Sunburnt, I have returned from my show at Rogue Space, in New York City. I am rather tired from ceaselessly moving from gallery to gallery in the West Chelsea district. I saw many wonderful shows, and luckily saw a Ken Price show of the many drawings that he had made. Ken prices textures are so complicated that one can spend hours just looking at them.
New York City wasn’t too expensive, especially if you find the right vendors that sell coffee and pastries for cash only. I spent 5 dollars for breakfast during the two days I went to New York, it was great.
I was extremely lucky this time around because I was able to find on street parking, and didn’t need to pay for parking during one day. That was about a $60 savings, because of this, I treated myself to a nacho appetizer at dinner with friends. Sadly, heartburn set in, the next morning.
The show went great, as usual no one sold anything, and lots of great conversations happened during the night time. What were they about? Mostly observations and questions for clarity.
As for fashion, lots of lovely clothes and uncomfortable shoes. I proudly can say that I have two blisters on the top of my feet.
Driving from New York City at night was tiring, as one has to keep a ready response for deer. I chose to stay close to a tractor trailer for shielding purposes. I passed many deer that were in very bad shape.
Now home, it is time for applying to many open jobs, hope everything goes well.
ART 341:History of the Bauhaus
Title: “This Chair is a work of Art”
Title is a quote that refers to the advertising slogan of Knoll International. Sets up discussion about respecting the original designer’s intentions and leaving objects of mass production as objects of mass production.
Author: Gerda Breuer
Retired art and design history professor of the university of Wuppertal.
Historical information on how Breuer’s chair was turned into art object instead of original intention of mass production.
Thesis statement: “This chair is a work of art” surrounded by information that challenges validity. Uses negative space around statement to make argument that statement is false. Namely that Marcel Breuer and Le Corbusier’s intentions were disregarded.
The Intentions of Le Corbusier and Marcel Breuer:
Furniture had Art Deco/ The Moderm aesthetic
Not the Bauhaus, Bauhaus aesthetics: concept of big-city life.
Saw the psycho-architectural/interiors connection, rationalist form used for influence of people
Design were for body,soul, and all senses/body?
Saw design as equipment/like clinic for relaxation
1924 became master, followed what Gropius thought
Chais is for mass production
Industry was for manufacturing even if handwork was involved
Quote by Laszlo Moholy Nagy
1930 parisian exhibition
From simple furniture to design object
History of the “Wassily” chair 1962
Licensing agreements of Wassily chair and Cesca chair
The exporting of Italian design through Bauhaus designs
The design object has personality not rational fuction
From Design object to cultural object
The opening of Duchamp museum in 1963 by Dino Gavina
The conversion of the everyday object to art object by Marcel Duchamp in 1913-20
Duchamp in Italy with pop art in 1964
The ready made as art in early 60’s and Gavina’s strategy to uplift meaning of Italian furniture at that time by reinterpreting gropius’s words “art and technology a new unity:
Multiples and ready made examples
Reiteration of gavina ignoring boundries of art and design, design gaine part of art and art a part of design
Art and technology a new unity
Art is magic and has belief structure like that of religions
Design new form consecrated works.
Definition of Consecration of design: an opposite effect that is described as endlessly making new products. That is a product that can sell and sells for a long time irregardless of fashion
Definition of “timeless” classic furniture design: furniture with long-term attractiveness
The creation of the design object by Italy. The design object is status object. Made cheap but sold expensively due to hype/overabundance of meaning.
“The Best way to predict the future is to create it”-references postmodern management ethos
Introduction of theory that due to ethos of title, the emergence of classic 1920’s furniture was and continues to be plagiarized.
Intro of idea that historical data disappears due to overabundance of Italian ads.
Due to copying and over-meaning attached, improvements and beneficial changes go unregistered
History of copies of modernist furniture
Due to transfer in licences
From thirties to sixties
Close replicas but not exact
Name different examples of material replacement
Introduction of idea of cessation of innovation in favor of reflection of design
Make seasonal modifications-Alfonso bialetti,Gio Ponti
Still done to this day
If idea is implemented a zig zag thought pattern will emerge
Mass produced item to art and back to mass produced item
Name fact that to be distinguished one must use handcraft to succeed.
The intention of steel furniture
Make up for inequities in society
Intention was strong but failed as only educated,wealthy,and elite class responded to design.
Irregardless original intention is still present within work
Introduction of process of plagiarized versions of 20’s design and its internet visibility.
-lots of handcraft in mass production
Mass production even if hand crafted is still mass production
Paradox is that plagerized items let those who want a classic to received furniture at cheaper prize. The many get a chance to receive well designed furniture.
End with German Poet’s confusing quote:
Murphy’s law, because of poor common intuition.
Introduction of Theo Van Doesburg, is hero of modernism.
Contrary to expectations De Stijl not part of Weimar Bauhaus.
Doesburg not provocative/conspirator
luminaires of Weimar region and Bauhaus took classes from him.
Introduction of argument:
1922 was pivotal moment in history of modernism
ideologies involved are De Stijl vs. Expressionism vs. Dada.
Johanes Itten = Expressionism
Van Doesburg = De Stijl
Moholy Nagy = Dada/constructivism
Van Doesburg is trying to be part of German Scene and thus is using constructivism against Itten and is using dada against Moholy-Nagy.
Events of 1922 in Weimar reveal turning point in Modernism from 19th to 20th century. change come from public.
Explain influence on teaching style, explain itten’s teaching methods, materials used.
All for perceptual training.
Deconstruction of Master works to reveal constant forms of square circle and triangle.
Contrast Theory and salomo friedlaender
Theory of harmonization. and Gertrud Grunow
Color theory and prism of Newton and ostwald and holzel
Validity of prior ideas
Connections of Itten and Mazdaznan
Ittens philosophy of reliving works of art/ reincarnation within lifetime.
Itten’s teaching was part therapy for stress plagued moder human. Concept that is shared by Kandinsky, Kasimir, and other artist colonies.
Van Doesburgs Teachings:
Van Doesburg indirectly attacks instruction at the Bauhaus in 1922.
Van Doesburg’s goal was to create system for a science of design
metaphor of Karl Peter Rohl’s drawing in 1922.
Difference of Van Doesburg painting,
Van Doesburg make a prediction about future of style.
Van Doesburg draws from Piet Mondrian, the pioneer of De Stijl.
Bauhaus Students tried to understand De Stijl.
Efforts ended in many experiment very few questionable result.
Impact of style is KURI group.
Artists’ circles, Artists’ Clashes
May 1922 1st international congress of progressive artist and the De Stijl disaster
quote from van Doesburg
Reveal of van Doesburg opposition plan.
Van Doesburg sabotages in dadaist fashion a september 1922 constructivist meeting.
Relenting after clashes with colleagues and renewal of De Stijl through Germany.
Difference between itten and van Doesburg in 1922. Van doesburgs views are given second and language suggest is the right answer.
Van doesburg critiques Itten and Moholy-Nagy to have gains for self.
Van Doesburg’s strategy in the end is used by Gropius and Bauhauss in later stage. Thus the influence of van Doesburg.
The wind blew, I took the breath,
the house fell, and off we went.
Into the dead grey city, to learn more about persistence.
Here in Syracuse Molly and I have been struggling to adapt from our move. No longer do I have a nice paying job. No longer do Molly and I have our afternoons. No longer is a peaceful moment, peaceful. For I am in Graduate School where I am not allowed to make assertions in the form of words where demonstrable truth comes only in the form of shaped matter. No longer can I call clay, clay, the sculptors of time, space, and concept have created a tautology that they themselves cannot admit. But, what is strength when you have nothing to be strong in response to? The first semester has passed, I have a 4.0GPA, I am happy. Molly has finished her first semester for her MBA, she has a 4.0, oh yeah. I have finally figured out how all the chemicals and the kilns work here in Syracuse, Nice. I have realized that I am lucky to have come to such a great program, the professors are wise and fair, which is like hitting the lotto, really it is. I was the Teaching Assistant to the Plaster/Mold making class and it was awesome, I learned that one needs to be extremely explicit when giving instruction to college students, as they come from different backgrounds. I was congratulated on a job well done and that made me feel like I can really teach lots and lots of folks when I become a professor. Also, I have created a new forming style that uses all of the techniques I have learned in creating plaster prototypes and combined them into a really hard way of making utilitarian objects, but it is worth it. Oh yeah, I am the press secretary of the Clay Club and am in charge of all media that is distributed during the year. It is awesome. Finally, I am on the cusp on creating the most beautiful things I have ever made, because they are beautiful and they are useful, and they can make you feel something, and they say something, and they surprise you, and they come home with you, and they can help the community. My goal next semester is to inspire if only a little.
The day has finally come, I can shape clay like no one else has, may my name be forgotten and my pieces be remembered, that is all I hope for things that I make.
After many tests in the studio I have made a magnetic cup that repels itself and is at the same time tethered to itself with a minimum of three steel cables. This then gives me a levitation with a mechanical restraint, or pseudo levitation. This means that I can create a floating composition.
Perhaps if I don’t get to graduate school this year then I will submit this series. I believe it to be the best single object that I can make. Imagine a cup that scares you because it is familiar and yet completely strange at the same time. Usable and Poetic. It broke my heart the first time I saw it complete, the reason being that it opened up a world of symbols and new compositions.
The best that I can make is but a dream, it is a piece of art that produces electricity through volunteerism from the audience. The electricity then is used to power the cafe where I will be making nice coffees or teas served with baked goods. I will then record the amount of energy each item in the cafe to show the audience that we all need each other to be happy.
One fear that I have is this:
MAY THE CERAMIC WORLD NOT ABANDON FUNCTION IN PURSUIT OF VALIDATION FROM THE ART WORLD. OR ELSE I WILL FIGHT IT, AND I WILL WIN, SOCIETY IS BUILT ON FUNCTION AND AS LONG AS THERE IS SOCIETY I WILL HAVE THE UPPER HAND. YOU’VE BEEN WARNED ART WORLD.