Tag Archives: Marcel Breuer

BAUHAUS — DOCUMENTA

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.

MARCEL BREUER — BUILDING GLOBAL INSTITUTIONS

In conjunction with the recent essay collection MARCEL BREUER: BUILDING GLOBAL INSTITUTIONS, join the book’s editors Barry Bergdoll and Jonathan Massey, along with two of its contributors—Lucia Allais and Guy Nordenson—for a talk and roundtable discussion about Breuer’s practice.

MARCEL BREUER—BUILDING GLOBAL INSTITUTIONS

Monday, March 4, at 6 pm.

Princeton University School of Architecture

Betts Auditorium

McCosh Walk, Princeton.

Also see Hal Foster’s forthcoming Positive Barbarism: Brutal Aesthetics in the Postwar Period (Princeton University Press).

From top: The old Whitney Museum of American Art (now Met Breuer)—designed by Marcel Breuer with his partner Hamilton P. Smith—in 1966, the year it opened, photograph © Photo Ezra Stoller/Esto; portrait of Breuer, circa 1949, photograph © Homer Page, Bauhaus archives, Berlin; Begrisch Hall—designed by Breuer (with Smith and Robert Gatje) and completed in 1961—was part of NYU’s University Heights campus in the Bronx, until it was sold to CUNY, photograph © Ben Schnall, Marcel Breuer Papers, Archives of American Art, Washington, D.C.