By Jeffrey Saletnik, Robin Schuldenfrei

Reconsidering the prestige and that means of Bauhaus gadgets with regards to the a number of re-tellings of the school’s background, this quantity positions paintings gadgets of the Bauhaus in the theoretical, creative, historic, and cultural issues during which they have been produced and got.

Contributions from top students writing within the box today – together with Frederic J. Schwartz, Magdalena Droste, and Alina Payne – offer a completely new therapy of the Bauhaus. Issues akin to artwork and layout pedagogy, the perform of images, copyright legislation, and significant idea are mentioned. via a powerful thematic constitution, new archival learn and cutting edge methodologies, the questions and next conclusions offered the following reassess the background of the Bauhaus and its carrying on with legacy. crucial studying for someone learning the Bauhaus, glossy artwork and design.

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Extra info for Bauhaus Construct: Fashioning Identity, Discourse and Modernism

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8. , 9. 48 Isaacs, Walter Gropius, 259. 49 Jaimey Fisher, Disciplining Germany: Youth, Reeducation, and Reconstruction after the Second World War (Detroit: Wayne State Press, 2007); Konrad H. Jarausch, Recivilizing Germans 1945–1995, trans. Brandon Hunziker (Oxford: Oxford University Press 2006); Jeffrey K. Olick, In the House of the Hangman: The Agonies of German Defeat, 1943–49 (Chicago and London: University of Chicago Press, 2005). 50 “Military Government Regulations, Aim of Education” (March 1947) in United States Department of State, Germany 1947–49: The Story in Documents (Washington, DC: Library of Congress, 1950), 541–2.

34 Ibid. 35 Leon Meadow to Walter Gropius, 10 May 1944, bMSGer 208 (1654) in WGA. 36 Ibid. 37 Walter Gropius to Leon Meadow, 16 June 1944 (carbon copy with enclosure), bMSGer 208 (1654) in WGA. This is essentially the same statement that he also wrote for an exhibition, America Builds, in 1944, bMSGer 208 (65), WGA. 38 United States Office of War Information, The Unconquered People (Washington, DC: OWI, 1942), 7. For more on the use of radio as wartime propaganda, see Lawrence Soley, Radio Warfare: OSS and CIA Subversive Propaganda (New York: Praeger, 1989); Allan M.

22 As a result, antiGerman propaganda was everywhere, although officially the United States was still seeking a diplomatic solution to German aggression. These exigencies of international relations in the years preceding the outbreak of World War II prescribed the display of the objects and the catalogue description of them. ”23 He wanted to make a statement about why the Nazis persecuted the Bauhaus, and to state how many Jews were on the faculty. ”24 Gropius refused to allow such a statement to be written.

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