the island"). Commissioned by the Galveston Historical Foundation, these works of art are intended to enhance the visual record of the buildings and the unique local architectural style that so many have appreciated over the years.?

In the aftermath of Hurricane Ike, Galvestonians became more aware than ever of the treasure of the island's historical architecture and the vulnerability of this heritage to forces beyond human control. Aubry's art captures the almost palpable sense of past glories these buildings bring to mind. Aubry--himself BOI--has fashioned these pieces in a way that resonates with those who love the island's ethos.

With a fine eye to the artist's intent and a mastery of detail, architectural historian Stephen Fox expertly and eloquently introduces the work as a whole and, in discursive captions that accompany each image, informs the reader's appreciation of Aubry's art.

So much more than a tribute, "Born on the Island: The Galveston We Remember" stands as a loving homage to Galveston--one that will call its readers home to the island, even if they have never ventured there before.

Beginning around 1910, vanguard artists demanded that true art go beyond the intellectual and transform daily life. This volume highlights the work of six influential European artists who took this idea into the wider world, where it merged enthusiastically with demands in the industrial marketplace, the nascent mass media, and urban popular culture. Featured are Piet Zwart, a Dutch designer who brought his minimalist aesthetic vision to ubiquitous items like biscuit boxes and postage stamps; Karel Teige, leader of the Czech avant-garde, who produced brilliant book and journal designs; his compatriot Ladislav Sutnar, who brought modernist "good design" to tableware, clothing, and children's toys; Gustav Klutsis, who pioneered using photomontage for political purposes; Lazar (El) Lissitzky, who produced some of the most exciting book, poster, and exhibition designs of the 1920s and '30s in Germany and Russia; and German artist John Heartfield, who worked exclusively in photomontage to design book covers, journals, and agitational posters for the Communist cause. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (06/11/11-09/18/11)

American Moderns on Paper presents a selection of approximately 100 of the finest watercolors, pastels, and drawings by leading American modernists from the Wadsworth Atheneum's renowned collection of American art. Works by Sloan, O'Keeffe, Hopper, Marin, Dali, and Wyeth, among many others, serve as notable examples of the various styles and subjects pursued by artists in America from 1910 to 1960. The catalogue entries are accompanied by artist biographies. Organized chronologically, and generously illustrated throughout, the catalogue is introduced by two essays exploring the historical significance of the collection and the importance to American modernists of working on paper, rather than canvas. Providing a rich history of the collection, the volume illuminates not only its historic roots, but also the concurrent national evolution of interest in watercolor and drawings. Published in association with the Wadsworth Atheneum Museum of Art Exhibition Schedule: Amon Carter Museum, Fort Worth, TX (2/27/10-5/30/10) Portland Museum of Art, Portland, ME (6/22/10-9/12/10) Wadsworth Atheneum Museum of Art, Hartford, CT (10/2/10-1/2/11)

Joze Plecnik (1872-1957) studierte bei Otto Wagner in Wien. 1911 ubernahm er den Lehrstuhl von Jan Kotera in Prag. Seine Wiener Bauten sind Landmarken, in Prag wurde er zum Architekten der Prager Burg, und in den 1920er-Jahren begann er den Umbau seiner Heimatstadt Ljubljana. UEber Plecnik wurde viel geforscht und publiziert. Valenas Betrachtungen zeigen jedoch neue Aspekte seines Schaffens auf: sein Wirken in Prag, den Einfluss der roemisch-italienischen Inspiration in seinem Werk, den Umgang mit "naturlichem" Gelande, die Rolle des Bestands bei der Entwicklung neuer liturgischer Raumkonzepte in Kirchenumbauten und die Frage, inwiefern es bei "Plecniks Ljubljana" angemessen ist, von humanistischem Stadtumbau zu sprechen - die Themen des neuen Plecnik-Buchs sind fur Einsteiger und Experten gleichermassen interessant.

Wie wohnt es sich im vielgelobten 1970er-Jahre-Architektenhaus? "Die Speisekammer ist gelungen ..." Was steckt hinter dem Fassadenwechsel der ehrwurdigen Bank? "Erst nach Herberts Tod 1952 konnte sich Karl durchsetzen." Wie halt man es aus, wenn taglich 60.000 Autos am Schlafzimmer vorbeifahren? "Was hast du gesagt?" - "Dass die Tankstelle gut lauft wegen dem vielen Verkehr!" Die satirischen Hausergeschichten von Gottfried Muller sind rein fiktiv - wie jene in seinem erfolgreichen Buch "Schwermut und Abenteuer des Hausbaus" -, aber zugleich so lebensnah, dass dem Leser vor Staunen immer wieder das Lachen im Hals stecken bleibt. Besondere Aufmerksamkeit gilt den "vergessenen Varianten": bislang voellig "unbekannte" Entwurfe der beruhmten Architekten Frank Lloyd Wright, Mies van der Rohe oder Le Corbusier.

Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art. Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism.

A revolutionary look at the profound impact of Mexico and its culture on the development of American modernism In the years between the two world wars, the enormous vogue of "things Mexican" reached its peak. Along with the popular appeal of its folkloric and pictorialist traditions, Mexican culture played a significant role in the formation of modernism in the United States. Mexico and American Modernism analyzes the complex social, intellectual, and artistic ramifications of interactions between avant-garde American artists and Mexico during this critical period. In this insightful book, Ellen G. Landau looks beyond the well-known European influences on modernism. Instead, she probes the lesser-known yet powerful connections to Mexico and Mexican art that can be seen in the work of four acclaimed mid-century American artists: Philip Guston (1913-1980), Robert Motherwell (1915-1991), Isamu Noguchi (1904-1988), and Jackson Pollock (1912-1956). Landau details how these artists' relationships with the Mexican muralists, expatriate Surrealists, and leftist political activists of the 1930s and 1940s affected the direction of their art. Her analysis of this aesthetic cross-fertilization provides an important new framework for understanding the emergence of Abstract Expressionism and the New York School as a whole.

Offering a rare opportunity to explore the largest and most luxurious house designed by Walter Gropius, founder of the Bauhaus, and Marcel Breuer, leading architect and furniture designer of the twentieth century, this beautifully designed volume celebrates the Alan I W Frank House in Pittsburgh, Pennsylvania. Built in 1939-40, the house embodies the Bauhaus total work of art philosophy, with Gropius and Breuer having designed every aspect of the building and its site. Illustrations including new and archival images and the architects plans and sketches highlight an exquisite balance of proportions and colors. Accompanying essays place this house firmly within the American modernist canon just as the Bauhaus celebrates its one-hundreth anniversary in 2019.