- Tapa dura: 344 páginas
- Editor: The Museum of Modern Art, New York; Edición: 01 (16 de noviembre de 2009)
- Idioma: Inglés
- ISBN-10: 0870707582
- ISBN-13: 978-0870707582
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº248.807 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Bauhaus 1919-1933: Workshops for Modernity (Inglés) Tapa dura – 16 nov 2009
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Descripción del producto
a thoroughly impressive catalogue of works.... The development of the Bauhaus was eclectic in both concept and deed, and the sheer variety of works in 'Workshops for Modernity' deftly illustrates that fact.--Eric J Herboth -Design Observer -
Reseña del editor
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. Bauhaus 1919–1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture – many of which have rarely if ever been seen outside of Germany. Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition’s curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.
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The large-scale size is great for an artist who wants a good view of the works, for a student studying the Bauhaus art history, or for a art-lover who wants a beautiful coffee table book.
I personally used several of the images in a book cover design class I took while at Parsons for a project about the Bauhaus. The scans I made of the art printed in this book were perfect and totally made the project.
Would make a great personal purchase, as well as a gift. I would highly recommend this to any lover of art.
Why then after spending so much time and money to import and arrange these priceless artifacts could a "virtual tour" DVD (narating the experience of walking through the exhibition) not have been filmed and included in the catalogue? For instance no one will ever now know just how dramatic Kandinsky's "On White II" appeared when mounted on a panel painted with exactly the same colour Kandinsky chose for his Dessau apartment.
One tremendous coup for MOMA was to display the "Africa Chair" - never seen in public until 2004. A unique tour-de-force by a 19-year-old Marcel Breuer and 24-year-old Gunta Gtolzl. Three pages are devoted to beating around the bush as to what it represents. Finally in the notes, what is generally accepted is hinted at. This chair was a labour of love by 2 young students inspired by Johannes Itten's urging of the first Weimar Bauhaus intake to " get back to basics". But why only show a front view? No picture of the seat taken from above or a close-up of the ingenious way Stolzl's hand-woven gobelin was laced into Breuer's hand-painted carved wood frame.
Instead one gets one standard photo reproduction of everything on show. Accompanied by 33 scholarly essays in very small print - which gets even smaller due to the necessity to include notes cross-referencing every word that's ever been written or spoken about the Bauhaus.
Which brings up why William Morris's influence on Walter Gropius was completely ignored by MOMA's Senior Curator Leah Dickerman in her opening essay? Which starts "Given its disporic influence on our lives today the Bauhaus is so familiar etc..." Loosely translated dispora is "the spreading of the tribes". Is she referring to Tom Wolfe's hysterical opposition to the insidious influence of 5 emigree Bauhaus Masters on the innocent American corporate and architectural fraternity? Firstly, however talented 5 men do not constitute a tribe. Nor was it Gropius's wish to spread the word across America. He was forced to leave Germany and invited with open arms for the qualities and experience he alone possessed. As was Wernher von Braun, without whom Americans could never have walked on the moon as quickly as President Kennedy promised.
Secondly, in my opinion virtually no Bauhaus influence has spread to or been imposed on the present-day lives of 95% of the American population. Not in their low-tech houses or their possessions. Whatever's cheapest rules. The present outsourcing of almost every (craft) manufacturing job to sweatshops in China etc., would have William Morris and Walter Gropius spinning in their graves.
One could go further and say the only reason the American economy is in a mess is because we've turned our backs on everything the Gropius Bauhaus stood for - elegant simple solutions to meet practical needs - with an emphasis on quality not quantity. As in Germany, where the Bauhaus Style is not "a historical phenonomen". Admittedly it is rather a shock (in this modern age) to find their clothes are all made in Germany by Germans for Germans - who wouldn't be seen dead wearing Chinese imports.
Essential reading explaining why the word Bauhaus still represents so much more than the output of their workshops is to be found in an official Bauhaus Archiv publication written by Magdalene Droste - available on Amazon for $10!
Associate Professor of Architecture
University of Texas at Austin