Download e-book for iPad: Bauhaus weaving theory : from feminine craft to mode of by T’ai Smith

Decorative Arts Design

By T’ai Smith

The Bauhaus university in Germany has lengthy been understood in the course of the writings of its founding director, Walter Gropius, and famous artists who taught there corresponding to Wassily Kandinsky and László Moholy-Nagy. some distance much less famous are texts via ladies within the school’s weaving workshop. In Bauhaus Weaving Theory, T’ai Smith uncovers new importance within the paintings the Bauhaus weavers did as writers.

From colourful, expressionist tapestries to the discovery of soundproofing and light-reflective cloth, the workshop’s cutting edge creations encouraged a modernist idea of weaving. within the first cautious exam of the writings of Bauhaus weavers, together with Anni Albers, Gunta Stözl, and Otti Berger, Smith info how those ladies challenged assumptions in regards to the female nature in their craft. As they harnessed the vocabulary of alternative disciplines like portray, structure, and images, Smith argues, the weavers resisted modernist pondering specific media. In parsing texts approximately tapestries and practical textiles, the important position those ladies performed in debates approximately medium within the 20th century and a nuanced heritage of the Bauhaus involves light.

Bauhaus Weaving Theory deftly reframes the Bauhaus weaving workshop as imperative to theoretical inquiry on the college. placing questions of ways price and legitimacy are confirmed within the paintings global into discussion with the boundaries of modernism, Smith confronts the idea that the crafts are handbook and technical yet by no means highbrow arts.

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Additional info for Bauhaus weaving theory : from feminine craft to mode of design

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In light of runaway inflation and newly minted poverty out of the ashes of Germany’s former bourgeoisie, a smoothing over of class differences seemed pertinent to this otherwise well-­to-­do cultural figure. ” Indeed, Gropius’s proclamation and manifesto seemingly harnessed a Marxist rhetoric and rejected the distinctions between craft and art because it befitted a landscape in which things and buildings had to be remade, and in which communities (or classes) were being redefined in the immediate aftermath of social upheaval—­a war, the loss of a regime, a new political system.

Jungnik’s tapestry is a good example to begin the discussion, for it resembles a specific kind (indeed, a style) of pictorial abstraction found in the prewar practices of the 1 2 P i c t u r e s Ma d e o f W o o l first pair of opposites, I and II. (of an inner character, as emotional affect) Warm Yellow I Cold Blue = I contrast 2 movements: 1. horizontal towards spectator (physical) 2. eccentric Yellow Blue and away from spectator (spiritual) concentric concenric Wassily Kandinsky, Table 1 (excerpt) from On the Spiritual in Art, 2d edition (1912), in Lindsay and Vergo, Kandinsky: Complete Writings, 178.

Chapter 3 examines how weaving student Otti Berger drew on László Moholy-­Nagy’s arguments regarding the “optical” nature of photography to develop a complementary theory of tactility as it pertained to cloth. While close-­up photographs of Bauhaus textiles in magazines and brochures worked to sell the workshop’s products, Berger reflected on the simultaneous visuality and “hold-­ability” (Haltbarkeit) of the woven medium. The fourth chapter shifts direction somewhat. In 1932, Otti Berger began to seek intellectual property protection for her textile fabrication techniques.

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