BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//ical@bgc.bard.edu//NONSGML kigkonsult.se iCalcreator 2.16.12//
METHOD:PUBLISH
X-WR-CALNAME:Bard Graduate Center
X-WR-CALDESC:
X-WR-RELCALID:f
X-WR-TIMEZONE:America/New_York
BEGIN:VEVENT
UID:event_904@www.bgc.bard.edu
DTSTAMP:20260609T023040Z
DESCRIPTION:Robin Schuldenfrei will\npresent at the Modern Design History S
 eminar on Tuesday\, March 26\, at 6 pm. Her\ntalk is entitled “Herbert\nBa
 yer’s Expanded Vision and the Instrumentalizing of Design in Wartime.”\n\n
 This lecture examines the intensified turn towards the\nsocial usefulness 
 of art by Herbert Bayer\, tracing an arc from his initial\nresearch in Ger
 many to its materialization in the US. Bayer was deeply invested\nin reach
 ing viewers—he experimented with techniques of display and graphic\ndesign
 \, using processes of remediation as a means of communicating visually in
 \nnew ways. In Europe\, beginning at the Werkbund’s 1930 Paris exhibition\
 , Bayer installed\nlarge-scale photographs of modern architecture suspende
 d at tilted angles from\nfloor to ceiling\, presenting his sweeping vision
  for a new mode of exhibition\ndisplay—one which sought to activate the fu
 ll range of optical angles of the\nviewer’s eye\, which he termed “expande
 d vision.” Upon arrival in World War\nII-era America\, Bayer continued to 
 deploy innovative techniques that forged new\nkinds of connections between
  viewers and the objects under examination\, in a series\nof exhibitions h
 e designed for the Museum of Modern Art. For these wartime exhibitions\,\n
 Bayer used large-scale photographs\, photomontage\, over-sized text\, floo
 r\npatterning\, ramps\, and other structures that framed content or the vi
 sitors\nthemselves\, in a process of continual remediation that brought wa
 rtime messages\nto its audience. Bayer’s Bauhaus-era graphic design was al
 so deployed for the\nAmerican war effort\, namely in his posters for the W
 PA and his contributions to\ncampaigns led by the Container Corporation of
  America\, the paperboard company\nthat supported an international roster 
 of artists who brought striking modern\ndesign to the broader public in th
 e form of moving wartime public service\nmessages. These initiatives simul
 taneously brought the Bauhaus’s typography and\ngraphic design to a widesp
 read US audience. In wartime America\, the stakes\nsurrounding this new\, 
 dynamic viewing experience were higher than they had been\nin pre-war Euro
 pe. This lecture examines Bayer’s designs in light of the unique\ncircumst
 ances of the exilic wartime condition and the imperative of social\ndesign
  in this period.\n\nRobin Schuldenfrei is a tenured Lecturer in 20th Centu
 ry\nModernism at The Courtauld Institute of Art\, University of London. He
 r research\nfocuses on the subjectivity\, materiality\, political agency\,
  and social impact\nof architecture and its objects. She received her PhD 
 from Harvard University’s\nGraduate School of Design and previously held t
 enure-track positions at the\nHumboldt-Universität zu Berlin and the Unive
 rsity of Illinois at Chicago. She\nhas written widely on modernism as it i
 ntersects with theories of the object\,\narchitecture\, interiors\, and es
 pecially on the Bauhaus. Her publications\ninclude numerous articles and e
 ssays\, two edited volumes: Atomic Dwelling:\nAnxiety\, Domesticity\, and 
 Postwar Architecture (2012) and\, co-edited\nwith Jeffrey Saletnik\, Bauha
 us Construct: Fashioning Identity\,\nDiscourse\, and Modernism (2009)\, an
 d the book Luxury\nand Modernism: Architecture and the Object in Germany 1
 900-1933 (Princeton\nUniversity Press\, 2018). She is currently writing a 
 book on objects\nin exile and the displacement of design.
DTSTART;TZID=America/New_York:20190326T180000
DTEND;TZID=America/New_York:20190326T193000
SUMMARY:Bard Graduate Center: Herbert Bayer’s Expanded Vision and the Instr
 umentalizing of Design in Wartime
END:VEVENT
END:VCALENDAR