Tag Archives: Bauhaus

BAUHAUS — BUILDING THE NEW ARTIST

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In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…

Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*

BAUHAUS—BUILDING THE NEW ARTIST*

Online exhibition in conjunction with

BAUHAUS BEGINNINGS

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau, Walter Gropius, architect, 1926, photograph by Junkers Luftbild, 1926, gelatin silver print on postcard, Jan and Edith Tschichold Papers, 1899–1979; Vassily Kandinsky, Color Triangle, circa 1925–1933, graphite and gouache on paper, Vassily Kandinsky Papers, 1911–1940; students in a workshop at the Bauhaus Dessau (2), photographer(s) unknown, undated, gelatin silver prints; Erich Mzozek, Still-life drawing with analytical overlay, circa 1930, graphite on paper and vellum, © Estate Erich Mrozek; Geometric study of spiral form, artist unknown, undated, graphite and colored graphite on paper; Friedl Dicker, Light-dark contrast study for Johannes Itten’s Preliminary Course, 1919, charcoal and pastel collage on black paper. ; Pamphlet for Farben Licht-Spiele (Color-light plays), Ludwig Hirschfeld-Mack, 1925, letterpress, Bauhaus Typography Collection, 1919–1937, © Kaj Delugan; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek. All images courtesy and © the Bauhaus-Archiv and the Getty Research Institute.

BAUHAUS BEGINNINGS AT THE GETTY

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“The aim is an alliance of the arts under the wing of great architecture.” — Walter Gropius, founder of the Bauhaus

BAUHAUS BEGINNINGS, now at the Getty Center, celebrates the centenary of the founding of the school in Weimar.

The exhibition “reexamines the founding principles of this landmark institution,” considering the school’s “early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice.”*

BAUHAUS BEGINNINGS*

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Léna Bergner, Durchdringung (Penetration) for Paul Klee‘s course, circa 1925–1932, © the heirs of Léna Bergner; Walter Gropius, undated photograph by Lucia Moholy, © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Gerd Balzer, Color wheel for Vassily Kandinsky’s Preliminary Course, 1929, gouache on paper, pasted on black paper; Material exercises in paper (2), photographs by Alfred Ehrhardt, circa 1928–1929, © Alfred Ehrhardt Stiftung; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek; Léna Bergner, Carpet design, circa 1925–1932, © the heirs of Léna Bergner; Joost Schmidt, Form and color study, circa 1929–1930; Benita Koch-Otte, Einfamilienwohnhaus auf der Ausstellung des Staatlichen Bauhauses (Single-family house at the exhibition of the State Bauhaus), 1923, Georg Muche, architect, 1923, from Staatliches Bauhaus in Weimar 1919–1923 (Munich: Bauhausverlag, 1923), p. 165, courtesy and © Bodelschwingh Foundation Bethel; Lyonel Feininger, Villa am Strand (Villa on the shore), 1921, from Bauhaus Drucke: Neue Europaeische Graphik, Erste Mappe [first portfolio], Meister d. Staatlichen Bauhauses in Weimar (Potsdam: Müller, 1921), © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Ringl + Pit (Grete Stern and Ellen Auerbach), Bald Head (Johannes Itten), 1930, printed 1985, The Jewish Museum, © Ringl + Pit, courtesy Robert Mann Gallery, New York; Hilde Reindl, Color wheel and tone study for Paul Klee’s Course, circa 1927. Images courtesy of the Getty Research Institute.

BAUHAUS — DOCUMENTA

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BAUHAUS / DOCUMENTA—VISION UND MARKE—a new exhibition in Kassel curated by Philipp Oswalt and Daniel Tyradellis—looks at the crosscurrents between two iconic German institutions:

“Bauhaus aimed to confront the crisis of industrialization and the damages caused by the First World War through the applied design of objects, spaces and buildings; documenta took up the romantic idea of the engagement with fine art, through which people should become responsible citizens again.”*

The show—part of the celebration of the Bauhaus centenary—includes works by Marianne Brandt, Marcel Breuer, Bazon Brock, Hans Haacke, Wassily Kandinsky, Barbara Klemm, Aleksandr Ptuschko, and Gilles Raynaldy.

BAUHAUS / DOCUMENTA—VISION UND MARKE*

Through September 8.

Neue Galerie

Schöne Aussicht 1, Kassel.

From top: Staircase of the Fridericianum with tapestry by Fritz Winter, 1956–1957, documenta 2, 1959, photograph by Günther Becker; Sculpture Hall at documenta I, Kassel, 1955, featuring works by Hans Arp, Henri Laurens, Alexander Calder, and Henry Moore; rotunda at the Fridericianum, documenta I, photograph by Günther Becker. Below: invitation card for Bauhaus/documenta—Vision und Marke, featuring images of Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), documenta 5, 1972, photograph by Carl Eberth; and Wilhelm Wagenfeld ‘s Tischleuchte (table lamp), 1924, photograph by Joachim Fliegner. Images courtesy and © documenta archiv.

BAUHAUS POLITICS

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Join Arjun Appadurai, Regina Bittner, Beatriz Colomina, Theresia Enzensberger, Jesko Fezer, Thomas Flierl, Benjamin Förster-Baldenius, Ayşe Güleç, Dorothee Halbrock, Ulrike Hamann, Christian Hiller, Joy Kristin Kalu, Özcan Karadeniz, Bianca Klose, Klaus Lederer, Gisela Mackenroth, Jacobus North, Anh-Linh Ngo, Marion von Osten, Philipp Oswalt, Stefan Rettich, Bernd Scherer, Schroeter und Berger, Justus H. Ulbricht, and Mark Wigley for an afternoon and evening seminar which asks the question:

What can institutions that are today confronted with attacks from the Right learn from the history of Bauhaus?

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Saturday, January 19, from 2 pm to 9:30 pm.
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Haus der Kulturen der Welt
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John-Foster-Dulles-Allee 10, Berlin.
From top: Gropius studio, Kandinsky-Klee house, 1925–1926, Dessau; Walter Gropius, Bauhaus Building, 1925–1926, Dessau.

CARL FIEGER

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Carl Fieger (1893–1960)—initially a draftsman in the office of Walter Gropius and Adolf Meyer—made architectural history with his first building. “Though the single-family house of 1924 remained an experimental building, the circular building (a Wohnmaschine, or machine for living in) had an immense effect on the professional community and future architects. It was an important contribution to the search for new standards in housing construction.”*

CARL FIEGER—FROM BAUHAUS TO BAUAKEDEMIE brings together the architect and designer’s original drawings, architectural models, furniture, photographs and works produced as a student. His versatile artistic approaches “retain the multifaceted character of the Bauhaus in its role as a school of design.”*

 

CARL FIEGER—FROM BAUHAUS TO BAUAKEDEMIE

Through October 31.

BAUHAUS DESSAU, Gropiusallee 38 Dessau-Rosslau.

Carl Fieger catalogue

Above: Carl Fieger, Haus Fieger, Dessau, 1927.

Below: Carl Fieger, drawing Haus Fieger. Image credit: Bauhaus Dessau.