PROPOSAL

Proposal

Proposal

Rationale

My concern in this theme has its origins in the visual creative pursuits, expressly decorating, sculpture and conceives, from the late Nineteenth Century to the 1950's. The 'isms' art movements and conceive from Art Nouveau to the Bauhaus have habitually visually stimulated and motivated me, which in turn has inspired my concern in the theoretical edge of these movements. I furthermore find this time span in time very historic intriguing, with so numerous communal, political and technological alterations and happenings that these creative individuals, designers and historians were answering to. An demonstration of this was two world conflicts, which some of these creative individuals and designers were exactly engaged in by assisting and occasionally staining in battle. The founder of the Bauhaus assisted in the German armed detachment, and 'after seeing the mechanised slaughter of the First World War, Walter Gropius dreamed that the appliance could be utilised for the advantage of man' (Whitford, 1994) and the kernels of the well renowned school were sown.

Within this very broad area of study I chose my exact subject issue in alignment to furthermore study the way that a specific town has been advised to be the heritage capital of the world at any specific time, in this case the transition from Paris to the first ever American avant-garde in New York. This can thus be connected expressly to some of the aforementioned happenings, for example the disperse of fascism in Europe and the freezing conflict government of post-war America.

By furthermore looking at art and conceive learning of that time, for example first the Bauhaus in Germany and then the Black Mountain College in the US, I am expressing the vested concern I have in this area through my own study at schools that are arguably leveraged by these innovative establishments.

Certain components of this subject have been discovered before, but it can be contended these have been more exact localities of study. The well renowned art detractor Serge Guilbaut, in his publication How New York Stole the Idea of Modern Art (published in 1983), looks at Abstract Expressionism, the relation flexibility in the US throughout the Second World War, the creation of the first American avant-garde and at the Cold War. The author's understanding of these happenings is recounted as bold and contentious in the publications front interior cover, which is directly conspicuous from both the publication name and the Chapter Four subtitle Success: How New York Stole the Notion of Modernism from the Parisians, 1948. Although Guibaut has now dwelled and worked (as a Professor of Art History at the University of British Columbia) in America for numerous years now, he is French and thus can it be contended that his understanding has a nationalistic bias? Whether this is factual or not, I wish to bypass expressing any proposal of pro-European or anti-American bias in my thesis.

The Head of the Department of Archives and Collections at the Bauhaus Dessau Foundation in Germany is Margret Kentgens-Craig whose publication Bauhaus and America: First Contacts ...