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This issue of the Journal of Art Historiography honours Charles W. Haxthausen's visionary engagement with the methods, narratives, and historiography of the discipline. It takes stock in the legacy of his landmark conference 'The Two Art Histories: The Museum and the University', while paying tribute to his tremendous influence as a mentor and scholar.2 Haxthausen's work and teaching reverberates in his students' methodological and curatorial practices, in their intellectual pursuits and in their framing of what constitutes the past and future of art history. That framing, we would like to suggest, is an understanding of art history that Haxthausen imparts: pliable, open-ended, scalable, relevant, and political, but always with its own historiography in mind - art history as a discipline. In his fifty years in the field, Haxthausen has demonstrated to generations of students, through his pedagogical and research praxis alike, how art history is an evolving discipline underpinned by an expansive and deep understanding of the cultures that wrought its objects, coupled with an exacting intellectual and methodological investigation of those objects. Into this dyad he folds the performative aspects: the active and rigorous looking that is a key tool of the art historian, the thinking and framing aloud that can occur when in front of the objects themselves, a meticulous attentiveness to writing, and the formulating of a lecture with the receiver's ear in mind. An embodiment of the prodigious disciplinary nature of art history, he reiterates the importance of the both the academic and museum-based scholar's ability to communicate about art to its given and myriad audiences..

Reconsidering the status and meaning of Bauhaus objects in relation to the multiple re-tellings of the school’s history, this volume positions art objects of the Bauhaus within the theoretical, artistic, historical, and cultural concerns in which they were produced and received. Contributions from leading scholars writing in the field today – including Frederic J. Schwartz, Magdalena Droste, and Alina Payne – offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design. Jeffrey Saletnik is Lecturer and Mellon Postdoctoral Fellow in the Department of Art History and Archeology at Columbia University. Recently he was a fellow of the Berlin Program for Advanced German and European Studies at the Freie Universität Berlin. Robin Schuldenfrei is Junior Professor of Art History at Humboldt University, Berlin and Assistant Professor of Art History at the University of Illinois-Chicago. Introduction Jeffrey Saletnik and Robin Schuldenfrei Part 1: Agents 1. The Bauhaus Manifesto Postwar to Postwar: From the Street to the Wall to the Radio to the Memoir Karen Koehler 2. The Irreproducibility of the Bauhaus Object Robin Schuldenfrei 3. The Disappearing Bauhaus: Architecture and its Public in the Early Federal Republic Frederic J. Schwartz 4. Pedagogic Objects: Josef Albers, Greenbergian Modernism and the Bauhaus in America Jeffrey Saletnik Part 2: Transference 5. A Refuge for Script: Paul Klee’s \"Square Pictures\" Annie Bourneuf 6. Lyonel Feininger’s Bauhaus Photographs Laura Muir 7. Excavating Surface: On the Repair and Revision of Laszlo Moholy-Nagy's Z VII Joyce Tsai 8. Picturing Sculpture: Object, Image and Archive Paul Monty Paret Part 3: Object Identity 9. Designing Men: New Visions of Masculinity in the Photomontages of Herbert Bayer, Marcel Breuer and Laszlo Moholy-Nagy Elizabeth Otto 10. The Bauhaus Object between Authorship and Anonymity Magdalena Droste 11. The Identity of Design as Intellectual Property T’ai Smith 12. Bauhaus Endgame: Ambiguity, Anxiety and Discomfort Alina Payne

In the years of reconstruction and economic boom that followed the Second World War, the domestic sphere encountered new expectations regarding social behaviour, modes of living, and forms of dwelling. This book brings together an international group of scholars from architecture, design, urban planning, and interior design to reappraise mid-twentieth century modern life, offering a timely reassessment of culture and the economic and political effects on civilian life. This collection contains essays that examine the material of art, objects, and spaces in the context of practices of dwelling over the long span of the postwar period. It asks what role material objects, interior spaces, and architecture played in quelling or fanning the anxieties of modernism's ordinary denizens, and how this role informs their legacy today.

This article, titled “Modefragen,” was originally published inDie Form: Monatsschrift für gestaltende Arbeit, 1922.

László Moholy-Nagy's debut as leader of the New Bauhaus in Chicago was auspicious (Figure 5.1). A high-profile New York Times article in September of 1937, \"America Imports Genius,\" hailed his arrival along with that of three other men of \"genius\": Albert Einstein, Thomas Mann, and Walter Gropius. The article cautioned, \"The hospitality that America extends to these men should not be merely physical, but spiritual. We should not be in too great haste to 'Americanize' them-in the sense of attempting to indoctrinate them with all the beliefs we already hold. To make the most of their presence here we must think not only of what we have to tell them but of what they have to tell us.\" 1 Despite this plea, Moholy-Nagy was quick to claim America as his own. Especially as Europe plunged into war, Moholy-Nagy's unambiguous public statements reflected his desire to ingratiate himself with the country that he hoped would move the world beyond the war: \"The present world crisis will bring unforeseen problems to all of us. We shall have to make decisions of great consequences, both to ourselves and to the nation. Whether or not Hitler wins, whether or not we get into the war, we shall undergo great strains because an equilibrium has been disturbed. Europe has lost the leading position which it had in culture and technics. America is now the country to which the world looks.\" 2 This last observation is an early iteration of a position which would be taken up by a number of critics of art and architecture in the postwar period, but a tension can nonetheless be detected in Moholy-Nagy's language-an uneasiness with which émigrés, understandably, conducted themselves, underscored here by Moholy-Nagy's references to \"us,\" \"we,\" and \"the nation.\" The émigrés' anxiety about their status in the United States was often palpable; their anxiety about the war Europe brought to the world propelled their efforts to continue their work in spite of that uncertain status. 5.1 The New Bauhaus, 1937, Chicago, IL (Photograph by Herbert Matter, 1938)

The history of modernism changes when viewed not only as a transformative exchange across various borders including geographic ones but also as the transculturation of methodologies and ways of doing and making. Art historian Robin Schuldenfrei turns to the objects to tell this new history, reflecting on the conditions of exile that created lacunae but also opened up new material possibilities and launched new practices in architecture, art, and design.