Posts tagged with "Bauhaus":

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Traveling to Berlin? Here are some of our top picks for the design-minded

For those who want to take in history, design, and nightlife, Berlin is the place. Visiting and want to take in some of the sights and sounds? Or on a trip for the Bauhaus centennial? The city has something to offer everyone, and AN has compiled a list of what those with design on the brain should check out. The Chipperfield Kantine Joachimstrasse 11 10119 Berlin Mitte Rosenthaler Platz The office of English architect David Chipperfield is inside of a converted piano factory in Mitte. The redbrick building sits behind a spare, bright white courtyard where the architect has designed a beautifully detailed concrete box that also houses the restaurant Kantine. A reasonably priced menu of fresh local products served on spare Chipperfield-designed tableware—it is the best lunch spot in the city. Trouvé Schwedter Strasse 9 10119 Berlin trouve-berlin.de This store is a fantasyland of objects for architects and designers. Its owners, Michel Vincenot and Sabine Riedel, source lighting, seating, storage, tables, and graphics by preeminent European designers of the 20th century: Carlo Scarpa, Gio Ponti, Achille Castiglioni, Christian Dell, and German designers from the Bauhaus. This Wilhelm Wagenfeld glass tea service is 200 euros (approximately $233). Hotel Oderberger Oderberger Strasse 57 10435 Berlin hotel-oderberger.berlin A Neo-Renaissance-style hotel over a 19th-century public swimming pool makes this a very Berlin experience. It’s reasonably priced, and surrounded by cafes, bars, the trendy shopping street Kastanienallee, and Mauerpark. The park is also a unique “free park” where all sorts of public gatherings go on through the night, and the grass is untended, as Berliners don’t want chemicals used to maintain any public landscape. Topography of Terror topographie.de Berlin has multiple reminders of its fraught and charged history. Peter Eisenman’s Memorial to the Murdered Jews of Europe and Daniel Libeskind’s Jewish Museum are powerful design statements, but equally powerful and less well known is the Topography of Terror Museum. On the site of what was once the headquarters of the Nazi Secret State Police, SS, and Reich Security, it was designed in 2010 by Ursula Wilms and landscape architect Heinz Hallmann. It is a truly frightening architectural experience. The Paris Bar Kantstrasse 152 10623 Berlin parisbar.net A bright red neon sign over the entrance announces The Paris Bar, the legendary Charlottenburg late night art bar. Its walls are covered with art from its regular patrons. Several years ago, it had to auction off its Martin Kippenberger for $3 million to pay back taxes. It’s the Odeon of Berlin, and its steak frites are the best in the city—but unlike its New York counterpart, it can’t make a decent martini. Pauly Saal at Jewish School for Girls Auguststrasse 11–13 10117 Berlin paulysaal.com maedchenschule.org Alexander Beer was the chief architect for the Jewish community of Berlin, and in 1927 he designed a girls’ school at Auguststrasse 11-13 in Mitte. It is a rare example of the modernist Neue Sachlichkeit style, with beautifully crafted materials. The school was eventually closed, Beer died in a concentration camp, and the building was confiscated by the government. The school was repurposed in 2012 as the Center for Art and Dining Culture, which is open to the public. Besides art galleries, it holds a New York delicatessen, Mogg & Melzer, and the pricey but excellent Pauly Saal Restaurant.
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Controversy rocks the Bauhaus Dessau

Bauhaus Day 1: I arrived in Weimer the Thuringian birthplace of the Bauhaus in Germany to celebrate the design schools 100th birthplace in 1919. My plane landed in Frankfort in time to receive a message from Dutchman Bart Lootsema asking if had heard about the Bauhaus controversy just now breaking in German newspapers? No, I hadn’t heard but was headlines on every Germany journal and on everyone lips on the German government sponsored trip.
A punk band known for is political views was scheduled to perform at the Bauhaus in Dessau but was the event was canceled by transition politicians, in some ways echoes the Bauhaus historical legacy and now a protest is circulating worldwide to protest the cancellation—what a way to start an international press event! The blog outlet ArtNet now reports that “more than 100 prominent curators, artists, and other art-world figures have signed an open letter condemning the Bauhaus Dessau Foundation’s decision to cancel an anti-right-wing punk group’s performance on the grounds that the institution was 'apolitical.'” The protest signers claim the “foundation has done serious damage to democracy and cultural life “ and “that the decision to cancel the show was made following demands by the center-right CDU and nationalist AFD party, as well as extreme right groups.” All of these events are happening just as the German government is promoting the Bauhaus anniversary also recalls political events that roiled the Bauhaus during much of its existence first in Weimer and then Dessau.
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The Bauhaus’s work in the Soviet Union gets a retrospective in Moscow

As part of the 100th anniversary of Germany’s groundbreaking Bauhaus school, the Garage Museum of Contemporary Art in Moscow is exhibiting Moving Away: The Internationalist Architect through November 30, 2018. Moving Away is presented as part of the multi-national bauhaus imaginista project that tracks the influence of the Bauhaus in different countries. At the Garage Museum, the legacy of the Bauhaus in the Soviet Union will be on display. Moving Away will use drawings, letters, notes, diagrams, plans, and photographs of Bauhaus students and educators in Moscow to contextualize their (and their movement’s) relationships with socialism and communism, Moscow itself, and the Soviet Union. Those connected to the second Bauhaus director, architect Hannes Meyer, will be given a particular focus: architect Lotte Stam-Beese, urban planner Konrad Püschel, and architect Philipp Tolziner. Through the examination of these personal materials, Moving Away seeks to humanize the history of modernist utopian design. Although the Bauhaus only lasted from 1919 to 1933, after which the school was unceremoniously closed by the Nazi party, the modernist institution and its ethos of bridging the divide between fine art and architecture had an outsize effect on design history, and Moving Away is far from the only centennial celebration planned. For Moving Away, the Garage Museum asked contemporary artists and theorists to contextualize and respond to the aforementioned archival materials. The show will present the original documents, as well as the responses from theorist Doreen Mende, artist Alice Creischer, and researchers Tatiana Efrussi and Daniel Talesnik. The architecture and design studio Kooperative für Darstellungspolitik handled the exhibition design. Bauhaus imaginista was organized with cooperation from the Bauhaus Kooperation Berlin Dessau Weimar, Goethe-Institut, and Haus der Kulturen der Welt, and pulls together archival material from Bauhaus Archive Berlin, the Bauhaus Dessau Archive, the German Architecture Museum Frankfurt (DAM), the Institute for the History and Theory of Architecture at ETH Zurich, and the Netherlands Architecture Institute, according to the Garage Museum.
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Marcel Breuer’s Central Atlanta Library to feature light show on its facade

Marcel Breuer’s dark and boxy Central Atlanta Library will literally light up this fall with projected images chronicling the city’s hip-hop and experimental music scene. Curbed Atlanta reported that URBANSCREEN, an artist collective from Germany, will design a light show on the Brutalist building’s hulking facade beginning October 5. The 250,000-square-foot concrete public library is situated at the corner of Forsyth and Williams Streets and is currently undergoing a controversial $50 million renovation by local firm Cooper Carry. URBANSCREEN’s “Superposition” installation will bring temporary color and motion to the exterior as part of the Goethe-Institut’s “Lightart Meets German Architecture” project. In partnership with the organization, the artists will illuminate two other iconic German-American pieces of architecture outside of Atlanta: the Athenaeum in Indianapolis and the German ambassador’s residence in Washington, D.C. Not only is the project a celebration of these enduring buildings, but it is also a chance to reflect on the history of German architecture in the U.S. and what that means to the countries’ relationship today, according to URBANSCREEN. For Atlanta, digital art, dance, and music will be integrated within the project “to unite several universal languages that transcend geographical definitions,” says a press release cited by Curbed. In an interview with the Goethe-Institut, the URBANSCREEN team described their inspiration for the projection on the Atlanta library. “We first had an entirely different idea, but then changed our minds completely when we arrived on site,” said Majo Ussat. “Now we are presenting a highly graphical projection in collaboration with local youth groups who will dance hip-hop—a kind of 'Bauhaus meets hip-hop.'" The team will install four projectors around the library, some in a nearby building and on the roof of a gallery, since the surrounding block is too tight to set them up efficiently. Per Curbed Atlanta, the event will also include a street festival replete with food and beer trucks. The revamp of the Central Library, as well as the light show, signals a rededication to the historic architecture scene of Atlanta. Back in 2016, the city was considering demolishing the building, but local and national preservationists came to the rescue. Cooper Cary’s retrofit will transform 50,000 square feet of the library into private, leasable space in an attempt to enhance its program. On August 24, the site was unanimously voted to the National Register of Historic Places as well as the Georgia Register of Historic Places by the Georgia National Register Review Board.
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Pratt exhibit showcases three influential but undersung 20th-century designers

Pratt Institute's Manhattan Gallery is hosting a chronological exhibition of the work of three 20th-century designers whose careers spanned most of the modernist era. The roughly two-month-long show covers the work of Anni Albers, Elaine Lustig Cohen, and Rosmarie Tissi, three designers whose lives crossed paths with famous men but who were successful in their own right. In chronological order, Albers, Lustig Cohen, Tissi, 1958-2018 highlights typography, prints, sculptures, books, paintings, and more from the three practitioners, who tended to produce highly geometric forms across media. Lustig Cohen learned graphic design from Alvin Lustig, her first husband, who would dictate his ideas to her after he lost his sight. She did the typography for Philip Johnson's Seagram Building, and is known for her large geometric paintings from the 1970s. Albers, meanwhile, was an influential textile designer for the Bauhaus, and later emigrated to the United States, where she taught at the Black Mountain School (1933-49). Though many may know her as the wife of artist and educator Josef Albers, she was the first designer ever to get a solo show at MoMA, in 1949. Tissi is the only surviving member of the group. She founded O&T (Odermatt & Tissi), her eponymous studio with Siegfried Odermatt, in 1968, and she is still in practice today. Tissi designed the poster for the show, pictured at top. Albers, Lustig Cohen, Tissi, 1958-2018, which runs from March 2 to April 28, is curated by graphic designer Phillip Niemeyer, who also directs Northern-Southern, a gallery and art agency in Austin, Texas. An opening reception is scheduled for March 1 from 6 p.m.–8 p.m.; more information on the exhibition can be found here.
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Preservation grants to give these 12 modern buildings a future

The Getty Foundation has unveiled the beneficiaries of this year’s Keeping It Modern architectural conservation grant initiative, a program run by the foundation that aims to support projects of “outstanding architectural significance." The grants are awarded to ongoing conservation projects that promise to “advance conservation practice” with regard to modern and contemporary architectural relics. According to the foundation, many modern and contemporary works of architecture were built using experimental materials, untested building strategies, or were repaired badly over the decades. Consequently, contemporary preservation and stabilization strategies are urgently needed to prepare many modern structures for the future.   The grant initiative, which began in 2014, mostly focuses on providing funding for research and study purposes. It aims to fill in funding gaps for threatened structures, allowing their owners and operators to commission preservation, structural, or renovation studies. The initiative has afforded 45 such grants since its inception. This year's buildings span the globe and includes works in Japan, Morocco, India, and Kosovo. Here are the 12 projects that are sharing $1.66 million in grant funding: Cathedral Church of St. Michael, Coventry Cathedral Sir Basil Spence Coventry, England Built: 1962 Funds Awarded: $174,530 The Coventry Church of St. Michael by Sir Basil Spence was designed in 1962 as part of the post–World War II reconstruction effort in England. The original 500-year-old Gothic church was almost entirely destroyed during the war with only the structure’s outer walls, tower, and spire remaining intact. Spence’s plan called for saving these components and surrounding them with new construction. Spence added red sandstone walls, slender concrete columns, and gentle vaulting to complement the historic character of the original church. The church has been in constant use for over 50 years; The Getty Foundation’s grant will help the current church architect consult with conservation specialists on the creation of a comprehensive conservation management plan for the structure that will allow for repairs to take place. City of Boston, Boston City Hall Kallmann McKinnell & Knowles Boston Built: 1968 Funds Awarded: $120,000 Boston’s iconic Brutalist city hall was designed by Gerhard Kallmann, Michael McKinnell, and Edward Knowles in 1962. The controversial structure has enjoyed a resurgence of popularity in recent years as Brutalist architecture has come back in vogue. The functioning civic building has suffered over the decades from various types of water infiltration, faulty concrete joinery, and other ailments; however, restoration efforts are currently under way. Grant funding will be used to evaluate the building and its attendant plaza, perform laboratory analysis of the concrete elements, and plan for the long term conservation of the building and its systems. Fondation Caisse de Dépôt et de Gestion (CDG), Sidi Harazem Thermal Bath Complex Jean-François Zevaco Sidi Harazem, Morocco Built: 1958 Funds Awarded: $150,000 The Sidi Harazem Thermal Bath Complex was built in the years following Moroccan independence from French colonial dominance and represented the new nation’s desire to “create modern and forward-thinking gathering spaces,” according to the Getty Foundation. The Moroccan-born French architect Jean-François Zevaco designed the complex in 1957 as a series of bungalows and a market surrounding a central courtyard. The complex fell into disrepair by the 1980s; these sections have been permanently closed since. The Fondation Caisse de Dépôt et de Gestion—the group that owns the structure—will use Getty funds to create a conservation plan for the site that will guide future interventions with the eventual goal of fully restoring the entire complex. Japan Sport Council, Yoyogi National Gymnasium Kenzo Tange Tokyo, Japan Built: 1964 Funds Awarded: $150,000 The Yoyogi National Gymnasium was designed in 1964 by Japanese architect Kenzo Tange as part of Japan’s bid to host the first-ever Olympic Games in Asia. The pioneering Metabolist structure is made up of a shell-shaped concrete exoskeleton that curves between the structure’s raked seating assemblies and a large spire. The structure has been continuously in use since and is being readied in preparation for the 2020 Tokyo Olympic Games when it will be used for indoor sports competitions. The grant money will be used to develop one of the first conservation management plans for a modern building in Japan, according to the Getty, and will also go toward studying the building’s materials, possible upgrades, and history. Middle East Technical University, Faculty of Architecture Building Altuğ Çinici and Behruz Çinici Ankara, Turkey Built: 1963 Funds Awarded: $100,000 The Middle East Technical University Faculty of Architecture Building—located in Ankara and designed by the architect couple Altuğ Çinici and Behruz Çinici in 1963— is considered among the best examples of modern architecture in Turkey. The complex originally housed administrative offices and the university library but was converted in 1966 to house the university's Faculty of Architecture, though the International Style complex has deteriorated over the years due to its earthquake-prone location. The university will use grant funding to create a prototype restoration and conservation plan for the buildings that can be used to raise public awareness regarding the preservation of Turkey’s modern architecture across the country. Museu de Arte de São Paulo Assis Chateaubriand (MASP), Museo de Arte de São Paulo Assis Chateaubriand Lina Bo Bardi São Paulo, Brazil Built: 1968 Funds Awarded: $ 150,000 The Museu de Arte de São Paulo Assis Chateaubriand (MASP) is an iconic work of Brazil’s strain of regional modernism by architect Lina Bo Bardi. The museum’s gallery spaces are lifted 26 feet above a large plaza by heroic concrete arches. The 110,000-square-foot building has suffered from water infiltration issues, concrete spalling, and structural problems over the years. Though those concerns have been addressed in previous updates, more work is needed and a long-term plan is lacking. Grant monies will go toward mapping out a long-term conservation approach for the structure that will integrate preservation and maintenance concerns for the building. NVA (Europe) Limited, St Peter’s Seminary Andy MacMillan and Isi Metzstein (Gillespie, Kidd & Coia architectural practice) Glasgow, Scotland Built: 1966 Funds Awarded: $148,120 Newly-conducted research and visioning have helped to outline a future for Andy MacMillan and Isi Metzstein’s St. Peter’s Seminary in Glasgow, Scotland. The complex has been abandoned since the 1970s and was placed on the World Monuments Fund’s 2008 list of most endangered cultural landmarks. In the years since, a plan to stabilize and convert the rough and geometric Brutalist complex into a performance space, cultural venue, and exhibition center has materialized. Before that can happen, the structure must be cataloged and mapped. Using grant money, researchers will delve into the various states of decay for each of the structure’s pre-cast concrete panels, analyze the building’s structural frame, and perform a series of test repairs and mock-ups to guide the building's future conservation. PEC University of Technology, Government Museum and Art Gallery Le Corbusier (Charles- Édouard Jeanneret) Chandigarh, India Built: 1968 Funds Awarded: $150,000 Le Corbusier’s Government Museum and Art Gallery in Chandigarh, India is considered one of the architect’s master works. The structure was developed in partnership with Pierre Jeanneret as a test of their so-called “Museum of Unlimited Growth” concept, a modular approach based on a spiraling nautilus that could be added onto indefinitely. The building is in decent shape but requires long-term repairs to better adapt the structure to its local climate. Grant funding will be used to develop a research-based conservation and management plan that will aim to catalog urgent conservation repairs and establish a maintenance strategy. Price Tower Arts Center, Price Tower Frank Lloyd Wright Bartlesville, Oklahoma Built: 1956 Funds Awarded: $75,000 Price Tower in Bartlesville, Oklahoma is a 19-story skyscraper designed by architect Frank Lloyd Wright. An early example of the luxury condo tower, the building was first developed to house upscale residential and commercial functions. The building remained in use in its original configuration until 1981 when it was sold to Phillips Petroleum, which converted the structure to office functions. The complex was donated to the Price Tower Arts Center organization in 2002 and has been partially restored and renovated. The building became a National Historic Landmark in 2007; received funds will be used to develop a comprehensive, holistic management plan. Schusev State Museum of Architecture, Melnikov House Konstantin Melnikov Moscow, Russia Built: 1929 Funds Awarded: $120,000 The Melnikov House designed by Konstantin Melnikov in 1929 as the architect’s family home and studio. The structure is heralded as a key work of the Soviet avant-garde movement in architecture and remained in the architect’s family until 2006. The structure was transferred to the state in 2011 and now operates as a museum containing 14,000 objects. The barreled structure is studded with 64 honeycomb-shaped windows that let soft light into the building’s interiors and are based on principles of structural and material efficiency. The building will soon suffer from its own success—the projected number of visitors to the museum has created long-term preservation issues. Grant funding will aim to address these concerns while also performing technical research on the building’s roof, mechanical, and electrical systems, among other aspects. Stiftung Bauhaus Dessau, Bauhaus building Walter Gropius Dessau, Germany Built: 1925 Funds Awarded: $160,047 The Dessau Bauhaus building, designed by Walter Gropius in 1925, is one of the most iconic modern structures left in existence. The sprawling structure exemplifies the modern movement’s approach to compartmentalized programming and exhibits a clear structural expression of modern materials like steel, concrete, and ribbon glass. The progressive art and architecture school was named a UNESCO World Heritage Site in 1996 and operates as a museum and research center today. Funding will be directed toward consolidating the site’s historical and technical records into a comprehensive database to “guide and prioritize future interventions,” according to the Getty. This effort will be complemented by efforts to analyze character-defining features like the building’s steel windows, nickel-plated fixtures, and some of the building’s legacy materials. Universitá degli Studi di Roma “La Sapienza,” Stadio Flaminio Pier Luigi Nervi Rome, Italy Built: 1960 Funds Awarded: $161,000 Pier Luigi Nervi’s Stadio Flaminio is a canonical work of post-World War II modern architecture in Italy. The structurally-expressive, thin-shelled concrete structure was constructed in advance of the 1960 Rome Olympic Games. The 45,000-seat stadium was originally designed for sporting events but was often utilized as a performance and soccer venue as well. It was in use until 2011 when the stadium was decommissioned by the Municipality of Rome. The municipality is currently pursuing a conservation plan for the complex and will aim to study the building’s structural stability and innovative materials.
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Bauhaus Master Oskar Schlemmer-inspired performance coming to Mana Contemporary in New Jersey

German artist Oskar Schlemmer may be popularly known for his paintings, but at the Bauhaus he was the Master of Forum at their theater program—and he produced some unforgettable costumes and performances. Look no further than this modern rendition of his Triadic Ballet (Triadisches Ballett). Now, a performance inspired by Schlemmer's Triadic Ballet is coming to the Mana Contemporary space in Jersey City, New Jersey nightly from November 19 to November 22. The performance—dubbed Virtually There—has been curated by Roya Sachs and Mafalda Millies, both Performa Visionaries (Performa is a non-profit arts organization and proceeds from the show will go toward its ongoing efforts to support live performances). The costumes of Virtually There were crafted by the Campana brothers, two Brazilian designers renowned for their ability to re-use and recycle materials in their works. Those interested can find tickets here; the website says shuttles are available to and from Mana Contemporary.
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Harvard Art Museums launch new online resource on the Bauhaus

Bauhaus, a new digital resource devoted to the influential school of art and design, gives users access to more than 32,000 objects from across the 14 years that the Bauhaus existed. The collection includes textiles, photographs, class notes, paintings, and ephemera by the likes of Josef and Ani Albers, Marcel Breuer, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and others. The objects were originally gathered by Bauhaus founder and Harvard professor Walter Gropius to help demonstrate the influence the school had on American design. The digital collection will lead to a major exhibition in 2019, which is the centennial anniversary of the Bauhaus. “The Busch-Reisinger Museum’s Bauhaus-related holdings make up nearly three-fourths of its total collection,” said Lynette Roth, Daimler curator of the Busch-Reisinger Museum at the Harvard Art Museums in a press release. There are currently five sections to the collection: “Holdings,” which groups the artifacts by media, discipline, theme, designer, etc., “The Bauhaus and Harvard,” an essay that explains the relationship between the two schools, an annotated map of Boston that marks the institutions and architectural points of interest related to Gropius and the Bauhaus, a chronology of the school’s activities, and a bibliography of archives, exhibitions, and other resources. “We wanted to create a central place to organize the Harvard Art Museums’ Bauhaus materials to help students, scholars, and the public find their way through the collections and discover new artists and objects,” said Robert Wiesenberger, the 2014–16 Stefan Engelhorn curatorial fellow in the Busch-Reisinger Museum at the Harvard Art Museums in a press release. “In short,” Wiesenberger added, “to make good on the founding promise of this being a study collection.”
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A new exhibition delves into the early modernism of British Mandate Palestine

Israel has one of the largest concentrations of modernist architecture in the world. Much was built before the state of Israel even came into existence, during the British Mandate period, from 1923-1948, when political upheaval in Europe brought a new generation of modernist-trained architects to cities like Tel Aviv, Haifa, and Jerusalem. This extraordinary collection of architecture is the subject of the Israel Museum’s current exhibition, Social Construction: Modern Architecture in British Mandate Palestine. The show, inspired by the research of architects Ada Karmi-Melamede and Dan Price, and curated by Israel Museum Chief of Exhibition Design Oren Sagiv, uses an impressive collection of photos, drawings, and other resources, to analyze the built forms created by famed Bauhaus disciples like Eric Mendelsohn and Richard Kaufmann as well as by those trained in the newly emerging modernist language throughout the world. What they created, the show demonstrates, was something altogether original. It wasn't meant to distance itself from existing forms, as modernism so often did in Europe, but to create a completely new urban context and social order. The buildings, points out Israel Museum Director James S. Snyder, create both an innovative separation of spaces for interior life, and geometrically-rich exteriors that take on a distinctly Israeli character. “All of those things had to do with enlivening the exterior so it enlivened the public realm,” said Snyder. “The life of the façade became a continuation of the street life,” added Sagiv. “A new aesthetic language was crystallized, about a country that was starting from scratch.” Examples of the lively tectonic characteristics that the show examines include double walls, penetrating entrances, vertical stairwells, articulated balconies, and recessed horizontal fenestration. All played a role in knitting together this new urban fabric, both in the private and public realms. In Tel Aviv, which has the country’s greatest concentration of Mandate-era modernism, their scale had what Snyder calls a “modest grandeur,” reflecting the emerging democratic values of the country. These buildings were designed to fit into the concept of a carefully-spaced, intricately-planted garden city. It's an awe-inspiring collection that hits home the substantial importance of the region in the growth of modernism, both as an architectural style, a city making movement, and a philosophy of living. Social Construction: Modern Architecture in British Mandate Palestine is on view at the The Israel Museum, Jerusalem, through December 31. AN visited the exhibition with Vibe Israel.
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Black Mountain College Museum + Arts Center to open inaugural exhibition in new gallery

Beginning on July 1, the Black Mountain College Museum + Arts Center (BMCM+AC) will host Randy Shull/Wide Open: Architecture and Design at Black Mountain College Museum + Arts Center, an exhibition that marks the completed renovation and expansion of the BMCM+AC, located in Asheville, North Carolina. Phase One of the project, led by artist and designer Randy Shull and J. Richard Gruber, PhD, Director of the newly launched Architecture + Design Institute (A+D@BMCM+AC), spanned from 2014 to 2015. The museum re-opened on January 30, 2015, following a renovation of its original site, at 56 Broadway Street, along with an addition. The addition created retail space, a gallery, and a BMC library and study center. The conversion of a property across from the museum, 67 Broadway Street, comprises Phase Two, which began last year. This 2,400-square-foot space will host exhibitions, performances, and public programs as well as house offices and storage space for BMC work when it opens on July 1, 2016. The exhibition celebrates “the enduring legacy of Black Mountain College (BMC, 1933-57) through the lens of its architecture and design program and the influential innovators who taught there,” notably: Josef Albers, a Bauhaus master who transformed the institution as a teacher; his wife and artist, Anni; and Buckminster Fuller. Shull’s custom-made furniture and exhibition displays were inspired by Albers and some of its components are permanently integrated into the space: graphic panels, hand-built furniture, and a customized pegboard display system. Also featured are photographs of Shull's work that as it relates to BMC. Asheville-based Susan Rhew Design collaborated with Gruber and Shull to develop a clear identity for the museum, Randy Shull/Wide Open, and other related materials. Dr. Gruber praised Shall's work, stating: “The new gallery space Randy created is eloquently synced with the original site across the street, the educational and artistic mission of BMCM+AC, and the spirit of innovation and experimentation that was a BMC hallmark. Like the Bauhaus masters who taught at BMC, he has blurred the lines between art, architecture, design, and traditional notions of craft." The exhibition will be open until September 3.
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Guggenheim opens US’s largest László Moholy-Nagy exhibition in 50 years

As far as Western modern art pedigrees go, it's hard to beat László Moholy-Nagy: born in Hungary 1895, Moholy-Nagy spent his early years in Budapest studying Impressionism, Cubism, and Futurism. He then traveled to Berlin where he encountered Dada and Constructivism. He was at the Bauhaus from 1923 to 28, in Amsterdam for De Stijl during the 30s, then finally London and Chicago where he founded Institute of Design (later part of IIT). He dabbled in every medium imaginable: painting, film, sculpture, typography, graphic design, theatrical set design, and architecture. But what's most remarkable about Moholy-Nagy—and what shines through in the exhibit Moholy-Nagy: Future Present—is how consistently he explores the same themes across the breadth of his lifetime. Moholy-Nagy was clearly enthralled with light, transparency, planes, and depth—in the words of curator Karole P. B. Vail, who spoke at the exhibit's press preview, he was constantly trying to "materialize light" and "use light to dematerialize matter." As the exhibition moves up the Guggenheim's spiral, chronologically displaying his work, you can see him play with light in countless ways across multiple mediums, starting with painting and concluding with plexiglass (a material invented 1934, three years before he arrived in the US). Over 300 works, some from rarely-seen private collections, are on view. Despite their number, the works never feel densely packed. The Guggenheim spiral also has a natural affinity to Moholy-Nagy: one of his drawing/photomontages depicts a spiraling space not dissimilar from the Guggenheim itself. Moholy-Nagy was fascinated with photography, not least because photography's chemical process turns light into a physical image. Photography also plays with the idea of reproducibility and authenticity. Like putting a urinal into an art gallery, Dadaists love to play with conventions and challenge shared definitions of what constitutes art. That desire manifests throughout Moholy-Nagy's work. In what he called "photoplastics," he would collage photographs, draw over them, then photograph the ensemble anew—where does one photograph begin, the other end? Some of these pieces are genuinely absurd, and I even laughed out-loud at their Monty Python-levels of irrationality. In another famous work on display, Moholy-Nagy designed a set of porcelain enamel-on-steel paintings whose rectangles of color were governed by a series of formulas. This meant the painting could be printed in an industrial sign shop at different sizes without distortion—infinitely reproducible, consumable, and scalable. Works like that, along with his photographic experimentation, evoke a similar question we face today: from the Venice Biennale to Palmyra, we're still grappling with about ability to recreate artifacts. While that debate usually pertains to something lost or decayed, Moholy-Nagy flips the question on its head by starting with something intended to be infinitely duplicated. The exhibition features one project that exists an architectural scale: the recreation of Room of the Present (Raum der Gegenwart), conceived by Moholy-Nagy in 1930 as a space to show modern artworks across all mediums—film, photography, typography, sculpture, architecture, and more. Made with gleaming steel and glass, and filled by the curators with period-appropriate avant-garde works, it does feel like a time capsule from the past. It's no coincidence that the room is made from industrial materials: Moholy-Nagy was an avid experimenter. Gropius brought him to the Bauhaus precisely because his focus on modern materials coincided with the school's move toward creating and licensing designs to industry. From metallic paint to early plastics, it's stimulating to watch Moholy-Nagy play with new materials as they appear over the decades. The exhibition text concludes "Moholy-Nagy was always in pursuit of the “whole man,” seeking out new materials and methods in the steadfast belief that what mattered most were intellectual awareness and the necessity for the assimilation of art, technology, and education." As Vail remarked, he was a "truly utopian artist" who thought technology could improve society, though he was a true humanist as well. As Moholy-Nagy himself said, there was a “specific need of our time for a vision in motion.” As technology—smartphones, 3D printing, virtual reality, self-driving cars—rapidly changes our lives, and tech companies sell us on their utopian, people-friendly vision, we should ask: What exactly does a techno-humanist-utopia look like? The exhibit offers bracing insight into Moholy-Nagy lifetime of art-making, but leaves us to contemplate what Moholy-Nagy's vision for a utopian society looked like. Moholy-Nagy: Future Present will be at the Guggenheim from May 27 to September 7 before traveling to LACMA and the Art Institute of Chicago. Karole P. B. Vail, Curator, is the Guggenheim’s organizing curator for the exhibition, with the assistance of Ylinka Barotto, Curatorial Assistant, and Danielle Toubrinet, Exhibition Assistant.
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Eavesdrop> Bauhaus China Set

China’s culture of copying is well-documented, but the recent sale of Berlin-based art dealer and collector Torsten Bröhan’s large collection of 19th- and 20th- century design objects to the city of Hangzhou, China raised eyebrows. The “Bauhaus Collection” deal was allegedly made for tens of millions of dollars and contains over 7,000 pieces of design from the modernist period. Scholars have questioned the use of Bauhaus, but argue that the Chinese understand Bauhaus as the whole of modernism, not just the products of the seminal school. The curious case is compounded by a lawsuit that charges that Bröhan never gave business consultant Stephan Balzer his 10 percent cut of the purchase price.