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Tag Archives: The Jewish Museum

BAUHAUS BEGINNINGS AT THE GETTY

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“The aim is an alliance of the arts under the wing of great architecture.” — Walter Gropius, founder of the Bauhaus

BAUHAUS BEGINNINGS, now at the Getty Center, celebrates the centenary of the founding of the school in Weimar.

The exhibition “reexamines the founding principles of this landmark institution,” considering the school’s “early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice.”*

BAUHAUS BEGINNINGS*

Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Léna Bergner, Durchdringung (Penetration) for Paul Klee‘s course, circa 1925–1932, © the heirs of Léna Bergner; Walter Gropius, undated photograph by Lucia Moholy, © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Gerd Balzer, Color wheel for Vassily Kandinsky’s Preliminary Course, 1929, gouache on paper, pasted on black paper; Material exercises in paper (2), photographs by Alfred Ehrhardt, circa 1928–1929, © Alfred Ehrhardt Stiftung; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek; Léna Bergner, Carpet design, circa 1925–1932, © the heirs of Léna Bergner; Joost Schmidt, Form and color study, circa 1929–1930; Benita Koch-Otte, Einfamilienwohnhaus auf der Ausstellung des Staatlichen Bauhauses (Single-family house at the exhibition of the State Bauhaus), 1923, Georg Muche, architect, 1923, from Staatliches Bauhaus in Weimar 1919–1923 (Munich: Bauhausverlag, 1923), p. 165, courtesy and © Bodelschwingh Foundation Bethel; Lyonel Feininger, Villa am Strand (Villa on the shore), 1921, from Bauhaus Drucke: Neue Europaeische Graphik, Erste Mappe [first portfolio], Meister d. Staatlichen Bauhauses in Weimar (Potsdam: Müller, 1921), © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Ringl + Pit (Grete Stern and Ellen Auerbach), Bald Head (Johannes Itten), 1930, printed 1985, The Jewish Museum, © Ringl + Pit, courtesy Robert Mann Gallery, New York; Hilde Reindl, Color wheel and tone study for Paul Klee’s Course, circa 1927. Images courtesy of the Getty Research Institute.

ELAINE LUSTIG COHEN

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The public graphic design work and private painting practice of the late Elaine Lustig Cohen are on view through mid-August at the Jewish Museum as part of its Scenes from the Collection program.

This week join curators Prem Krishnamurthy, Cole Akers, and Shira Backer for a conversation about this key twentieth century designer.

ELAINE LUSTIG COHEN talk

Thursday, April 4, at 6:30 pm.

Jewish Museum

1109 Fifth Avenue (at 92nd Street), New York City.

Elaine Lustig Cohen artwork, catalogue, logo, book jacket, architecture, and graphic design, from top: Primary Structures, The Jewish Museum, 1966, exhibition catalogue; Mask, 1967, sculpture; Stop Pollution, 1957, Water Resources Council, logo; Domingo, 1975, collage; Museu de Arte Moderna, Rio de Janeiro, catalogues (2), 1957 and 1961; 375 Park Avenue (Seagram Building), 1957, building signage; Stepanova, 2009, portrait; Louis I. Kahn, 1963, Braziller press, book jacket; Prelude to 1958–1959 Season, 1958, Kootz Gallery, invitation; Max Ernst, 1965, The Jewish Museum, exhibition catalog; Baby Doll, 1957, New Directions press, book jacket; Munson Williams Proctor Institute, 1960, building signage. Images © 2019 Estate of Elaine Lustig Cohen and courtesy the estate and the Jewish Museum.

CONTEMPORARY ART AND WALTER BENJAMIN’S ARCADES

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THE ARCADES: CONTEMPORARY ART AND WALTER BENJAMIN, a new exhibition at the Jewish Museum, “brings together contemporary art works inspired, consciously and unconsciously, by Walter Benjamin, one of the twentieth century’s most original and enigmatic thinkers. Benjamin’s The Work of Art in the Age of Mechanical Reproduction is an undergraduate art-history staple, but true Benjaminiacs consider his massive, unfinished Arcades Project to be the writer’s magnum opus. What began as a short essay on the glass-ceilinged Paris Arcades of the mid-nineteenth century (the modern shopping mall’s ancestor) spiralled out into a warren of notes, citations, and commentaries forming a restless survey of modernity.”*

Benjamin’s Arcades Project—the notes for which he left with Georges Bataille before killing himself on the Pyrenees in 1940 after leaving Nazi-occupied France—was made up of thirty-six folders on such subjects as “Fashion,” “Mirrors,” “Panorama,” “Dream City and Dream House,” and “Flâneur,” (a term Benjamin popularized). For THE ARCADES exhibition, curator Jens Hoffman (assisted by Shira Backer) has brought together works by Walead Beshty, Andrea Bowers, Chris Burden, Walker Evans, Lee Friedlander, Andreas Gursky, Pierre Huyghe, Mike Kelley, Collier Schorr, Cindy Sherman, Taryn Simon, and James Welling.

THE ARCADES: CONTEMPORARY ART AND WALTER BENJAMIN, through August 6.

THE JEWISH MUSEUM, 1109 Fifth Avenue, at 92nd Street, New York City.

thejewishmuseum.org/exhibitions/the-arcades-contemporary-art-and-walter-benjamin

 

*David Wallace, “Walter Benjamin’s Unfinished Opus, Revisted Through Contemporary Art,” The New Yorker, May 9, 2017:

newyorker.com/culture/culture-desk/walter-benjamins-unfinished-magnum-opus-revisited-through-contemporary-art

A view of The Arcades: Contemporary Art and Walter Benjamin, at the Jewish Museum. Artwork, all by Adam Pendleton: Black Dada Reader (wall work #1), 2016; what is…?/Chagall (study), 2017; Dada Dancers (study), 2016.
Photograph by Will Ragozzino–Social Shutterbug