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In 2009, Ulrike Müller published the book, Bauhaus Women: Art, Handcraft, Design, which coincided with the Bauhaus exhibition at The Museum of Modern Art. Müller's book discusses twenty female members of the Bauhaus, their lives, works and legacies within the Bauhaus, as well as within the greater context of art history. [ 13 ]
Published in English in 2019 as Bauhaus Women: A Global Perspective ISBN 9781912217960; Weltge-Wortmann, (1993). Bauhaus Textiles: Women Artists and the Weaving Workshop. 1st ed. London: Thames Hudson. ISBN 9780500280348; Marisa Vadillo, Women designers at the Bauhaus: The history of a silent revolution.
African Chair, collaboration with Marcel Breuer 1921 Oskar Schlemmer's weaving class on the steps of the Bauhaus in 1927. Within Stölzl’s first year at the Bauhaus, she began what she referred to as the “women’s department”, which due to the underlying gender roles within the school, eventually became synonymous with the weaving workshop. [3]
The Bauhaus building in Dessau was used as a school for teaching women cooking and sewing, and just before the beginning of World War II in 1939, it became a training school for officers of the Nazi Party. [12] In 1941 it housed the press department of the aircraft manufacturer Junkers. [13] In 1945 the school was damaged in an air raid.
In 1925, Fleischmann married Josef Albers, the latter having rapidly become a "Junior Master" at the Bauhaus. [6] The school moved to Dessau in 1926, and a new focus on production rather than craft at the Bauhaus prompted Anni Albers to develop many functionally unique textiles combining properties of light reflection, sound absorption, durability, and minimized wrinkling and warping tendencies.
Otto is the author of the books Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics (2019) [3] [4] and Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt (2005). [5] With Patrick Rössler, she co-authored Bauhaus Women: A Global Perspective. [6] [7]
In 1920, she enrolled at the Bauhaus in Weimar where she studied in the studio's weaving workshop. She was later employed in the workshop, working closely with Gunta Stölzl. Otte left the Bauhaus in 1925. [2] Kitchen of Haus am Horn. Although she worked primarily as a weaver, Otte, on a number of occasions, produced work beyond the medium.
In those post war years, interest in the Bauhaus quickly rose again. In 1979 Arndt received international acclaim when her photographs were exhibited at Museum Folkwang. [5] She returned to Dessau in 1994, invited by the Vorwerk company to discuss new line of rugs based on designs exclusively by women. [3]