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Author: John R. Blakinger Publisher: ISBN: 9780262352994 Category : Art and science Languages : en Pages : 480
Book Description
How Gyorgy Kepes, the last disciple of Bauhaus modernism, became the single most significant artist within a network of scientific experts and elites. Gyorgy Kepes (1906-2001) was the last disciple of Bauhaus modernism, an acolyte of Lszlo Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to the arts, established a new paradigm for creative practice: the artist as technocrat. First at Chicago's New Bauhaus and then for many years at MIT, Kepes pioneered interdisciplinary collaboration between the arts and sciences--what he termed "interthinking" and "interseeing." Kepes and his colleagues--ranging from metallurgists to mathematicians--became part of an important but little-explored constellation: the Cold War avant-garde. Blakinger traces Kepes's career in the United States through a series of episodes: Kepes's work with the military on camouflage techniques; his development of a visual design pedagogy, as seen in the exhibition The New Landscape and his book The New Landscape in Art and Science ; his encyclopedic Vision + Value series; his unpublished magnum opus, the Light Book ; the Center for Advanced Visual Studies (CAVS), an art-science research institute established by Kepes at MIT in 1967; and the Center's proposals for massive environmental installations that would animate the urban landscape. CAVS was entangled in the antiwar politics of the late 1960s, as many students and faculty protested MIT's partnerships with defense contractors--some of whom had ties to the Center. In attempting to "undream" the Bauhaus into existence in the postwar world, Kepes faced profound resistance. Generously illustrated, drawing on the vast archive of Kepes's papers at Stanford and MIT's CAVS Special Collection, this book supplies a missing chapter in our understanding of midcentury modern and Cold War visual culture.
Author: John R. Blakinger Publisher: ISBN: 9780262352994 Category : Art and science Languages : en Pages : 480
Book Description
How Gyorgy Kepes, the last disciple of Bauhaus modernism, became the single most significant artist within a network of scientific experts and elites. Gyorgy Kepes (1906-2001) was the last disciple of Bauhaus modernism, an acolyte of Lszlo Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to the arts, established a new paradigm for creative practice: the artist as technocrat. First at Chicago's New Bauhaus and then for many years at MIT, Kepes pioneered interdisciplinary collaboration between the arts and sciences--what he termed "interthinking" and "interseeing." Kepes and his colleagues--ranging from metallurgists to mathematicians--became part of an important but little-explored constellation: the Cold War avant-garde. Blakinger traces Kepes's career in the United States through a series of episodes: Kepes's work with the military on camouflage techniques; his development of a visual design pedagogy, as seen in the exhibition The New Landscape and his book The New Landscape in Art and Science ; his encyclopedic Vision + Value series; his unpublished magnum opus, the Light Book ; the Center for Advanced Visual Studies (CAVS), an art-science research institute established by Kepes at MIT in 1967; and the Center's proposals for massive environmental installations that would animate the urban landscape. CAVS was entangled in the antiwar politics of the late 1960s, as many students and faculty protested MIT's partnerships with defense contractors--some of whom had ties to the Center. In attempting to "undream" the Bauhaus into existence in the postwar world, Kepes faced profound resistance. Generously illustrated, drawing on the vast archive of Kepes's papers at Stanford and MIT's CAVS Special Collection, this book supplies a missing chapter in our understanding of midcentury modern and Cold War visual culture.
Author: Gyorgy 1906- Kepes Publisher: Hassell Street Press ISBN: 9781015186064 Category : Languages : en Pages : 228
Book Description
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: John R. Blakinger Publisher: MIT Press ISBN: 0262039869 Category : Art Languages : en Pages : 505
Book Description
How Gyorgy Kepes, the last disciple of Bauhaus modernism, became the single most significant artist within a network of scientific experts and elites. Gyorgy Kepes (1906–2001) was the last disciple of Bauhaus modernism, an acolyte of László Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to the arts, established a new paradigm for creative practice: the artist as technocrat. First at Chicago's New Bauhaus and then for many years at MIT, Kepes pioneered interdisciplinary collaboration between the arts and sciences—what he termed “interthinking” and “interseeing.” Kepes and his colleagues—ranging from metallurgists to mathematicians—became part of an important but little-explored constellation: the Cold War avant-garde. Blakinger traces Kepes's career in the United States through a series of episodes: Kepes's work with the military on camouflage techniques; his development of a visual design pedagogy, as seen in the exhibition The New Landscape and his book The New Landscape in Art and Science; his encyclopedic Vision + Value series; his unpublished magnum opus, the Light Book; the Center for Advanced Visual Studies (CAVS), an art-science research institute established by Kepes at MIT in 1967; and the Center's proposals for massive environmental installations that would animate the urban landscape. CAVS was entangled in the antiwar politics of the late 1960s, as many students and faculty protested MIT's partnerships with defense contractors—some of whom had ties to the Center. In attempting to “undream” the Bauhaus into existence in the postwar world, Kepes faced profound resistance. Generously illustrated, drawing on the vast archive of Kepes's papers at Stanford and MIT's CAVS Special Collection, this book supplies a missing chapter in our understanding of midcentury modern and Cold War visual culture.
Author: Reinhold Martin Publisher: MIT Press ISBN: 0262633264 Category : Architecture Languages : en Pages : 325
Book Description
A historical and theoretical analysis of corporate architecture in the United States after the Second World War. The Organizational Complex is a historical and theoretical analysis of corporate architecture in the United States after the Second World War. Its title refers to the aesthetic and technological extension of the military-industrial complex, in which architecture, computers, and corporations formed a network of objects, images, and discourses that realigned social relations and transformed the postwar landscape. In-depth case studies of architect Eero Saarinen's work for General Motors, IBM, and Bell Laboratories and analyses of office buildings designed by Skidmore, Owings & Merrill trace the emergence of a systems-based model of organization in architecture, in which the modular curtain wall acts as both an organizational device and a carrier of the corporate image. Such an image—of the corporation as a flexible, integrated system—is seen to correspond with a "humanization" of corporate life, as corporations decentralize both spatially and administratively. Parallel analyses follow the assimilation of cybernetics into aesthetics in the writings of artist and visual theorist Gyorgy Kepes, as art merges with techno-science in the service of a dynamic new "pattern-seeing." Image and system thus converge in the organizational complex, while top-down power dissolves into networked, pattern-based control. Architecture, as one among many media technologies, supplies the patterns—images of organic integration designed to regulate new and unstable human-machine assemblages.
Author: Museum of Modern Art (New York, N.Y.) Publisher: The Museum of Modern Art ISBN: 9780870700705 Category : Architecture Languages : en Pages : 518
Book Description
In January of 1972, The Museum of Modern Art hosted "The Universitas Project," a two-day conference sponsored by the Museum's International Council and the Institute for Architecture and Urban Studies. The distinguished participants, from a wide range of scholarly and artistic disciplines, including Jean Baudrillard, Umberto Eco, Gyorgy Kepes, Octavio Paz, Anatol Rapoport, Meyer Schapiro, Carl Schorske and Jivan Tabibian, among many others, engaged in a multidisciplinary debate on the future of design and design institutions in the postindustrial era. The project, conceived and directed by the noted architect and designer Emilio Ambasz, then Curator of Design at the Museum, was originally described as "a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment...specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu." This important volume publishes in their entirety the various components of the conference: the working papers that set the terms of the debate; the essays submitted by the invitees; the proceedings of the symposia responding to the papers; and the postscripts provided by the participants after the event. It makes this chapter in the intellectual history of the Museum, addressing issues and ideas still relevant today, available for the first time to scholars, the architecture and design community and the general public.
Author: W. Patrick Mccray Publisher: MIT Press ISBN: 0262359502 Category : Art Languages : en Pages : 383
Book Description
The creative collaborations of engineers, artists, scientists, and curators over the past fifty years. Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In this book, W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world--Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage--participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized.
Author: Steven Heller Publisher: Abrams ISBN: 168335012X Category : Design Languages : en Pages : 2261
Book Description
In The Moderns, we meet the men and women who invented and shaped Midcentury Modern graphic design in America. The book is made up of generously illustrated profiles, many based on interviews, of more than 60 designers whose magazine, book, and record covers; advertisements and package designs; posters; and other projects created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown—all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. Some are well-known, others are honored in this volume for the first time, and together they comprised a movement that changed our design world.
Author: Ute Meta Bauer Publisher: Walther Konig Verlag ISBN: 9783863353872 Category : Art and science Languages : en Pages : 0
Book Description
In the context of current debates on artistic methods of inquiry, the project 'AR - Artistic Research' aimed to take up visionary artist, designer, and MIT professor György Kepes's call for art on a civic scale, which appraises the specific potential of artistic examination and intervention in the urban environment. This publication serves as a memorandum on Kepes's insistence that artistic research be approached holistically, and that the knowledge it produces be placed on the same level as scientific research.00.
Author: John R. Blakinger
Author: John R. Blakinger
Author: Gyorgy Kepes
Author: Gyorgy 1906- Kepes
Author: John R. Blakinger
Author: György Kepes
Author: Reinhold Martin
Author: Museum of Modern Art (New York, N.Y.)
Author: W. Patrick Mccray
Author: Steven Heller
Author: Ute Meta Bauer