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A Study on Gender Ideology and Women’s Crafts of Bauhaus

  • Journal of History of Modern Art
  • 2017, (42), pp.67-92
  • DOI : 10.17057/kahoma.2017..42.003
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 31, 2017
  • Accepted : November 25, 2017
  • Published : December 31, 2017

Ahn YoungJoo 1

1건국대학교

Accredited

ABSTRACT

This study is a project to try different reading about Bauhaus, which maintains its reputation and status from the history of craft, design, architecture and art to this day. Bauhaus has been regarded as an incarnation of a modernist movement with free and innovative education and experimentation and progressive ideas. But this assessment of Bauhaus seems to rely heavily on mythological interpretations rather than historical facts. Therefore, I focused on the story of ‘women’ who studied and worked in the Bauhaus, not the ‘world of male masters’ who represent the Bauhaus that has been frequently encountered such as Walter Gropius, Wasily Kandisky, Paul Klee, László Moholy-Nagy. In Bauhaus’s education system, women were regarded as peripheral by the dualist system and idea of arts and crafts, and faced with gender discrimination such as limitations of their major fields and discriminatory sharing of work. Most of their work was devalued by men as ‘feminine’ or ‘handicrafts’, a gender ideology that saw men as ‘constructors of the world’ and women as ‘decorators’. For this reason, much of the history of Bauhaus women has not been recorded, but some female craftsmen, such as Gunta Stölzl and Marianne Brandt, show their influence in the field. The researcher introduced the works and their phases based on them and tried to provide various interpretations about Bauhaus.

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