Tag Archives: Henry Van de Velde


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.*


Online exhibition in conjunction with


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.


Last week, I met Herman Daled in his house, Hotel Wolfers, built by the architect Henry Van de Velde in 1930 in Brussels.
I got the chance to visit his place and discuss his life as a collector, and his relationship with this masterpiece of modernism.

In the next issue of Paris-LA, coming in September, you will learn more about it!!


Herman Daled in front of his house, Hotel Wolfers


Here is the first thing you see when you go into the house…



“not allowed to wear heels”


To learn more about his collection, you can read the catalog A Bit of Matter and a Little Bit More, The Collection and Archives of Herman and Nicole Daled 1966-1978, published by Walter König.




This catalog has been translated into French and published by the Wiels club and the association of La Maison Rouge.






Last week, I met the collector Herman Daled in his house, Hotel Wolfers, built by Henry Van de Velde. He told me he was really impressed by Julia Stoschek’s collection based in Düsseldorf. I have never been to Düsseldorf, but now I would like to go.

The current show presents the work of the American artist Sturtevant (born in 1930 in Lakewood, Ohio; died in 2014 in Paris). The exhibition was conceived in close collaboration with the artist. It focuses in detail on the artists’ media-based output for the first time.

Until August 10th !

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Sturtevant, Kill, 2003, Wallpaper, dimension variable (photo: Simon Vogel)

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Sturtevant, Be Stupid, 2003, singel-channel / video, 1’57’ (photo: Simon Vogel)

STURTEVANT’s radical, conceptually rigorous approach was often misconstrued. Her work did not center on the pure emulation or imitation of an artwork, rather she was using the power and heightened awareness that ensues from this differentiated “repetition”. STURTEVANT is interested in the thought process, in making the step from the representation in the image to the concept in the mind – she doesn’t simply depict things, but she gets to the bottom of them.

The artist was no stranger to controversy as early as the 1960s and 1970s. The works she recreated, including pieces by Marcel Duchamp, Andy Warhol, Jasper Johns and Joseph Beuys were later often considered iconic masterpieces.

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(photo: Simon Vogel)

In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated. The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since 2000. With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared. Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra.

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Sturtevant, Duchamp Fresh Widow, 1992-2012, Enamel painted on wood, leather, glass (photo: Simon Vogel)

For decades, she has commented on the art currents of that particular time, demonstrating to this day extraordinary farsightedness in both art-historical and philosophical terms. Her distinct contemporary approach represents the focal point of the JULIA STOSCHEK COLLECTION.