Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
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Gyorgy Kepes - Undreaming the Bauhaus (Hardcover)
Loot Price: R1,293
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Gyorgy Kepes - Undreaming the Bauhaus (Hardcover)
Series: The MIT Press
Expected to ship within 7 - 13 working days
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How Gyorgy Kepes, the last disciple of Bauhaus modernism, became
the single most significant artist within a network of scientific
experts and elites. Gyorgy Kepes (1906-2001) was the last disciple
of Bauhaus modernism, an acolyte of Laszlo Moholy-Nagy and a
self-styled revolutionary artist. But by midcentury, transplanted
to America, Kepes found he was trapped in the
military-industrial-aesthetic complex. In this first book-length
study of Kepes, John Blakinger argues that Kepes, by opening the
research laboratory to the arts, established a new paradigm for
creative practice: the artist as technocrat. First at Chicago's New
Bauhaus and then for many years at MIT, Kepes pioneered
interdisciplinary collaboration between the arts and sciences-what
he termed "interthinking" and "interseeing." Kepes and his
colleagues-ranging from metallurgists to mathematicians-became part
of an important but little-explored constellation: the Cold War
avant-garde. Blakinger traces Kepes's career in the United States
through a series of episodes: Kepes's work with the military on
camouflage techniques; his development of a visual design pedagogy,
as seen in the exhibition The New Landscape and his book The New
Landscape in Art and Science; his encyclopedic Vision + Value
series; his unpublished magnum opus, the Light Book; the Center for
Advanced Visual Studies (CAVS), an art-science research institute
established by Kepes at MIT in 1967; and the Center's proposals for
massive environmental installations that would animate the urban
landscape. CAVS was entangled in the antiwar politics of the late
1960s, as many students and faculty protested MIT's partnerships
with defense contractors-some of whom had ties to the Center. In
attempting to "undream" the Bauhaus into existence in the postwar
world, Kepes faced profound resistance. Generously illustrated,
drawing on the vast archive of Kepes's papers at Stanford and MIT's
CAVS Special Collection, this book supplies a missing chapter in
our understanding of midcentury modern and Cold War visual culture.
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