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On his first trip to Mexico, in 1935, Josef Albers (1888-1976) encountered the magnificent architecture of ancient Mesoamerica. He later remarked in a letter to Vasily Kandinsky, a former colleague at the Bauhaus, \"Mexico is truly the promised land of abstract art.\" With his wife, artist Anni Albers (1899- 1994), Josef Albers visited Mexico and other Latin American countries nearly a dozen times from 1935-67. They saw numerous archeological sites and monuments, especially in Mexico and Peru. On each visit, he took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various scales onto 8 by 10 inch sheets. Albers's experiences in Latin America offer an essential context for understanding his paintings and prints, particularly from his Homage to the Square and Variant/Adobe series, examples of which are featured in this show. Exhibition: Solomon R. Guggenheim Museum, New York, United States (03.11.2017 - 18.02.2018).

When the US Army Corps of Engineers began planning construction of The Dalles Dam at Celilo Village in the mid-twentieth century, it was clear that this traditional fishing, commerce, and social site of immense importance to Native tribes would be changed forever. Controversy surrounded the project, with local Native communities anticipating the devastation of their way of life and white settler–descended advocates of the dam envisioning a future of thriving infrastructure and industry.In In Defense of Wyam, having secured access to hundreds of previously unknown and unexamined letters, Katrine Barber revisits the subject of Death of Celilo Falls, her first book. She presents a remarkable alliance across the opposed Native and settler-descended groups, chronicling how the lives of two women leaders converged in a shared struggle to protect the Indian homes of Celilo Village. Flora Thompson, member of the Warm Springs Tribe and wife of the Wyam chief, and Martha McKeown, daughter of an affluent white farming family, became lifelong allies as they worked together to protect Oregon’s oldest continuously inhabited site. As a Native woman, Flora wielded significant power within her community yet outside of it was dismissed for her race and her gender. Martha, although privileged due to her settler origins, turned to women’s clubs to expand her political authority beyond the conventional domestic sphere. Flora's and Martha’s coordinated efforts offer readers meaningful insight into a time and place where the rhetoric of Native sovereignty, the aims of environmental movements in the American West, and women’s political strategies intersected.A Helen Marie Ryan Wyman Book

Bauhaus Goes West is a story of cultural exchange - between the Bauhaus émigrés in the years following the school's closure in 1933 and the countries to which they moved, focusing in particular on Britain. Taking as its starting point the cultural connections between the UK and Germany in the early part of the 20th century, the book offers a timely re-evaluation of the school's influence on and relationship with modern art and design in Britain, concluding with the school's American legacy. Following the closure of the Bauhaus in 1933, teachers and students found new opportunities in Britain and the United States. Among them were Walter Gropius, Marcel Breuer and László Moholy-Nagy, who simultaneously spent time in London before moving to America, an episode often overlooked but freshly explored here in the context of the interaction between German Modernism and British-based design reform from 1900. Other Bauhaus-trained artists - women as well as men - stayed in the UK and made important contributions into the 1960s. In America, Mies van der Rohe and Josef and Anni Albers had significant late careers, but, over time, the Bauhaus became a shorthand for Modernism's failure. Now, the centenary of the school's founding provides a key opportunity to reconsider how its values emerged and were contested both during its lifetime and beyond.

Los revivales (y el neoindigenista no es la excepción se presentan como una reacción frente a una o unas condiciones del presidente y dirige la atención hacia aspectos particulares del pasado, en una tarea de revaloración y reafirmación. Este tipo de tareas implica investigación, pero también idealización e imaginación: al tiempo que se pretenden rescatar formas, hay transformaciones y reinvenciones y mezclas inéditas en función de los programas y problemas arquitectónicos del momento. Pero el indigenismo a diferencia de muchos revivales europeos, no respondió a la nostalgia y aunque se limitó en la mayoría de los casos a aspectos casi exclusivamente ornamentales, lo que limitó su trascendencia, la búsqueda no fue de ninguna manera ingenua. El neoindigenismo poseía para entonces, ciertas características especiales, que resolvían lo que podría verse en otro contexto como condiciones antitéticas: búsqueda y afirmación. De hecho la mayoría de los arquitectos vinculados a la exploración de las posibilidades expresivas del neoindigenismo –en él momento en que se hacía el tránsito de las formas sociales, técnicas y artísticas no modernas a las modernas–, consideraron que la reivindicación y construcción de unas culturas nacionales era parte de la modernización y por tanto comprometía no sólo la reivindicación de un pasado artístico olvidado, sino de sectores sociales y culturales segregados, marginados e incluso reprimidos. En este sentido, a diferencia de los conservadores y nostálgicos románticos, apostaron por una estética en la que veían una promesa de liberación cultural y social, que a la postre fracasó pues no fuere posible conquistar un efectivo mejoramiento de las condiciones de vida de los pueblos indígenas. La persistencia en este intento, nos obliga a comprender la legitimidad de sus motivaciones, el contexto en que surge, y en la medida de lo posible, descubrir la imagen de sociedad a la que aspiran. Muchos arquitectos contemporáneos formados en el espíritu de la modernidad –y lejos del exotismo y sin buscar una legitimación formados en la historia o lo propio para su quehacer– exploran la riqueza de las lecciones de las arquitecturas prehispánicas en el tratamiento del espacio, en la forma de emplazamiento y su relación con el paisaje y en el tratamiento del medio ambiente. Es así como muchos arquitectos en América Latina creen necesario aún, junto al esfuerzo creativo, el esfuerzo comprensivo, dirigido a la construcción de un escenario social integrador por un lado, y sensible, como muchas de las formas de ocupación prehispánicas, a las condiciones ambientales de las distintas regiones de nuestro continente, por otro. Este trabajo explora los presidentes de este tipo de búsqueda.

[...]volume of selections from the diary of the feminist and reformer (1822-1912), who was a founder of the American Social Science Association. [...]Nature: Rethinking the Natural Through Politics edited by Crina Archer, Laura Ephraim, and Lida Maxwell (Fordham University Press; 216 pages; $72 hardcover, $26 paperback). PUBLIC POLICY Financing Medicaid: Federalism and the Growth of America's Health Care Safety Net by Shanna Rose (University of Michigan Press; 322 pages; $90 hardcover, $35 paperback). [...]book in a planned trilogy on the theologian's engagement with the Manicheans of North Africa.

A Native Canadian architect talks about his building projects, how they were influenced by his cultural traditions and the teachings and advice of the Elders, the spiritual nature of creativity, giving a building power by designing it as a living being, and linking tradition with the latest technological tools. (SV)