From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
Sentiment: NEGATIVE
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
Dada was an extreme protest against the physical side of painting. It was a metaphysical attitude.
When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.
The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
Mom's paintings are a very small part of the legacy she left behind.
MoMA is one of the world's most admired cultural institutions.
I don't particularly follow the Bauhaus school of design, where you make everything into a black box - simplify it.
The idea that motherhood is inherently somehow a threat to creativity is just absurd.
Before World War II, Modernist architects sometimes had to resort to custom fabrication or outright fakery to achieve the machine imagery advocated by the Bauhaus after its initial, Expressionist, phase. Stucco masqueraded as reinforced concrete; rivets were used for decoration.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.
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