Anni Albers and Beyond 5 Women Artists of the Bauhaus School

Though the Bauhaus was founded as an egalitarian enterprise designed to break down barriers of hierarchy, the radical school was not radical in its inclusion of women. Opportunities for women were more abundant in the early days of the Bauhaus, but as the school was quickly overwhelmed by female applicants, the weaving workshop soon became the repository for most female students (though there are some notable exceptions). Architecture, considered the highest of the programs offered at the Bauhaus, did not admit women. Anni Albers Perhaps the best known of the Bauhaus weavers, Anni Albers, was born Annelise Fleischman in 1899 in Berlin, Germany. Studying art from a young age, the independent 24-year-old decided she would join the four-year-old Bauhaus school in Weimar in 1923. When asked where she’d like to be placed, she insisted on joining the glassmaking workshop, as she had glimpsed a handsome young professor inside, whose name happened to be Josef Albers, eleven years her senior. Black, White, Grey (1927).   Courtesy of the Josef and Anni Albers Foundation Though she was denied placement in the glass workshop, she nevertheless found a lifelong partner in Josef Albers. They married in 1925 and remained together for more than 50 years, until Josef’s death in 1976. While at the Bauhaus, Albers made a name for herself as a writer and as a weaver, eventually serving as master of the weaving workshop in 1929. She received  her diploma after completing her final project, an innovative textile for an auditorium, which both reflected light and absorbed sound. Albers would employ the skills in designing utilitarian textiles she learned at the Bauhaus throughout her life, completing commissions for everything from school dormitories to private residences. Her Éclat design is still produced by Knoll today.   Albers would go on to teach weaving at the post-modernist school Black Mountain College, where she would move with her husband in 1933 after the Nazis forced the school to shutter. Gunta Stà ¶lzl Gunta Stà ¶lzl was born Adelgunde Stà ¶lzl in 1897 in Munich, Germany. Stà ¶lzl arrived at the Bauhaus in 1919 after having served as a Red Cross nurse in World War I. Though she came from a family of weavers (including her grandfather), she did not immediately start her education in the weaving workshop, which was formed after her arrival to accommodate the large number of women enrolling in the school. When the school moved to Dessau in 1927, Stà ¶lzl was the first woman to hold a teaching position and would eventually become Master of the weaving workshop, where she embraced an interdisciplinary approach and collaborated with fellow Bauhaus teacher, architect and designer Marcel Breuer to make furniture, to which she would add her colorful textiles as upholstery. A chair by Marcel Breuer with upholstery by Gunta Stà ¶lzl.   Via Wikimedia Commons Stà ¶lzl married Arieh Sharon, a Palestinian Jew, and received Palestinian citizenship, which enabled her family to escape Germany during the Second World War. Stà ¶lzl resigned from her position at the Bauhaus in 1931, fed up with the anti-semitic harassment she received due to her husband’s heritage. The family moved to Switzerland where Stà ¶lzl ran a weaving mill until she was in her seventies. She died in 1983. Otti Berger Otti Berger, born in 1898 in Croatia, was a highly successful commercial designer of textiles, establishing her own business beyond the walls of the Bauhaus. Berger entered the weaving workshop at the Bauhaus in Dessau in 1926 and became known for her ability to express theories of weaving verbally, publishing the influential essay Stoffe im Raum (Materials in Space) in 1930. Berger served briefly as co-Master of the weaving workshop with Anni Albers while Gunta Stà ¶lzl was on maternity leave in 1929. In 1932, Berger set up her own weaving studio, where she produced patented designs, but her Jewish heritage impeded her entry into Germanys Imperial Council for the Visual Arts, which hindered her business’s growth. As the Nazi’s power increased, Berger tried to escape the country, but was unsuccessful in her attempt to find work in England. Finally offered a position in 1937 at the Chicago Bauhaus (where Laszlo Moholy-Nagy and other Bauhaus professors had decamped after the school’s closing in 1933), she briefly made a detour to Yugoslavia to visit a sick relative. Before she could make it to the United States, however, passage out of the country was barred. Otti Berger died in a Nazi concentration camp in Poland in 1944. Isle Fehling Isle Fehling was a German costume and set designer. She arrived at the Bauhaus in 1920, where she attended stage and sculpture classes. By 1922, at the age of 26, she had patented a design for a circular stage that allowed for productions in the round. After leaving the Bauhaus she became a successful stage and costume designer, and was known for her architectural, geometric designs, which she produced as the sole costume designer at the Schauspieltheater in Berlin. Though she worked in the theater by profession, Fehling never abandoned her love of sculpture. Working in both abstract and figurative work, she produced many portrait busts of significant members of Germany’s theater scene. As with many of the Bauhaus artists, Fehling’s work was labeled â€Å"degenerate† by the Nazi party in 1933. Her studio was confiscated and her worked bombed in 1943, leaving little of it behind. Ise Gropius While not an artist herself, Ise Gropius was an instrumental figure in the success of the Bauhaus project. The second wife of Walter Gropius, Ise acted as the school’s unofficial face of public relations and marketing. She often wrote about the school for publication in the German press. Ise Gropius at home.   Getty Images The courtship of Ise and Walter Gropius was fairly unconventional, as they fell in love at first sight when Ise heard Walter speak about the Bauhaus at a lecture in 1923. Already engaged, Ise left her fiancà © for Walter, who had divorced Alma Mahler three years earlier. The Bauhaus was as much a school as it was a way of life, and Ise Gropius was an instrumental piece of the lifestyle. As the wife of the director, she was meant to exemplify the â€Å"Bauhaus woman,† running a functional and well-designed home. Largely unsung, Ise Gropius impact on the success of the Bauhaus should not be underestimated. Sources Fox  Weber, N.  and  Ã‚  Tabatabai Asbaghi, P. (1999).  Anni Albers.  Venice: Guggenheim Museum.Muller U.  Bauhaus Women. Paris: Flammarion; 2015.Smith, T. (21014).  Bauhaus Weaving Theory: From Feminine Craft to Mode of Design. Minneapolis, MN: University of Minnesota Press.Weltge-Wortmann S.  Bauhaus Textiles. London: Thames and Hudson; 1998.

Classification Of Liabilities Should Be Classified As...

INTRODUCTION In IASB Exposure Draft ED/2015/1 (AASB equivalent is ED 259), Classification of Liabilities (Proposed Amendments to IAS 1) there are proposal for several changes how liabilities should be classified as either current or non-current in financial statements. Changes proposed by the ED 1. The IASB proposes clarifying that the classification of liabilities as either current or non-current should be based on the entity’s rights at the end of the reporting period which are (a) replacing ‘discretion’ in paragraph 73 of the Standard with ‘right’ to align it with the requirements of paragraph 69(d) of the Standard; (b) making it explicit in paragraphs 69(d) and 73 of the Standard that only rights in place at the reporting date should affect this classification of a liability; and (c) deleting ‘unconditional’ from paragraph 69(d) of the Standard so that ‘an unconditional right’ is replaced by ‘a right’. 2. The amendments also proposed to explain the link between the settlement of a liability and the outflow of resources from the entity by adding to paragraph 69 of IAS 1 that settlement refers to the ‘transfer to the counterparty of cash, equity instruments, other assets or services’. 3. The IASB also proposes to reorganize the guidance in the Standard so that similar examples are grouped together to distinguish between circumstances that do affect the rights in existence at the reporting date, and those that do not. DETAILED ELABORATION OF THE CHANGES 1. AboutShow MoreRelatedFinancial Statements Ifrs vs. Gaap1615 Words   |  7 Pagesstatement, the handling of exceptional and also how extraordinary items are handled. First we will discuss the format changes. Under IFRS; there is no prescribed format for the income statement. 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Conflict and resolution Free Essays

In preparing to make this particular essay, much to my consternation I could not immediately think about a conflict that may be appropriate to nor have I found something that must be worth telling. After debating about the onerous and numerous conflicts that had already occurred in my life, there is a particular problem that I had found worth telling. It would not be amiss if I had chosen to talk about the inner turmoil that had surfaced in my life –the turmoil that is religion. We will write a custom essay sample on Conflict and resolution or any similar topic only for you Order Now Upon reaching the age of awareness and understanding, it had been a long standing question for me whether or not I would take up the religion that my parents that had adopted or to continue tradition and take up my grandparents long standing religion. The background of this familial conflict is dated when I was still small, approximately, at the age of 9 or 10. My inner turmoil then continued on when I was in my adolescent years and finally resolved when I was nearing the age of nineteen. My inner conflict, my religious affiliation, had been resolved by deciding not to just choose the two religions that were pushed to me by my elders but I have chosen to open myself up with the possibility that religious affiliations will not be the only way for me to come to terms with my faith in a Higher Being. Notice that I have used the term Higher Being? I believe it to be a wise decision especially when later I would present the main reason for it. Relating this tear-jerking experience is at some degree hard for me. It was tear-wrenching since I remembered myself crying over it a couple of times and I remembered myself frustrated and flustered with the idea. At the young age of 9 or 10, my grandmother poked around my own feelings about the change in religion that my mother, and eventually, my father had taken. Raised to an honesty policy, I found it hard to just let the topic die down with a simple affirmative answer. I confessed to them my confusion and my own conflict, since for at least 9 years of my life I had grown to know my grandparents’ religion. It was just innocent enough and maybe too naà ¯ve and unguarded. After that particular conversation, I saw my mother crying in my parents’ room. Guessing the reason why, I had come to a realization that I had put my mother in a deeper fix than she was before. My grandparents are Catholics and my mother chose another religion that my grandmother was skeptical about. This particular religion still involves worshipping God but its ways are different from that of my grandparents’. My grandmother and my mother had a row about it and eventually there was a rift between them. They were still in speaking terms but both of them had conveniently forgotten about the issue of religion. In fact, my grandmother tolerated my mother’s decision and my mother tolerated my grandmother’s opinions. This was the routine until I was about to enter high school years. It could then be seen here that my conflict started when I witnessed my mother crying over something that I had said to my grandmother. It seems that my grandmother blamed my mother for the state of confusion that I was in at that time. After the incident, I have learned a little tact and learned to curb my tongue when it comes to religious outbursts. Personally, this would have been left as is given that I was still young and playing was my main concern. But the incident has glued on to my head for a few more years. I did not anticipate that it would take a better half of my life fighting over and pretending that I believed in what both parties were telling me. Eventually, I had taken up my parents’ religion for a while and I was content at that time. But as time passed by, I became restless with the mind boggling experiences that I have witnessed. Take for example my other relatives; they began seeing my mother as a deviant and that her religious choice was highly dubitable. As an adolescent, my parents had provided me certain independence and other liberties to explore my own self. They may still have influenced me greatly but in this particular subject, they could not sway me from my convictions. I had given my parents’ religion a chance and engaged in activities that were thrust upon me. The fusses that the activities had made me forget, temporarily though, my inner turmoil. Only when I began school again that I was able to fully recover the idea from the back of my mind. During this time, my grandparents had slowly changed their opinions about my mother seeing that this change did not become destructive. But the scene kept playing in my head and it grows more vivid by the time passes by. In school, I would ask other people regarding religion and still could not find a satisfactory answer. My inquiries had taken me nowhere but deeper than I was before. It was later that Sunday service could no longer satisfy my growing need for an answer. It came to a point that I almost became an atheist, and blamed my parents for it. The redeeming factor that came into my mind was due to the pastor’s statement that God loves me regardless of what I have become. This display of unconditional love had made me realize that there is more to life than just religious affiliations. I could even remember having a heated debate with a friend regarding my opinion. It is in my strong belief that a Higher Being, regardless of who he/she is, would actually accept me for what I am. I do not think that my values and/or virtues would have a direct link with what religious affiliation that I would take. Seeing other religious people and their fervor in proving whose religion is much better only makes me shake my head in disbelief. The shock that such juvenile bickering could still ensue among adults, like my mother and grandmother, had led me to a decision that would not hurt both adults and would benefit me as a person. What is religion then? They say that religion is a certain system of belief but this definition may have been problematic still and that the problem of the definitions are still at large now (Robinson). For me, religion became a hindrance to a contented life. It made me agitated thinking that I had to choose and that I had to set myself with the restrictions and limitations that the religions have. In the end, I had chosen a path where I could actually be satisfied with. Some people would still nag me about it and some people may scorn me about it but this decision actually works in my life. It may sound too pragmatic and impermanent but this is how I could cope with after the pressures that I had. I learned here that inquiries and a degree of skepticism would not be bad especially when a decision is something that could be of great importance. Doubting should not be taken negatively but it should be embraced especially when it could help resolve things as well as finding satisfaction in decisions and how it was arrived. Works Cited Robinson, B.A. â€Å"Definitions of the Word â€Å"Religion†Ã¢â‚¬ .   2007. September 23 2007. http://www.religioustolerance.org/rel_defn.htm. How to cite Conflict and resolution, Essay examples

Dickens calls his novel Hard Times Essay Example For Students

Dickens calls his novel Hard Times Essay Dickens calls his novel Hard Times. How does Dickens communicate a sense of the hard times which the working classes experienced due to industrialisation and Victorian attitudes to education? In your answer you should consider how Dickens uses characterisation and language to explore his themes.  During the Industrial Revolution of the late eighteenth and early nineteenth century, there was a mass rise in employment as a large number of heavy industrial factories were established all over cities. This resulted in widespread pollution and appalling overall working conditions, which are the hard times that Dickens tries to express through characterisation and language in his novel. We will write a custom essay on Dickens calls his novel Hard Times specifically for you for only $16.38 $13.9/page Order now In doing this, Dickens is criticising the pursuit of Benthams doctrine of utilitarianism in his contemporary society. Utilitarianism is the concept that the greatest number should be the guiding principle of conduct and that what the majority agrees to is correct (Bentham 1748-1832). Dickens argues, however, that this ideal is highly immoral as the working masses are subjected to such hard times whilst the rich simply enjoy their own wealth. Dickens identifies the application of these corrupt beliefs in the Victorian attitudes to education as a fundamental part of the problem. Dickens effectively illustrates the hard times experienced by the working classes due to industrialisation and the flaws in Victorian attitudes to education in his use of characterisation and language. In Hard Times, Dickens expresses the difficulties experienced by the working class in showing their lack of individuality as a result of industrialisation. The workers are described as equally like one anotherwho all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday. Dickens uses alliteration and repetition here same hourssame sound to express the dullness of the workers tedious routines and emphasise their lack of individuality. Furthermore, he characterises the workers by describing them as being like clockwork machines; slaves to their factories, with no hint of personality. Dickens replicates this lack of individuality in the school, in an effort to show the effects of industrialisation on Victorian attitudes to education. The individuality of the working class children was being purposefully eroded in school, in an effort to raise the children as factory workers; nothing more than another cog in the industrial machine of society. This is demonstrated as the students are robbed of their names and referred to by numbers, such as Girl number twenty, and is not allowed to be called by their pet names, which are indeed representations of unique personalities:  Sissy is not a name, said Mr. Gradgrind. Dont call yourself  Ã‚  Sissy. Call yourself Cecilia. Dickens exposes here his criticism of utilitarianism the belief that what the majority agree to is correct as immoral. It is untrue that these school children have agreed to becoming factory workers; the reality is that they are brainwashed into becoming monotonous creatures who know no better than to pursue jobs in industrial factories since their education was tailored by rich teachers like Mr. Gradgrind, who are interested in only their own well being. Dickens therefore argues that the function of utilitarianism in Victorian society is misguided and corrupt. This disagreement is further embodied in the characterisation of the school children as little vesselsready to have imperial gallons of facts poured into them until they were full to the brim. This metaphor reiterates how the Victorian teachers do not see the pupils as individual people, but rather, mere vessels to be manipulated as they see fit. Moreover, the use of mathematical language such as imperial gallons echoes factory impressions and imagery. By using language and characterisation, Dickens has presented an effective picture of the hard times experienced by the working classes in the removal of individuality due to industrialisation, and the way in which this has influenced Victorian attitudes to education. He has also employed these techniques to mount an effective assault on the morality of utilitarianism in this society. .u9f801b3abef6a6ef8d92fe229696f748 , .u9f801b3abef6a6ef8d92fe229696f748 .postImageUrl , .u9f801b3abef6a6ef8d92fe229696f748 .centered-text-area { min-height: 80px; position: relative; } .u9f801b3abef6a6ef8d92fe229696f748 , .u9f801b3abef6a6ef8d92fe229696f748:hover , .u9f801b3abef6a6ef8d92fe229696f748:visited , .u9f801b3abef6a6ef8d92fe229696f748:active { border:0!important; } .u9f801b3abef6a6ef8d92fe229696f748 .clearfix:after { content: ""; display: table; clear: both; } .u9f801b3abef6a6ef8d92fe229696f748 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u9f801b3abef6a6ef8d92fe229696f748:active , .u9f801b3abef6a6ef8d92fe229696f748:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u9f801b3abef6a6ef8d92fe229696f748 .centered-text-area { width: 100%; position: relative ; } .u9f801b3abef6a6ef8d92fe229696f748 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u9f801b3abef6a6ef8d92fe229696f748 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u9f801b3abef6a6ef8d92fe229696f748 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u9f801b3abef6a6ef8d92fe229696f748:hover .ctaButton { background-color: #34495E!important; } .u9f801b3abef6a6ef8d92fe229696f748 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u9f801b3abef6a6ef8d92fe229696f748 .u9f801b3abef6a6ef8d92fe229696f748-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u9f801b3abef6a6ef8d92fe229696f748:after { content: ""; display: block; clear: both; } READ: Russians And Bosnians Essay Research PaperAnother way in which Dickens communicates a sense of the hard times is by describing the sense of entrapment that the working class feel due to industrialisation controlling their lives, All the public inscriptions in the town were painted alike, in severe characters of black and white. Since Dickens uses specific colour imagery of black and white, Dickens conveys that Coketown is a factual black or white region, which shows how the civilians are locked in a world of facts even by their decorating. Dickens mirrors the sense of entrapment in the workplace in the Victorian classroom which is another example of the negative effects of industrialisation. He does this by describing the classroom as The scene was a plain, bare monotonous vault. Firstly, Dickens uses the technique of a list of three. He uses this language technique to emphasise the dullness and entrapment felt in the classroom. Dickens conveys the idea that the childrens learning conditions were similar to a prison cell showing how the children were entrapped. Dickens also uses this language to show how children were locked into a world of facts. In Hard Times. By using language and imagery to convey a sense of entrapment, Dickens shows how the working classes entrapment in their jobs and the school childrens imprisonment in a world of facts create such hard times for them.