The Br�cke Studios : A Testing Ground For Primitivism Analysis

The expressionist movement emerged in two separate cultural hearths in Germany. Centered in Dresden, a group of artists known as Die Brücke (The Bridge), “wanted to create a radical art that could speak to modern audiences, which they characterized as young, vital, and

Two examples that I find especially thought provoking are the Danziger studio and the Goldwyn Library. Built to blend into the local surroundings, the luxury residence was given a humble, rough exterior. Davis' explains that the rough exterior of the architecture reflects the underlying social phenomenon of "repression, surveillance and exclusion"(Davis, 224) that collectively forms the "fragmented, paranoid spatiality"(Davis, 229 ) that LA embodies. Moreover, The house's "camouflage"(Davis, 229 ) exterior creates a stark contrast to its luxurious interior, which places further emphasis on the exclusion and barrier between the "opulent"(Davis, 256) interior and the "rough"(Davis, 224 ) environment. I find Davis' assessment of the Daziger studio particularly agreeable and accurate as I truly believe that an architecture, its purpose and characteristic, sheds light to not only its physical environment but also its social environment, something that might not necessarily be as apparent. On the other hand, I find Davis' assessment of the Goldwyn library rather exaggerated. Judging from photos taken, the fifteen foot security wall is not as grotesque and 'fear-imposing' as Davis puts it. Davis described the library as "baroquely fortified...menacing...bizarre"(Davis, 246) and "paranoid"(Davis, 251). Although security and 'vandal-proof'' maybe, as Davis suggested, the initial goal of the design, I do not believe that it is as exaggerated as Davis

The Bauhaus was an art and design school that operated in Germany from 1919 to 1933 (Smith 2005, p. 31) and was a major component of the Modernism movement. In 1923 the schools’ founder Walter Gropius called for “a new unity” between art and technology. Subsequently, one of the main aims of the Bauhaus was to merge art with mass-­‐production, however this ambitious aim often eluded the Bauhaus (Bergdoll and Dickermann 2010, p. 15) and its products were criticized as being for an elite. This essay will investigate the extent to which the Bauhaus achieved its goal of mass production through an exploration of the different phases and individuals of the iconic school.

In Gehry’s house, he used big openings, unique wall surfaces and light conditions in a large room or visible framework, they all showing the postmodern style and making relationships between architecture and its origin. Gehry tried to “make a very tough sculptural

Good Evening my fellow neighbors. Most of you know me and for the ones who do not, I am Mabel Dodge. I am the daughter from a family in Buffalo and had what was considered the best education for girls in the nineteenth- century. Instead of going to college, I got married, became a mother and soon, a widow. Later, I traveled abroad and soon married a Boston architect, Edwin Dodge who I later realized the passion I had was no more- so I divorced him. I became bored and began to crave art, the beauty and inspiration! A “salon” in Florence, Italy that I created for the purpose of attracting the most up- and- coming artists in Europe, had me become well known and even a muse for one of Gertrude Stein’s image poems. I reluctantly joined Edwin my husband at the time, who was eager to come back to the United States. I settled in an apartment on the lower Fifth Avenue which most of you have been in for my “evenings” of controversial debates.

Pojman talked about why he thought subjectivism was a useless concept, and pointed out the absurd consequences of the theory. He said if we agree with subjectivism, then there can be no argument nor interpersonal judgment. By reason of subjectivism does not depend on social agreement of principle, and the situation could only be considered as wrong, if one failed to live up his or her principles; if the person felt right then it would be impossible for him or her to do wrong. By strengthen his argument, Pojman indicated subjectivism has disregarded a vital fact, that which people often share commonalities, including, common language, institutions, and habits. He then quoted John Donne, “No man is an island, entire of itself; every man

Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20). She redecorated the once cluttered dining room of her apartment in the

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

Leon Krier was criticised for publishing a costly monograph on Albert Speer’s architecture (1985)in which, while acknowledging the crimes of the Nazis and the man, Krier nonetheless claimed the book’s only subject and sole justification was “Classical architecture and the passion of building” (cited by Jaskot, ‘Architecture of Oppression’, 2000). Discuss this claim, the controversy and the issues (historical, philosophical and ethical and possibly others) they raise. Can architecture, Classical, Modern or otherwise, be autonomous from politics and valued independently of the circumstances of politics and history that adhere to it?

Peter Behrens is one of the most influential German designers. At the beginning of the century, he brought forth amazing works in architecture, graphic design, and painting, which began to influence in all these various fields, opening uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture as well as modern industrial design. From the late 1800's he worked as a graphic artist in Munich, where he joined the Jugendstil movement. He produced woodcuts, colored illustrations, designs for book bindings and craft objects. Peter Behrens designed china, glass objects, and patterned linoleum flooring. This fused Graphic Design and Architecture.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Wilfred van Damme in his research has cautiously concluded with one possible reason to the minimal reception that Grosse’s work has received in art historical discourse of its contemporaries. The author has argued that as early 20th century marked the rise of primitivism in Western art that was going against the academic naturalism, Grosse’s account that was

[The Bauhaus Reassessed] What unique about the Bauhaus is the fact that its ideologies epitomize changing concepts concerning the nature and purpose of design in the early twentieth century. The art inherited reinterpreted and then rejected the

The focus of this essay is to explain why the International Typographic Style or “Swiss” style was so important to the mid twentieth century and how it got started. Firstly, it is an art movement that internationally began in the 1950’s, but the origins can be traced back at least thirty years. It can be thought of as a combination of elements from other movements such as Constructivism, De Stijl and the Bauhaus. According to Richard Hollis’ book Swiss Graphic Design, there are “at least three factors that account for the ‘Swiss’ style” (Hollis, R. 2006, P9), these being the country’s location, the language and the culture. There is evidence to prove that there are at least 2 other factors, especially for the origin of the style, which is shown in the book, along with several others. Although not directly linked to the foundation of the style itself, these 2 other factors include the designers and the typography, after all, it is known as the International Typographic Style. In this essay we will be discussing each of them in turn, and explaining views as to why they were important and what effect they had on graphic design in the mid twentieth century.

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.