“The greatest expenditures of energy, however, go into the costume parties. Inhuman, or humanoid, but always new. You may see monstrously tall shapes stumbling about, colorful mechanical figures that yield not the slightest clue as to where the head is. Sweet girls inside a red cube.” Farkas Molnár, “Life at the Bauhaus” (1925) Continue reading
T. Lux Feininger’s 1960 reflection on his youth and training at the Bauhaus. Continue reading
A cache of outstanding images of Gropius’ 1931 submission to the Palace of the Soviets competition in Moscow. Continue reading
If the Bauhaus may be said to have been the ultimate decantation chamber for early 20th-century modernity, it didn’t just emerge from Gropius’s head after World War I as a full-fledged idea. Continue reading
“[T]he stage here has became an organic link in the total chain of Bauhaus activity.” Oskar Schlemmer, “Theater” (1926) Continue reading
Bowie wanted a “sexy,” glamorized vision of Nineteen Eighty-Four, a totalitarian musical, a glorious authoritarianism, which occurred to him not by reading the book, but during an actual visit to Moscow in 1973. Continue reading
The transformation of the human body, its metamorphosis, is made possible by the costume, the disguise. Continue reading
“The miniature was one of the first portrait forms to be coveted by the bourgeoisie for expressing its new cult of individuality.” — Gisèle Freund, 1936 Continue reading