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 ofApplied 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.*
“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.”*
Join Arjun Appadurai, Regina Bittner, Beatriz Colomina, Theresia Enzensberger, Jesko Fezer, Thomas Flierl, BenjaminFörster-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?
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.”*