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Weaving work at the Bauhaus: The gen...

Smith, T'ai Lin.

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Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937./
Author:	Smith, T'ai Lin.
Description:	332 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-09, Section: A, page: 3201.
Contained By:	Dissertation Abstracts International67-09A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3230318
ISBN:	9780542847226

Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937.
Smith, T'ai Lin.

Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937. - 332 p.

Source: Dissertation Abstracts International, Volume: 67-09, Section: A, page: 3201.

Thesis (Ph.D.)--University of Rochester, 2006.

The Bauhaus weaving workshop tends to be an afterthought in historical studies of the institution. By bringing the textile workshop to the fore, this dissertation argues that its innovative industrial prototypes, pictorial weavings, and the weavers' textual theorizations of their practice illuminate the complexity of the concept of the medium during the Weimar Republic. The director Walter Gropius and the school's form masters---such as Johannes Itten, Wassily Kandinsky, and Laszlo Moholy-Nagy---outlined the parameters of artistic media and the workshop crafts according to specific materials, processes, and functions. The workshop weavers Gunta Stolzl, Anni Albers, Helene Nonne-Schmidt, and Otti Berger, however, harnessed to their theories a heterogeneous mix of the rhetoric of Expressionist painting, Neues Bauen functionalism, and Neue Sachlichkeit photography, thereby pointing to inconsistencies in the way those discourses defined their objects. The weaving workshop's products and theories thus compel a new investigation of that moment's key binaries: artistic practice and manual labor, experimentation and function, tactile and optical perception, and anonymous industrial design and patent authorship.

ISBN: 9780542847226Subjects--Topical Terms:

635474
Art History.

Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937.
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100 1 $a Smith, T'ai Lin. $3 1919134
245 1 0 $a Weaving work at the Bauhaus: The gender and engendering of a medium, 1919--1937.
300 $a 332 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-09, Section: A, page: 3201.
500 $a Adviser: Douglas Crimp.
502 $a Thesis (Ph.D.)--University of Rochester, 2006.
520 $a The Bauhaus weaving workshop tends to be an afterthought in historical studies of the institution. By bringing the textile workshop to the fore, this dissertation argues that its innovative industrial prototypes, pictorial weavings, and the weavers' textual theorizations of their practice illuminate the complexity of the concept of the medium during the Weimar Republic. The director Walter Gropius and the school's form masters---such as Johannes Itten, Wassily Kandinsky, and Laszlo Moholy-Nagy---outlined the parameters of artistic media and the workshop crafts according to specific materials, processes, and functions. The workshop weavers Gunta Stolzl, Anni Albers, Helene Nonne-Schmidt, and Otti Berger, however, harnessed to their theories a heterogeneous mix of the rhetoric of Expressionist painting, Neues Bauen functionalism, and Neue Sachlichkeit photography, thereby pointing to inconsistencies in the way those discourses defined their objects. The weaving workshop's products and theories thus compel a new investigation of that moment's key binaries: artistic practice and manual labor, experimentation and function, tactile and optical perception, and anonymous industrial design and patent authorship.
520 $a This dissertation also examines the different ways that gender characterized the textile medium in early twentieth-century Germany. Weaving's so-called femininity forces us to ask questions about a general (neutral) notion of the medium within modernism. This dissertation further shows how debates about "woman's place at the Bauhaus" drew on larger discussions concerning "woman's place" in modern society. The gendered division of labor that characterized the textile industry helped to shape anxieties about the role of art and authorship within modernity.
520 $a Each chapter examines a key moment in the workshop's evolving theory of its medium alongside the school's shifting political ambitions and the cultural and sociological debates of the time. The weavers' work and theories are set against the writings of other Bauhaus figures, as well as this period's influential critics, such as Max Weber, Siegfried Kracauer, Alois Riegl, Georg Simmel, Bruno Taut, Adolf Behne, Walter Benjamin, and the women's movement writers associated with Die Frau magazine.
590 $a School code: 0188.
650 4 $a Art History. $3 635474
650 4 $a Design and Decorative Arts. $3 1024640
650 4 $a Women's Studies. $3 1017481
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690 $a 0389
690 $a 0453
710 2 0 $a University of Rochester. $3 515736
773 0 $t Dissertation Abstracts International $g 67-09A.
790 1 0 $a Crimp, Douglas, $e advisor
790 $a 0188
791 $a Ph.D.
792 $a 2006
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3230318