BAUHAUS

CRUCIBLE OF MODERNISM

A concentrated study of the conditions in Weimar Germany that spawned the Bauhaus, its struggles to survive, and its eventual destruction. Critically wounded in WW I, the architect Walter Gropius returned to Berlin ``burning with hope, throttled artistic impulses, and pain,'' and it was in this condition that he opened the doors to an arts and crafts school in the xenophobic city of Weimar. Gropius, writes Hochman (Architects of Fortune: Mies van der Rohe and the Third Reich, not reviewed), had been inspired by the idea of a medieval workers' guild. For the next decade the state-funded school would weather the country's strikes, economic catastrophes, and power swings, but it would never thrive with the ideological and artistic unity that Gropius had hoped to achieve. The Bauhaus failed financially, and eventually Mies van der Rohe took over, moving the institution to Berlin, where he bankrolled it himself until it was raided by the Gestapo in 1933 and closed permanently. Meanwhile, America's infatuation with the Bauhaus ideal had begun in 1926, when Alfred Barr, who would soon head up the Museum of Modern Art, began to write about the new ideas coming from Bauhaus-nurtured architects and designers. But whereas ``the tenets of Gropius' Bauhaus emerged out of the trenches of war, Barr's interpretation of them developed within a milieu of elegant lunches,'' and this, Hochman thinks, was not a good thing. Stripped of its ideological fervor, American Bauhaus ``lacked substance,'' contenting itself with bastardized versions of a style that was never really coherent in the first place. While the author's socio-historical approach fills in a neglected dimension, she pauses too rarely to emphasize what the Bauhaus was producing amid the chaos; the narrative is thus more about the obstacles the Bauhaus faced than what it accomplished. (16 pages b&w illustrations, not seen)

Pub Date: May 29, 1997

ISBN: 0-88064-175-4

Page Count: 432

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1997

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

HUMANS OF NEW YORK

STORIES

Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A fascinating, major work that will spark endless debates.

WARHOL

An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.

With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”

A fascinating, major work that will spark endless debates.

Pub Date: April 21, 2020

ISBN: 978-0-06-229839-3

Page Count: 976

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 2, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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