Text by Barry Bergdoll, Leah Dickerman, Benjamin H. D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
Back in print, the essential, unsurpassed Bauhaus overview
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—among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl—in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today.
Bauhaus 1919–1933: Workshops for Modernity, originally published to accompany a major 2009 exhibition, is The Museum of Modern Art’s first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919–1933 examines the extraordinarily broad spectrum of the school’s products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture.
Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919–1933 includes two overarching essays by the exhibition’s curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus’ lived history.
Josef Albers' Set Stacking Tables (1927) are reproduced from 'Bauhaus: 1919–1933.'
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One of the most important books on our list, ever, MoMA’s superb overview, Bauhaus: 1919–1933, Workshops for Modernity, features nearly 500 reproductions of the objects, furniture, architecture, graphic design, photography, textiles, ceramics, theater, costume design, painting and sculpture of the great twentieth-century Modernist aesthetic experiment brought down by Nazi distaste for the new (and the Jew) and the ravages of war. Featuring essays by the great Bauhaus scholars of our own time, this is the definitive volume on the subject and a must-have for any and every art, photography or design bookshelf. Featured image is Lucia Moholy's "Untitled (Edith Tschichold)" (1925-26). continue to blog
Featured image, of Herbert Bayer’s 1925 design for “universal” lettering, is reproduced from Bauhaus: 1919-1933, back in print and forever the definitive overview on the school and movement that redefined art, architecture, photography, and design in the years leading up to World War II. “Bayer’s universal alphabet became a symbol of ‘Bauhaus typography,’ even though it was not strictly speaking a typeface,” Design Is Storytelling author Ellen Lupton writes. “Fixed in memory through a few endlessly repeated reproductions, the universal alphabet was a philosophical idea that reverberated throughout the promotional activities of the Bauhaus and beyond … Bayer’s letters are awkward, inconsistent, and not very useful, yet they gave form to prevalent avant-garde thinking about function, modularity, industrial standards, and machine production. Bayer released his idea into the wilderness of typographic discourse, and there it lived.” continue to blog
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FORMAT: Hbk, 9.5 x 12 in. / 344 pgs / 475 images LIST PRICE: U.S. $75.00 LIST PRICE: CANADA $99 ISBN: 9781942884194 PUBLISHER: D.A.P./The Museum of Modern Art AVAILABLE: 9/26/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Back in print, the essential, unsurpassed Bauhaus overview
Published by D.A.P./The Museum of Modern Art. Text by Barry Bergdoll, Leah Dickerman, Benjamin H. D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
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—among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl—in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today.
Bauhaus 1919–1933: Workshops for Modernity, originally published to accompany a major 2009 exhibition, is The Museum of Modern Art’s first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919–1933 examines the extraordinarily broad spectrum of the school’s products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture.
Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919–1933 includes two overarching essays by the exhibition’s curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus’ lived history.
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