The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

Bauhaus 1919-1933: Workshops for Modernity

Foster, Hal

MEHRING, Christine

Lupton, Ellen

Mertins, Detlef

Kinchin, Juliet

Huyssen, Andreas

Potts, Alex

Dickerman, Leah

Bergdoll, Barry

Nisbet, Peter

Buchloh, Benjamin

Jennings, Michael

De Michelis, Marco

Doherty, Brigid

Haxthausen, Charles

Paret, Monty

Schwarz, Frederic

Smith, T’ai

Reference

The Museum of Modern Art, New York

On Line: Drawing Through the Twentieth Century explores the radical evolution of drawing that took place during the last century and through to the present day, as numerous artists subjected the traditional concepts of the medium to a critical examination. In a revolutionary departure from the institutional definition of drawing, and from reliance on paper as the fundamental support material, artists instead pushed the line across the plane and into real space, expanding the medium in relation to gesture and form and connecting it with painting, sculpture, photography, film and dance. Published to accompany an exhibition at The Museum of Modern Art, New York, On Line presents a discursive history of mark-making through nearly 250 works by 100 artists, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum and Monika Grzymala among many others. Essays by the curators illuminate individual practices and offer focused examinations of broader themes, such as the exploration of line by the avant-garde, and the relationship between drawing and dance.

On Line: Drawing Through the Twentieth Century

Arts & Photography

Butler, Connie

Collections, Catalogs & Exhibitions

Artwork by Abraham Cruzvillegas, Gabriel Orozco, Damin Ortega. Text by Benjamin Buchloh, Gabriel Kuri, Molly Nesbit.

Gabriel Orozco

Nesbit, Molly

Orozco, Gabriel

Cruzvillegas, Abraham

Kuri, Gabriel

Ortega., Damián

Individual Artists

The Museum of Contemporary Art, Los Angeles

This three-part book presents Coleman's ongoing investigation into the nature of perception, including his most recent trilogy, which examines our reactions to the process of being photographed.

James Coleman: Projected Images 1972-1994

Cooke, Lynne

Fisher, Jean

Dia Art Foundation

German photographer Ilse Bing (1899-1998) has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism. Alongside her personal work she produced images in the fields of photojournalism, architectural photography, advertising and fashion, and her work was published in the major magazines of the period and exhibited in France and Germany. She moved from Frankfurt to Paris in 1931 but when the city was taken by the Germans during World War II she and her husband, who were both Jews, were expelled and interned in the South of France. They emigrated to New York in 1941 and she lived there until her death in 1998. Since the 1970s when she first exhibited at MOMA, New York, there has been a burgeoning interest in her work and, more generally, in European photography of the 1920s and 1930s. As one of the key creative forces of the period, Bing becam

Ilse Bing

Brett, Donna West

Aliaga, Juan Vicente

Dewi Lewis Publishing

Talking to art historian Benjamin Buchloh in 1988, Gerhard Richter cited the appearances of Jackson Pollock and Lucio Fontana at the second Documenta in Kassel in the late 50s as decisive encounters for his then-incipient art. Just a few years later, Richter would style himself as a German "Pop" artist, but in the 80s he returned to pure abstraction for its possibilities of "bitter truth, liberation, and... a completely different and new content... expressing itself." His abstract paintings present a heavily worked surface, blurred and scraped to both veil and expose prior layers. In other words, they manage a tension between depth (layer) and strong horizontal activity (blur). Unlike much heavily worked abstraction, and in spite of their scale, their total effect is not heroic--Richter's almost-deadpan, process-oriented transparency cancels out such chest-beating--but the artist that responded to the direct energies of Pollock's work has clearly found a way, some decades later, to conjure both zest and detachment simultaneously. Abstraction has made up a dominant portion of Richter's output since the 80s, inaugurating a fruitful dialectic with figuration, and Large Abstracts collects works produced between 1986 and 2006. For this volume, Buchloh (once described by former Museum of Modern Art, New York, curator and current Dean of the Yale School of Art Robert Storr as, "the artist's longtime sparring partner") returns to the fray, and, along with Beate Söntgen and Gregor Stemmrich, offers critical insight on this iconic oeuvre.

Gerhard Richter: Large Abstracts

Stemmrich, Gregor

Hatje Cantz

"Magiciens de la Terre" was an exhibition held at the Centre Georges Pompidou and the Grande Halle at the Parc de la Villette in 1989. Curated by Jean-Hubert Martin, it aimed to counter the ethnic bias and colonial complicity of the contemporary art world. Martin chose 100 artists from around the world: 50 from first-world cultures such as the U.S. and Europe and 50 from cultures then routinely ignored by the art market, in Africa, Latin America, Asia and Australia. "I want to play the role of someone who uses artistic intuition alone to select objects which come from totally different cultures," Martin explained. "I also want to incorporate into that process the critical thinking which contemporary anthropology provides on the problem of ethnocentrism." With photographs and gallery plans, this volume revisits the exhibition.

Making Art Global (Part 2): 'Magiciens de la Terre' 1989 (Exhibition Histories)

MCEVILLEY, Thomas

Martin, Jean-Hubert

Araeen, Rasheed

Steeds, Lucy

History & Criticism

Afterall Books

Styled as a magazine, this publication presents a new body of work--architectural proposals for Ground Zero, the twenty-first century's most historically significant site--by the important German artist Isa Genzken. The proposals take the form of architecturally induced sculptures produced in consultation with a team of specialist engineers so that each model can be realized to its true architectural scale. Running contrary to official designs, Genzken envisions buildings with social purpose--a church, hospital, car park, disco, memorial and shopping center. Her proposals draw upon her long-standing love affair with America's breathtaking cityscapes and all-pervasive pop culture. With their glitzy, seductive surfaces, slim rectangular forms and frenetic energy, they betray a fascination with the skyscraper and with New York City in particular: "To me New York has a direct link with sculpture."

Isa Genzken: Ground Zero

Bussel, David

Steidl/Hauser & Wirth

On the occasion of what would have been Andy Warhol's eightieth birthday, in 2008, this exquisitely produced volume examines one essential but miraculously under-studied element of the artist's work: The shadow. Beginning with photographic still lifes of skulls and taxidermied animals, then moving on to male nudes, tabletops and table settings, celebrity portraits, gems, fruits and many amazing still lifes of hammers, sickles, shoes and other ordinary objects that presage Fischli & Weiss' Equilibres by several years, Shadows and Other Signs of Life concludes with Warhol's photographs of actual shadows and an outstanding selection of abstract silkscreens, stenciled works and piss paintings. Published to accompany the eponymous exhibition at Paris' Galerie Chantal Crousel, this volume contains illuminating short texts--Anniversary Notes for Andy Warhol--by Benjamin H.D. Buchloh.

Andy Warhol: Shadows and Other Signs of Life: Anniversary Notes for Andy Warhol

Walther König, Köln

With his memorably titled 1956 collage "Just What is it that Makes Today's Homes So Different, So Appealing?", British artist Richard Hamilton (born 1922) heralded the British Pop revolution; and with his 1967 Swingeing London series of prints, which depicted the arrest of Mick Jagger and Robert Fraser, Hamilton's art entered the general public consciousness. But unlike so many Pop artists, Hamilton was never an uncritical or ambivalent advocate of postwar society, and he has often agitated directly against it, producing a great deal of openly political, satirical work that assaults both consumer culture at large and more immediate political events. This monograph, published for Hamilton's 2010 exhibition at the Serpentine Gallery in London (his first exhibition since 1992), brings together Hamilton's famous "protest" paintings as well as newer political works and features essays by Benjamin H.D. Buchloh and Michael Bracewell.

Richard Hamilton: Modern Moral Matters: Serpentine Gallery

OBRIST, Hans-Ulrich

Peyton-Jones, Julia

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Books by Buchloh, Benjamin