Convergence | Divergence | Emergence: A New Conversation on Bauhaus + BMC

László Moholy-Nagy, Plexi-Chrome Sculpture, 1947, vintage gelatin silver print, 8.875 x 6.25 inches. Collection of Michael Reid.


Convergence |Divergence| Emergence

A New Conversation on Bauhaus + BMC

By Max Eternity


There are so many things to be learned about Black Mountain College (BMC)—about how the school came into being in 1933 and what went on for the 24 years of its existence, as well as studying the institution’s unrivalled broad appeal to artists and intellectuals of that era, within the Americas, including African-Americans and Asian-Americans, and all the contributors of Europe.

The [original] Bauhaus of Germany, Staatliches Bauhaus, and the New Bauhaus of the United States, located in Chicago, Illinois, both had impacts on BMC.  It seems evident, as well, that the Harlem Renaissance (school) and The New School, both in New York City, shaped BMC.

I first began formal documentation and writing about the Bauhaus | Black Mountain continuum in 2008, when I led a campaign to preserve the Atlanta-Fulton Central Public Library from demolition, and since that time have continued this work in some form or another, including channeling some of the creative ideas of that collective movement into my own art and design.

“Invasion of the Spiders” by Max Eternity. 1996.


“Color Charm #3” by Max Eternity. ca. 2006

The entire article and podcast segment can be found at the From Bauhaus | To Black Mountain book blog.





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