The centenary of the Bauhaus School’s founding in 1919 has been marked by a wide range of international events and publications. Much attention has been paid to the artists who taught at the school during its fourteen-year tenure in Germany. But the Bauhaus itself—in many ways greater than the sum of its individual teachers and students—was not simply an attempt to redefine artistic practice, but was both rooted in and responding to European design reform movements instigated in the nineteenth century. As Walter Gropius stated in the first Bauhaus manifesto: “Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between the craftsman and artist!”
This symposium engages with the history and legacy of the
Bauhaus as a school of craft and design within the context of design reform
during the modern period. How did the products designed at the Bauhaus relate
to patterns of taste and consumption in Germany, and how did they perform in
the marketplace? What vision of the built environment (what Gropius called “the
great Gesamtkunstwerk”) did the Bauhäusler seek to
fulfill—or to challenge? The Bauhaus was an extraordinary institution with
far-reaching influence. Yet at the heart of its mission was the desire to
engage with popular taste in architecture and design. We will consider the
extent of its success.
Peter N. Miller
Bard Graduate Center
Welcome
Paul Stirton
Bard Graduate Center
Freyja Hartzell
Bard Graduate Center
Introduction
Freyja Hartzell
Bard Graduate Center
Art and Technology–A New Unity: Material Speculations at the Weimar Bauhaus
T’ai Smith
The University of British Columbia
Classroom Dynamics: Comparing the Activities of the Weaving Workshop and the Form Theory Courses
Elizabeth Otto
University at Buffalo, SUNY
Designing Women of the Bauhaus
Paul Stirton
Bard Graduate Center
Graphic Design at the Bauhaus
Karen Koehler
Amherst and Hampshire Colleges
“Historicism’s Bordello”: Walter Gropius Comes and Goes
Dara Kiese
Pratt Institute
Bauhaus Anti-Style: Hannes Meyer’s Human-Centered Approach
Jenni Sorkin
University of California, Santa Barbara
Weimar in the Woods: Marguerite Wildenhain’s Pond Farm
Barry Bergdoll
Columbia University
The Bauhaus’s Legend-Making Exhibitions Art and Technology–A New Unity: Material Speculations at the Weimar Bauhaus
