Bauhaus – DesignApplause

herman miller has acquired knoll.

Apr 21, 2021

top> eames lounge chair / charles and ray eames / herman miller — bottom > barcelona chair / mies van der rohe / knoll

between them, herman miller and knoll have 19 brands and a presence in more than 100 countries. how they market themselves going forward is a case-study-worthy event in the making.

herman miller has acquired knoll. both iconic office furniture companies have more similarities than differences and it’s fair to say the roots to their present-day success is architecture and design. herman miller started with wood, knoll started with the bauhaus. great starts to mark the beginning of this very interesting story.

above > back to the future photo of the j miller house (no relation to herman miller) in columbus indiana. in 1953 the miller’s select architect eliel saarinen and by now herman miller’s head of textiles, alexander girard to create their home. in the foreground is knoll’s saarinen furnishings on a girard rug – below > girard’s touch in foreground and middle ground a seating area of both herman miller and knoll furnishing. today girard is listed as co-architect

herman miller was founded in 1905 and initially the company produced wood furniture, especially bedroom suites, in historic revival styles until 1930. with the coming of the great depression the company was forced to explore new products to survive and debuted a line of modern furniture at the 1933-34 century of progress exposition in chicago. in 1942, with the introduction of the “modular executive office” group (eog), the company was primed to lead the industry during the 70s open plan workplace.

in 1945 architect george nelson joined the firm as director. over the next four decades nelson influenced herman miller through both his personal designs and the designers that he recruited including; isamu noguchi, charles and ray eames, robert propst, and in textile designer alexander girard. beginning in the late 1940s, the period under nelson’s guidance saw herman miller produce some of the company’s most recognizable pieces of furniture, including the noguchi table, eames lounge chair, marshmallow sofa,

above > homage to alexander girard in a herman miller pop-up during icff 2014 – below > cosm / studio 7.5

above> living office/placemaking – below > healthcare

[ herman miller designers ]
edward barber and jay osgerby
ayse birsel
todd bracher
charles and ray eames
naoto fukasawa
alexander girard
jasper morrison
george nelson
robert propst
bill stumpf
others…

[ why herman miller magazine ]

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hans knoll was born in germany in 1914. his father was a modern furniture manufacturer, who supported the national socialist regime. perhaps because of his father’s views, or perhaps because he wanted to follow many other german modernists who had emigrated, knoll left germany in 1936 and moved to england. in 1938, he moved to new york city to found a furniture manufacturing company of his own.

in 1943, knoll was approached by florence schust, an architect who had studied under ludwig mies van der rohe and eliel saarinen. schust convinced knoll that she could help bring in business to his company even in america’s wartime economy by expanding into interior design and working with architects. hans and florence married and changed the name of the company to knoll associates. today knoll has over 40 of its designs–such as breuer’s wassily and cesca chairs and the barcelona chair by ludwig mies van der rohe–are in the permanent collection at moma.

above > classic southern california mid-century modern cool – imagining catching the view while listening to brubeck on vinyl / photos knoll

above > noguchi collection / isamu noguchi — below > platner collection / william platner

above > knoll office – below > knoll textiles

[ knoll designers ]
gae aulenti
neils diffrient
frank gehry
hans and florence knoll
isamu noguchi
jens risom
eliel saarinen
ettore sottsass
mies van der rohe
lella and massimo vignelli
others…

#hermanmiller #knoll #architecture #design #graphicdesign #interiordesign #productdesign #officedesign #workplacedesign #midcenturymodern
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cooper hewitt to present ‘herbert bayer: bauhaus master’ exhibition.

Nov 16, 2019

herbert bayer: bauhaus master marks the centenary of the founding of the bauhaus in weimer, germany, in 1919 and features rare works by the groundbreaking 20th-century graphic designer herbert bayer. on view in the second-floor permanent collection galleries. the exhibition follows bayer’s role as both student and teacher at the bauhaus, as well as his illustrious career in the united states following his 1938 emigration.

“as the founding of the bauhaus is being fêted across the globe this year, this powerful and focused exhibition will draw from cooper hewitt’s unique holdings—bolstered by a trove of more than 500 pieces acquired in 2015,” said caroline baumann, director of the museum. “the exhibition offers new insights and scholarship on this bauhaus leader who helped shape the discourse of modern graphic design.”

born in austria and active in germany and the u.s., bayer (1900–1985) helped define a new language of graphic design suited to modern life during his years at the bauhaus. charting his stylistic shifts and theoretical contributions, “herbert bayer: bauhaus master” highlights bayer’s interest in typography and photography, design theory, information design, fashion and beauty, and poster design as well as his corporate work.

becoming one of the most influential graphic designers of his time, bayer applied the school’s theories to commercial practice and promoted its legacy to the public. in addition to contributing to the rational new typography movement of the 1920s, he created a hyperreal illustration style for use in infographics and advertising. he had an enormous impact on institutions in the u.s., including the aspen institute for humanistic studies, where he activated the bauhaus ideal of total design to architecture, landscape and graphics.

“herbert bayer: bauhaus master” will feature information graphics, books, advertising, posters, ephemera and magazine layouts for diverse clients. many of the works on view will be drawn from a recent acquisition of more than 500 pieces documenting bayer’s career in the u.s., made possible through a gift to cooper hewitt from the taub foundation. key works from the bauhaus period are on loan from the collection of merrill c. berman.

the exhibition is organized by ellen lupton, senior curator of contemporary design, cooper hewitt.

expo chicago 2019: expression vs communication look #1.

Sep 20, 2019

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

what is the difference between art and design? i think it comes down to function. design can have many functions, whereas art has one single function. the function of art.

the question of what’s the difference between art and design often comes up at art expositions, perfect launchpads for such a confabulation. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 25 of 39 (64%) galleries point out the following:

physichromie no. 2406 / carlos cruz-diez / ascaso gallery (miami, caracas) – booth 442 / 2002

carlos (1923 – 2019) was an artist and designer.

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cadeira tripe de ferro / lina bo bardi / bergamin & gomide (sao paulo) – booth 311 / 1948-89

pmr chase longue / mendes da rocha / bergamin & gomide (sao paulo) – booth 311 / 1985

patrona alta / oscar niemeyer / bergamin & gomide (sao paulo) – booth 311 / 1971

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above > a fake history of humanity / octavio abúndez / galeria curro (guadadalajara) – booth 101 / 2019

galeria curro‘s proposal deals with knowledge and its representation and reception throughout the history of art and science. octavio abúndez’s new painting project a fake history of humanity offers alternative versions of history to our post-truth era, while deconstructing and creating a tribute relationship with the richter’s color charts. octavia is an architect.

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above > holiday greetings / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1941

above > the measure of man: a study in perspective / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1940

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above > coffee table ‘megalith in motion’ / david libeskind / david gill gallery (london) – booth 105 / 2018

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

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above > highway with mountain / theaster gates / richard gray gallery (chicago) – booth 139 / 2019

theaster gates is a chicago social practice installation artist, designer with a b.s degree in urban planning and ceramics.

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above > we hold these truths / bob faust / kavi gupta (chicago) – booth 121 / 2019

bob faust is a chicago graphic designer.

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above > chair ‘abrigo’ / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2019

above > cafofo / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2015

gallery mercado moderno is based in rio de janeiro, miami and new york. founded in 2001 by alberto vicente and marcelo vasconcellos, mercado moderno is a gallery dedicated to brazilian design from the 1950s to 80s and contemporary design-art.

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above > untitled / richard koppe (1916-1973) / richard norton gallery (chicago) – booth 275 / 1951

above > postcard of chicago restaurant well of the sea

richard was the first design student for lazlo moholy-nagy at the new bauhaus chicago. he later turned to painting and some interior design where he created murals and chandeliers for a famous chicago restaurant well of the sea.

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above > various paintings / danielle tegeder / carrie secrist gallery (chicago) – booth 137 / 2017

dannielle is chicago artist integrating languages of architecture, planning and design, and urban construction. inspired by her father who was a pipe fitter in commercial architecture.

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[ expo chicago 2019: expression vs communication look #2 ]

in a cloud, in a wall, in a chair: six modernists in mexico at midcentury.

Sep 6, 2019

above > Butaque Chair / clara porset / 1950s

the work of clara porset, lola álvarez bravo, anni albers, ruth asawa, cynthia sargent, and sheila hicks has never been shown together before. while some of these artists and designers knew one another and collaborated together, they are from different generations, and their individual work encompasses a range of media varying from furniture and interior design to sculpture, textiles, photography, and prints. they all, however, share one defining aspect: mexico, a country in which they all lived or worked between the 1940s and 1970s. during this period they all realized projects that breached disciplinary boundaries and national divides

this exhibition is the first to explore mexico’s impact on these visionary artists and designers. it takes its title from a quote by clara porset, a political exile from cuba who became one of mexico’s most prominent modern furniture designers. influenced by bauhaus ideas, she believed that design could reshape cities, elevate the quality of life, and solve large-scale social problems. this approach informed her 1952 exhibition art in daily life, in whose catalogue she wrote, “there is design in everything … in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot,” encouraging us to look at both the natural and machine world for inspiration and ideas.

curated by zoë ryan, chair and curator of architecture and design, the art institute of chicago

the whole world a bauhaus. elmhurst art museum.

Feb 23, 2019

this internationally traveling exhibition celebrates the 100th anniversary of the founding of the bauhaus, a legendary german school that revolutionized the parameters of art, the crafts, and technology. while it existed for only 14 short years (1919-1933), its influence shaped modern thinking and artistic approaches to industrialization. bauhaus instructors included some of the most famous modern artists and architects including mies van der rohe, walter gropius, wassily kandinsky, josef and anni albers, paul klee, lászló moholy-nagy, lily reich, and more. many of the influential figures and others involved at the bauhaus left germany and spread the school’s lessons internationally. the exhibition the whole world a bauhaus, titled after a quote by student and teacher fritz kuhr, includes art and design pieces by select instructors and students as well as photographs and documents that convey the spirit of the bauhaus. one hundred years after its founding, the modern ideals of the school spread the globe and are still integrated in today’s interdisciplinary approaches to the arts.

the whole world a bauhaus is divided into eight different chapters, each focusing on an aspect of work and life at the bauhaus during its operation: art, crafts, and technology; floating; community; encounters; the total work of art; new man; radical pedagogy; and experiment. these sections highlight the work students did in their revolutionary workshops with industrial materials and processes, the school’s major impact on the international avant-garde, and how the students and instructors sought to rethink their world.

the elmhurst art museum is the only u.s. venue of the touring exhibition the whole world a bauhaus curated by boris friedewald.

revoliutsiia! demonstratisiia! soviet art put to the test.

Oct 25, 2017

revoliutsiia! demonstratisiia! soviet art put to the test | the art institute of chicago | 29 october 2017 > 15 january 2018

the october revolution of 1917 changed the course of world history; it also turned russia into a showcase filled with models. every object and sphere of activity had to demonstrate how society could be remade according to revolutionary principles. it would take intensive experimentation and discussion to determine the shape of this unprecedented society. to be realized in any concrete way, communism had to be modeled and put on display.

revoliutsiia! demonstratisiia! soviet art put to the test accordingly fills regenstein hall with ten model displays from the early soviet era. each of these sections holds rare works of art and features expert, life-size reconstructions of early soviet display objects or spaces, commissioned especially for this exhibition.

it’s well documented that the russian art scene, beginning c 1895 and leading up to a 1917 communist revolution, was an avante garde, graphically primed, and prolific force. movements included neo-primitivism, rayonism, cubofuturism, italian futurism, and the first abstract constructivist and suprematist paintings. artists included mikhail larionov, natalia goncharova, aristarkh lentulov, lyubov popova, olga rozanova, el lissitzky, vladmir tatlin, kazimir malevich, alexander rodchenko, wassily kandinsky. kandinsky would later join the bauhaus design faculty, as well as hungarian artist lászló moholy-nagy who was inspired by the constructivists.

artists were asked to remake society according to revolutionary principles – to find new answers to old questions.

the revolution not only incited a political / social movement, but also inspired two monumental design genres – russian contructivism and in 1919, weimar, germany, the founding of the bauhaus. constructivism would dominate the graphic messaging for the revolution. constructivism would also evolve into an iconic bauhaus style.

the art institute of chicago presents ten displays containing nearly 550 works, the largest exhibition of soviet art to take place in the united states in 25 years. visitors have the opportunity to explore the trajectory of early soviet art in all its forms and consider what it tells us about socially minded art now.

revoliutsiia! demonstratsiia! soviet art put to the test is organized by the art institute of chicago and the v-a-c foundation.

Sound 1 bluetooth speakers by cloudandco for elevenplus.

Aug 19, 2014

Desktop speakers for phones and other mobile devices have become a wondrously rich area for design innovation in the last few years. The Korean firm Cloud and Co offers a warm, minimal take on the ideas with crystaline cylinders inspired by Muji and Fukaswa, Bauhaus and Braun. [ cloudandco ] [ elevenplus ]

about phil patton

Chicago tribune tower competition of 1922..

Nov 10, 2013

plate 197: walter gropius and adolf meyer (weimar, germany)
plate 229: max taut (berlin, germany)

While researching an upcoming Armin Hoffmann post from one of our contributing writers I find the ‘Chicago Tribune Tower Competition of 1922. The link came from a design submission by Walter Gropius.

The paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school did not offer classes in architecture until 1927. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention.

plate 1: first prize, john mead howells and raymond m. hood (nyc)
plate 7: perspective drawing of the winning entry

The following excerpt and plates (selected by the museum) from the skyscraper museum:

In June 1922, the Chicago Tribune announced its intention to construct a new headquarters that would be “the most beautiful office building in the world.” To find its architect, the Tribune conceived a competition that was also a brilliant publicity campaign. With a $50,000 first prize (the equivalent today of about $690,000!), and $20,000 and $10,000 for second and third prize, the competition generated massive press coverage and attracted 263 entries from twenty-three countries. A range of the winning entries and some famous modernist contenders from Europe are shown in the frames at the right.

To ensure the prestige of the event, the paper invited ten nationally prominent firms to submit designs and paid each $2,000. Among the invited was New Yorker John Mead Howells, the son of author and editor William Dean Howells, as well as a cousin of the Tribune publisher Robert R. McCormick. Unable to devote sufficient time to the project, Howells sought an associate to prepare the entry and happened fortuitously on the young architect Raymond Hood, who needed work. Hood created the drawings and seems to have been responsible for much of the design, which was a Gothic spire modeled on the medieval Butter Tower of Rouen.

Plate 13: Second Prize, Eliel Saarinen (Helsingfors, Finland) with Dwight Wallace and Bertell Grenman (Chicago)
plate 96: ralph walker of mckenzie, voorhees & gmelin (nyc)

Plate 97: Bertram Goodhue (NYC)
plate 20: third prize, holabird & roche (chicago)

plate 34: helmle & corbett (nyc)
plate 44: d. h. burnham & co. (chicago)

plate 196: adolf loos (nice, france)
plate 231: bruno taut, walter gunther, and kurz schutz (magdeburg, germany)

left> the rouen cathedral inspires hood’s design

[ etc ]
1> chicago installed a zoning ordinance in 1920 governing building heights and mass. the setbacks and tapering in the submissions was common in the late 20s and 30s, purportedly to allow more light on the streets, but it also permitted a work-around to achieve a taller building. chicago revamped again in 1923 to allow bigger buildings.
2> adolph loos was chief architect for vienna 1921>24
3> designs for great architectural landmarks that were never built
4> possibly for more than a millennium churches were the tallest buildings in the world, broken by the philadelphia city hall (1901); rouen cathedral was the tallest in 1202
5> [ skyscraper museum ] [ modern b4 mies ]

ask the right question. expo chicago 2013.

Sep 21, 2013

The second annual Expo Chicago, the International Exposition of Contemporary and Modern Art, is dedicated to strong and innovative art and design. This year’s design amplifies Studio Gang Architects (SGA) previous experiments using suspended large-scale sculptural elements to define distinct areas for gathering and relaxing, while simultaneously creating an optical experience of the art and activity that shifts as visitors move through the space. Refining the Expo floor’s organization (a grid cut through by a strong diagonal pathway) will also increase ease of navigation and further enhance the art’s visibility.

left > right / modern wing exhibit | pre-Expo assembly

In both Expo 12 & 13 SGA incorporates the firm’s collaborative, inquiry-based and research-driven approach presented in 2012 in an exhibition in Modern Wing of the Art Institute of Chicago. “Full-scale mock ups test the capabilities and behavior of materials, as can be seen in the hanging “Rope Rooms” in the exhibit. Investigating and uncovering a material’s properties such as fluidity, viscosity, bending, or stiffness, independent of a particular project, is often beneficial for the work that may come next.”

left > right / cutaway cabinets & bend | snarkitecture | 2013

Renowned architecture firm Snarkitecture serves up Cutaway Cabinets, a new series designed by Snarkitecture for MCA Chicago Pop-Up Bookstore at EXPO. Appearing at first as simple white boxes, the cladding of each cut-away in a series of irregular excavations. The openings reveal an internal spine whose surfaces create a range of display and storage options. In addition, Bend, a series of upholstered foam elements provide seating under the main center cone, designed by Snarkitecture in partnership with Volume Gallery, Chicago. Bend debuted at Design Miami 12.

todd glickman, director of new business and strategy | my new secret tribe

While at MCA’s pop-up we discover ‘artist designed footwear’ Bucketfeet, a globally inspired footwear brand that connects people across the world through art! The two-year-old Chicago-based company has designer Scott Wilson [Minimal] as one of their advisors and was asked by Tony Karman to come to Expo. [ details ]

[DesignApplause] Todd, the concept, how does art and design reside in Bucketfeet?
[Todd Glickman] That’s a very interesting question. On the design side we’ve tried to create a silhouette to where the shoe is functional. If you look inside the shoe it’s all organic soft cotton canvas with a removable latex insole that has bubbles under the ball of the feet. So you’ll like your shoe for the aesthetic and they’ll last a long time and be very comfortable.
[DA] Do you have ‘Secret Tribe’ in a size 13? I’d like to wear them to Vernissage tonight.
[TG] The right question, yes, we do!

eugin batz | spatial effect of colors and forms, an exercise for color-theory, from a course taught by vasily kandinsky, tempera over pencil on black paper | 1929>30 | bauhaus-archiv berlin

art |architecture |design | 1917 > today
[ de stijl: mondrian and his influence ] [ bauhaus ] [ lessons from the bauhaus ]

In the art world, DesignApplause attempts ‘objects-only’ which could include a sculpture, or a photograph or painting of an Air Stream trailer for example. However, typically the art conversations are pieces by designers that reside in design galleries. For Expo 2013, for the first time, we put this question to the dealers we talked to: is there any architecture or design inspired art in your booth today?

The very first gallery…

steam | alexandre arrechea | magnan metz gallery | 2013

[DA] Alberto, is there any architecture or design inspired art in your booth today?
[Alberto Magnan] Alexandre Arrechea is a Cuban born artist. He works a lot with design and art. This piece is represents Chicago bridges which are all stacked on each other and this is a design project he has going.

multicolored cube | alois kronschaeger | tierney gardarin | 2013

[DA] Cristin, we were talking about the design influence on this artist.
[Cristin Tierney] This is the work of Alois Kronschaeger. He’s based in Brooklyn and originally from Austria. He works in the arenas of fine art that crosses over into design, fashion and architecture. He’s about to have a large scale installation which will be part art and part architecture, 10,000 sq/ft of experiential art, at the Museum of Contemporary Art in Tucson opening October 4.

untitled | gyorgy kepes | robert koch gallery | 1939>41

[DA] Ada, do you have design or architecture influenced work displayed today?
[Ada Takahashi] Ron, you are going to like this artist. Gyorgy Kepes taught at the Institute of Design in Chicago. He taught a class on light and design. In this photogram you can see he’s playing with numbers and letters as design elements. Gyorgy was very influential here in Chicago and Moholy Nagy asked him to teach.
[Robert Koch] I’m an architect.

scenery | kathy taslitz | the international sculpture center | 2013

[DA] Sonya, …… ?
[Sonya] Kathy has a pretty diverse background. Her mom was an artist. She was an advertising account executive and morphed into a photo stylist in fashion and home furnishings. She’s now an award winning interior designer. Scenery is fiberglass, video projection and sound, which is about as diverse as her background.

the artist | moto waganari | hollis taggart galleries | 2013

[DesignApplause] Martin, …… ?
[Martin Friedrichs] Moto Waganari is a German architect who’s given name is Lutz Wagner. He works in a CAD program to design these beautiful sculptures. Mostly figure studies but also other things. He then prints them on a 3D printing process. Key essential elements of his work is also the shadows that his works cast. He’s very particular about what source of light is used.

spin-the-spin | alice aycock | galerie thomas schulte | 2012

[DA] Gonzalo, …… ?
[Gonzalo Alarcón] Alice Aycock studied architecture but her degrees are in fine art. But you can see the architectural influence , especially in the 70s installations, as many of her works, her elements of minimalism hybrid forms, computer programming, to create a complex combination of architectural and sculptural pieces. this piece represents her current study of energy of the city, a spinning off and colliding of thoughts and ideas.

aluminum diamond curtain | tim prentice | maxwell davidson gallery | 2013

[DA] Charlie, …… ?
[Charles Davidson] We’re looking at a piece of kinetic sculpture by Tim Prentice, a very successful architect but found his true love was really making artwork. Most of his sculpture is to define wind currents. And he designs each piece from the perspective that he thinks about where the piece is located so they really react with the intended space.

[DA] Charlie, I see a pavilion from Tim on the horizon. I’ve talked to 10 galleries already and I am hit and miss on the backgrounds of the art that draws me into the gallery. I was drawn in by this piece that looks like the Foster designed 30 St Mary Axe building in London (2001>2003) and thinking the building inspired this artist.

beehive temple | mary ann unger | maxwell davidson gallery | 1987

[CD] A debatable assumption. This is a mockette of a larger piece which is on the campus of Lehigh University. This is the wooden study by Mary Ann Unger who died in 1998. A lot of her drawings are very geometrical and architectural.

headdress | pedro s. de movellan | maxwell davidson gallery | 1997

[DA] Back at you Charlie.
[CD] We’re looking at a sculpture by Pedro De Movellan, an American sculpture who does all kinetic work who works in wood, metal and mostly carbon fiber now. His father was an architect and his mother an artist.

Did not find an artist on premise to tell their own story. But did go off-site Friday night to see Herbert Murrie who has a fine art degree and started as an artist then to a very successful graphic design practice for 30-plus years while still painting and now back to painting full-time for five years.

notes & thangs colors & bangs | herbert murrie | jennifer norback fine art | 2009

[DA] Herb, does your design training play into your art?
[HM] My process, especially the collage which does not look like collage, is both technical and complex, and there are pieces that have to be designed, constructed. Add ‘chance’ which has two meanings; in English it can mean accident or hazard. In French “avoir de la chance” means to be lucky. I have questioned for a very, very long time if there is a destiny for us or is it completely blind; the push pull between accident, destiny and luck.

Sadly I’ve run out of time. I’ve only asked 12 galleries and found eight hits. What if all 100 were asked? Not to mention IN/SITU and special exhibitions. And the range went from “Jaume Plensa would not liked being lumped in with architects and designers” to Robert Koch saying “I’m an architect.” Here’s what I’m thinking: and it’s not attributed to Yogi Berra or anyone else but me and it makes sense to me. “You can take the this out of that, but you can’t take the that out of this.”

Expo Chicago 2013 is a very tight and fussy show.

event> Expo Chicago @expochicago
date> 19 > 22 September 2013
venue> Navy Pier’s Festival Hall
general admission> 20 > 22 September 2013 | Sunday 22 Sept. 22 | Fri + Sat 11a > 7p | Sun 11a > 6p

<a href=”about ron kovach

Chicago's bauhaus legacy.

Aug 19, 2013

In 1937 the Chicago Association of Art and Industry invited László Moholy-Nagy to head what was to be called the New Bauhaus, four years after the Bauhaus in Berlin was dissolved in 1933 under National Socialist pressure. László Moholy-Nagy had been a Bauhaus Master from 1923-1928 in Weimar and Dessau. His teaching as well as his own diverse creative work, were characterized by a unique innovative and experimental approach to the arts.

The exhibit will showcase art and design by students of Moholy-Nagy’s schools from 1937-1955: the New Bauhaus, School of Design in Chicago and Institute of Design – with special emphasis on the Foundation Course exercises. In addition, life work of both teachers and students will be shown, from 1937 to the present.

Representing more than sixty individuals, the vast majority of the exhibit is work that has never before been seen. Material has been provided through the generous loans from private collections, in addition to work from the UIMA permanent collection and the Bauhaus Chicago Committee Archive & Collection.

This exhibit is organized in partnership with T. Paul Young and the Bauhaus Chicago committee NFP. [ details ]

where > ukrainian institute of modern art | 2320 west chicago avenue | chicago | 773 227-5522
when > 9 august > 29 september 2013
hours > wed / sun | noon > 4p