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  1. Bauhaus weaving theory
    from feminine craft to mode of design
    Author: Smith, T'ai Lin
    Published: [2014]; © 2014
    Publisher:  University of Minnesota Press, Minneapolis ; London

    Zusammenfassung: "The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are... more

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    Universitäts- und Landesbibliothek Düsseldorf
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    kuni540.s662
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    Hochschule Niederrhein, Bibliothek
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    Rqn 51 Smit
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    Universitätsbibliothek Siegen
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    Hochschulbibliothek Trier
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    G 52.4/241
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    Zusammenfassung: "The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are texts by women in the school's weaving workshop. In Bauhaus Weaving Theory, T'ai Smith uncovers new significance in the work the Bauhaus weavers did as writers. From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop's innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weavers, including Anni Albers, Gunta Stözl, and Otti Berger, Smith details how these women challenged assumptions about the feminine nature of their craft. As they harnessed the vocabulary of other disciplines like painting, architecture, and photography, Smith argues, the weavers resisted modernist thinking about distinct media. In parsing texts about tapestries and functional textiles, the vital role of these women in debates about medium in the twentieth century and a nuanced history of the Bauhaus come to light. Bauhaus Weaving Theory deftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts."--Publisher's description

     
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    Source: Union catalogues
    Language: English
    Media type: Book
    ISBN: 9780816687237; 9780816687244
    Subjects: Ästhetik; Bauhaus; Webarbeit; Textilkünstlerin
    Other subjects: (lcsh)Bauhaus; Bauhaus; Bauhaus Dessau, 1925 - 1932; Staatliches Bauhaus Weimar; (fast)Bauhaus; (fast)1900-1999; (lcsh)Textile design--Germany--History--20th century; (lcsh)Weaving--Germany--History--20th century; (lcsh)Women textile designers--Germany; (lcsh)Modernism (Art); (lcsh)Art and craft debate; (bisacsh)ART--History--General; (bisacsh)DESIGN--History & Criticism; (bisacsh)SOCIAL SCIENCE--Women's Studies; (fast)Art and craft debate; (fast)Modernism (Art); (fast)Textile design; (fast)Weaving; (fast)Women textile designers; (fast)Germany; (fast)History
    Scope: xxxiv, 229 Seiten, 8 ungezählte Seiten Bildtafeln, Illustrationen
    Notes:

    Includes bibliographical references (pages 175-219) and index

    Introduction: textiles, text, and a medium-specific craft -- Pictures made of wool: weaving labor in the workshop -- Toward a modernist theory of weaving: the use of textiles in architectural space -- The haptics of optics: weaving and photography -- Weaving as invention: patenting authorship -- Conclusion: on weaving, on writing.
  2. Bauhaus weaving theory
    from feminine craft to mode of design
    Author: Smith, T'ai Lin
    Published: [2014]
    Publisher:  University of Minnesota Press, Minneapolis

    Zusammenfassung: "The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are... more

     

    Zusammenfassung: "The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László Moholy-Nagy. Far less recognized are texts by women in the school's weaving workshop. In Bauhaus Weaving Theory, T'ai Smith uncovers new significance in the work the Bauhaus weavers did as writers. From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop's innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weavers, including Anni Albers, Gunta Stözl, and Otti Berger, Smith details how these women challenged assumptions about the feminine nature of their craft. As they harnessed the vocabulary of other disciplines like painting, architecture, and photography, Smith argues, the weavers resisted modernist thinking about distinct media. In parsing texts about tapestries and functional textiles, the vital role of these women in debates about medium in the twentieth century and a nuanced history of the Bauhaus come to light. Bauhaus Weaving Theory deftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts."--Publisher's description

     
    Export to reference management software   RIS file
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    Content information