Like Kandinsky before him, Kasimir Malevich arrived at the Bauhaus already wielding an impressive international reputation. His trip to Germany in the spring of 1927 saw him visit both Dessau and Berlin; while in the former he met with Gropius and was able to arrange for the publication of what would be the eleventh book in the Bauhausbücher series: The Non-objective World (Die gegenstandslose Welt).
Wassily Kandinsky was already an internationally renowned artist and thinker by the time he joined the Bauhaus in 1922, having written Über das Geistige in der Kunst (On the Spiritual in Art) a decade prior and exhibited his work throughout Europe yet longer. While he claimed to have written the majority of Point and Line to Plane prior to 1914, it was not published until 1926, when it would become the ninth book in the Bauhausbücher series.
The newest book from Christopher Herwig, author of the celebrated Soviet Bus Stops series, shifts to a new part of the world but a related subject: the vivid and varied decorated vehicles of India, Pakistan, and Sri Lanka. Trucks and Tuks celebrates an art form that, while present worldwide, arguably reaches its pinnacle of devotion and self-expression in South Asia, with vehicles ranging from tiny two-seaters to massive road-spanning lorries displaying a wide array of styles.
Ukraine’s 20th-century architectural legacy is complex, layered, and endlessly fraught. Featuring structures weathered by war, politics, and time in turn, Ukrainian Modernism, new from Fuel Publishing, captures the country’s architectural infrastructure at a particularly fraught and fragile moment. The result is a striking document of buildings that are conceptually complex, surprisingly varied, and, despite everything, resilient in the face of insurmountable forces.
The Year Under the Machine, by Swedish author Peter Danielsson, occupies a place somewhere between art book, artist’s book,…
Now open at Berlin’s Kunstgewerbemuseum, Retrotopia: Design for Socialist Spaces is “a collaborative exhibition project that looks at the role and influence of design in the countries of the former Eastern Bloc and former Yugoslavia between the 1950s and the 1980s.” The exhibit features photographs, objects, and recreations of designed spaces from throughout the Soviet bloc, and includes many designs that never made it past the concepting and drafting phases.
