Bauhaus in and out: perspectivas desde España / Laura Martínez de Guereñu (ed. lit.), Carolina Beatriz García Estévez (ed. lit.), 2019, ISBN 9788409143610, págs. 420-431, 2019
The Bauhaus show at the MoMA in 1938 was the first comprehensive exhibition of the Bauhaus. The p... more The Bauhaus show at the MoMA in 1938 was the first comprehensive exhibition of the Bauhaus. The political situation caused considerable obstacles for the organizers of the 1938 MoMA exhibition, making loans difficult and putting former Bauhäusler who were still in Germany at risk, but it does not comprehensively explain the divided reception of the show. What also needs to be taken into consideration is a substantial misunderstanding between the intentions of Gropius and his friends involved in the exhibition's planning, on the one hand, and, on the other hand, the New York audience who questioned the relevance of the Bauhaus in the US at that moment.
Hannah-Arendt-Institut für Totalitarismusforschung e.V. an der TU Dresden eBooks, Jul 8, 2022
Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with ... more Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with such confidence? The cover photo shows Karla Grosch from Weimar in front of the Bauhaus building in Dessau, where she worked as a sports teacher. In 1933, at the age of 29, she drowned in a tragic swimming accident in the Mediterranean Sea near Tel Aviv. With her in the photograph is Else Rawitzer, who studied at the Bauhaus for one semester, then earned her architecture degree in Zagreb in 1941 and worked as an architect. In 1942 she was deported as a Jew and murdered in the Auschwitz concentration camp. Discoveries of precisely such intriguing biographies gave rise to the research project “Forgotten Bauhaus Women: Life Fates in the 1930s and 1940s” at the University of Erfurt and the Klassik Stiftung Weimar. These women died before 1945, and they studied or taught at the Bauhaus for at least one semester before that. Women were present in every workshop at the Bauhaus, working in fields ranging from architecture, photography, and advertising to bookbinding, weaving, and metal design. Biographical documents and artistic works attest to the wide range of genres and techniques with which these women engaged. On display in this show are sculptures, paintings, photographs, and textiles. The exhibition links political history with gender discourse and thus contributes to a differentiated reappraisal of Bauhaus history during the period of National Socialism or in exile. There was no such thing as a single typical fate for Bauhaus women, as the many facets of these lives show. The comprehensive and richly illustrated accompanying catalog presents 24 of these Forgotten Bauhaus-Women in more detail.
Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus... more Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus; in particular, he tailored the avant-garde institution to the study of architecture. While research has so far concentrated on the content of his teaching, the group of students he specifically trained remained in the dark. With the help of statistical analysis and evaluation, the present essay takes a new methodical approach to describe Mies’ 169 architecture students in more detail; the focus is particularly on the 78 diploma students. It becomes clear that the ›pure Mies influence‹ was hardly present in these 5 semesters at the Bauhaus. Instead, the very heterogeneous group was characterized until the end by political trench warfare that had already arisen under the previous director Hannes Meyer.
Bauhaus in and out: perspectivas desde España / Laura Martínez de Guereñu (ed. lit.), Carolina Beatriz García Estévez (ed. lit.), 2019, ISBN 9788409143610, págs. 420-431, 2019
The Bauhaus show at the MoMA in 1938 was the first comprehensive exhibition of the Bauhaus. The p... more The Bauhaus show at the MoMA in 1938 was the first comprehensive exhibition of the Bauhaus. The political situation caused considerable obstacles for the organizers of the 1938 MoMA exhibition, making loans difficult and putting former Bauhäusler who were still in Germany at risk, but it does not comprehensively explain the divided reception of the show. What also needs to be taken into consideration is a substantial misunderstanding between the intentions of Gropius and his friends involved in the exhibition's planning, on the one hand, and, on the other hand, the New York audience who questioned the relevance of the Bauhaus in the US at that moment.
Hannah-Arendt-Institut für Totalitarismusforschung e.V. an der TU Dresden eBooks, Jul 8, 2022
Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with ... more Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with such confidence? The cover photo shows Karla Grosch from Weimar in front of the Bauhaus building in Dessau, where she worked as a sports teacher. In 1933, at the age of 29, she drowned in a tragic swimming accident in the Mediterranean Sea near Tel Aviv. With her in the photograph is Else Rawitzer, who studied at the Bauhaus for one semester, then earned her architecture degree in Zagreb in 1941 and worked as an architect. In 1942 she was deported as a Jew and murdered in the Auschwitz concentration camp. Discoveries of precisely such intriguing biographies gave rise to the research project “Forgotten Bauhaus Women: Life Fates in the 1930s and 1940s” at the University of Erfurt and the Klassik Stiftung Weimar. These women died before 1945, and they studied or taught at the Bauhaus for at least one semester before that. Women were present in every workshop at the Bauhaus, working in fields ranging from architecture, photography, and advertising to bookbinding, weaving, and metal design. Biographical documents and artistic works attest to the wide range of genres and techniques with which these women engaged. On display in this show are sculptures, paintings, photographs, and textiles. The exhibition links political history with gender discourse and thus contributes to a differentiated reappraisal of Bauhaus history during the period of National Socialism or in exile. There was no such thing as a single typical fate for Bauhaus women, as the many facets of these lives show. The comprehensive and richly illustrated accompanying catalog presents 24 of these Forgotten Bauhaus-Women in more detail.
Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus... more Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus; in particular, he tailored the avant-garde institution to the study of architecture. While research has so far concentrated on the content of his teaching, the group of students he specifically trained remained in the dark. With the help of statistical analysis and evaluation, the present essay takes a new methodical approach to describe Mies’ 169 architecture students in more detail; the focus is particularly on the 78 diploma students. It becomes clear that the ›pure Mies influence‹ was hardly present in these 5 semesters at the Bauhaus. Instead, the very heterogeneous group was characterized until the end by political trench warfare that had already arisen under the previous director Hannes Meyer.
Table of contents and Introduction to the exhibition catalogue on Bauhaus and National Socialism ... more Table of contents and Introduction to the exhibition catalogue on Bauhaus and National Socialism co-curated by Anke Blümm, Elizabeth Otto, and Patrick Rössler, on view in Weimar, Germany during the summer of 2024. With essays by Ute Ackermann; Ingrid Below; Ulrike Bestgen; Regina Bittner; Anke Blümm; Ute Brüning; Sylvia Claus; Dagobert Cohrs; Stephan Dahme; Mirjam Deckers; Magdalena Droste; Jens-Uwe Fischer; Christian Fuhrmeister; Erhard Gerwien; Arie Hartog; Josenia Hervás y Heras; Kate Kangashlati; Jennifer Kapczynski; Zsófia Kelm; Gloria Köpnick; Miriam Krautwurst; Marianne Kröger; Caroline Kühne; Annette Ludwig; Alexandra Matz; Antje Neumann; Christopher Oestereich; Philipp Oswalt; Elizabeth Otto; Miriam Owesle; Patrick Rössler; Rolf Sachsse; Margot Schmidt; Katja Schneider; Steffen Schröter; Aya Soika; Christiane Stahl; Wolfgang Thöner; Justus Ulbricht; Astrid Volpert; Nader Vossoughian; Gerda Wendermann; Antonia Wolff; Christoph Wowarra; and Christoph Zuschlag.
Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with ... more Who are they, these Bauhaus women who often step before the camera so unselfconsciously and with such confidence? The cover photo shows Karla Grosch from Weimar in front of the Bauhaus building in Dessau, where she worked as a sports teacher. In 1933, at the age of 29, she drowned in a tragic swimming accident in the Mediterranean Sea near Tel Aviv. With her in the photograph is Else Rawitzer, who studied at the Bauhaus for one semester, then earned her architecture degree in Zagreb in 1941 and worked as an architect. In 1942 she was deported as a Jew and murdered in the Auschwitz concentration camp. Discoveries of precisely such intriguing biographies gave rise to the research project “Forgotten Bauhaus Women: Life Fates in the 1930s and 1940s” at the University of Erfurt and the Klassik Stiftung Weimar. These women died before 1945, and they studied or taught at the Bauhaus for at least one semester before that. Women were present in every workshop at the Bauhaus, working in fields ranging from architecture, photography, and advertising to bookbinding, weaving, and metal design. Biographical documents and artistic works attest to the wide range of genres and techniques with which these women engaged. On display in this show are sculptures, paintings, photographs, and textiles. The exhibition links political history with gender discourse and thus contributes to a differentiated reappraisal of Bauhaus history during the period of National Socialism or in exile. There was no such thing as a single typical fate for Bauhaus women, as the many facets of these lives show. The comprehensive and richly illustrated accompanying catalog presents 24 of these Forgotten Bauhaus-Women in more detail.
Uploads
Papers by Anke Blümm
Discoveries of precisely such intriguing biographies gave rise to the research project “Forgotten Bauhaus Women: Life Fates in the 1930s and 1940s” at the University of Erfurt and the Klassik Stiftung Weimar. These women died before 1945, and they studied or taught at the Bauhaus for at least one semester before that.
Women were present in every workshop at the Bauhaus, working in fields ranging from architecture, photography, and advertising to bookbinding, weaving, and metal design. Biographical documents and artistic works attest to the wide range of genres and techniques with which these women engaged. On display in this show are sculptures, paintings, photographs, and textiles. The exhibition links political history with gender discourse and thus contributes to a differentiated reappraisal of Bauhaus history during the period of National Socialism or in exile. There was no such thing as a single typical fate for Bauhaus women, as the many facets of these lives show. The comprehensive and richly illustrated accompanying catalog presents 24 of these Forgotten Bauhaus-Women in more detail.