Frederick Kiesler (1890–1965) was a polarizing figure that stirred conventional thought and caused consternation with his outlandish ideas of curved walls and biomorphic furniture featured in his 1942 interior design for Peggy Guggenheim’s “Art of This Century” gallery. Kiesler arrived in New York in 1926 from his homeland of Ukraine, bringing with him avant-garde ideas learned as the youngest member of de Stijl. Kiesler was a multi-disciplined artist that believed “form does not follow function. Function follows vision. Vision follows reality.” Called “the greatest non-building architect of our time,” Kiesler’s unbuilt visions of a home that connected to its inhabitants through solar energy, sensory lighting and large screens splashed with art seem prescient of today’s interactive and electronic home innovations. Deemed a charlatan by some and a visionary by others, Kiesler’s evocative ideas continue to be thought-provoking.
Column 1: Frederick Kiesler; Marcel DuChamp, mixed media, 1947 (Photo: MoMA); Column 2: Multi-use Chair, 1942 (Photo: MoMA); Nesting Coffee Table 1935-38 (Photo: MoMA); “Horse Galaxy,” Mixed media installation, 1954 (Photo: Jason McCoy Gallery, New York); Column 3: Dying Horse, bronze, 1963 (Photo: Jason McCoy Gallery, New York); Totem for All Religions, Wood and Rope, 1947 (Photo: MoMA)
“Jung did not want to give any artistic responsibility to the loom.” –Päivi Fernström
Dora Jung (b.1906) was a nationally-recognized Finnish weaver and textile artist. As a child, her father gave her a loom to keep her occupied during frequent illnesses. This early introduction was the catalyst for her lifelong passion of weaving and textile artistry. In 1932, Jung graduated from the School of Arts and Crafts in Helsinki and immediately established Dora Jung Textil, which she operated out of an extra room in her parents’ house, using the family bathtub to dye yarn. In 1933, Jung brought home her first award from the Triennale de Milano Esposizione.
Dora Jung, 1979
Not one to shy away from difficult techniques, Jung chose the complicated damask weave for her projects, but being an artist at heart, she moved away from the traditional, symmetrical patterns of subdued colors that damask was known for, and wove asymmetrical patterns and abstract imagery in atypical colors. Jung approached her weaving as a painter would a canvas. She applied “rule of three” principles to her projects; a technique typically used in photography or landscape painting. Her weaving method became widely known as the Dora Jung Technique.
Jung was known to be devoted to her craft, so during the 1940s, when linen yarn was reserved for the military, she used wound paper yarn for projects. During this time she collaborated with the Finnish textile company Oy Tampella Ab making household products, such as lampshades and draperies. This collaboration would continue until the 1970s.
In 1951, Jung won her second Triennale de Milano Esposizione award — the top honor of Grand Prix for her Kyyhkysiä’ (Doves) tapestry; in 1954, a second Grand Prix,, and again in 1957 for her iconic tablecloth, Viivaleikki (Play of Lines). That same year, Jung had her first major exhibition in Finland at Artek, the Aalto’s design studio in Helsinki.
From the 1950s onward, Jung received worldwide recognition and accolades, including Sweden’s 1961 Prince Eugen Award and the 1963 Danish Cotil Prize. In 1969, Jung worked with FinnAir to design a line of linens that would be paired with dinnerware designed by Tapio Wirkkala for first-class passengers on the new transatlantic flights to New York. Dora Jung’s work is included in the Museum of Modern Art’s permanent collection.
Dora Jung died in Helsinki in 1980.
Column 1: Viivojen Leikki (Play of Lines) Tablecloth, 1957; “Clay Flasks” Tapestry 1956 (Photo: Bukowski’s); “Anemone” table cloth for Tampella, 1961 (still available at Lapuan Kankurit); Column 2: Sample tapestry for the Finlandia Line cruise ships, 1960
“My role as an artist is to discipline the chaos regarding information…” Abraham Palatnik
Brazilian kinetic pioneer, Abraham Palatnik (b. 1928) originally studied mechanics and physics with an emphasis on internal combustion engines at Tel Aviv’s Escola Técnica Montefiori, perhaps with the original intentions of working at his family’s furniture and porcelain businesses. Palatnik, having always been a talented artist, also honed his skills in painting and sketching under the tutelage of local Israeli artists, including the painter, Aharon Avni.
By 1948, having developed great skills in fine art painting, Palatnik returned to his homeland of Brazil, not to begin a career at his family business, but to begin his journey as an artist. After his return to Brazil, Palatnik accepted an invitation to visit Dr. Nise de Silveira’s groundbreaking occupational therapy classroom for schizophrenic patients at the Pedro II Psychiatric Hospital. Being amazed at the abilities of the doctor’s artistically untrained patients, Palatnik soon understood that artistic abilities were sometimes intrinsic capabilities and completely subconscious.
Upon this revelation, Palatnik abandoned his fine arts focus and began experimentation with light and movement. Over the next two years and using his training in mechanics, Palatnik created Aparelhos Cinecromáticos, a series of paintings that used moving light as paint. Aparelhos Cinecromáticos made its debut at the 1st São Paulo Biennial in 1951; however, that which took two years to create was not well-received. Relegated to a side room, it was excluded from the catalog due to the inability of the judges to categorize his work. However, a visiting international jury “considered it to be an important manifestation of modern art.” His experimentation went on to garner critical success and was called “the true art of the future.”
Palatnik went on to create more moving sculptures with his Objetos Cinéticos series, which comprised metal rods, wire and brightly colored wooden discs that were moved about by motors and electromagnets.
In 1954, along with his brother, Aminadav, they opened the Arte Viva, a modern furniture factory that remained open into the next decade. But perhaps Palatnik’s most well-known works are his series of lucite animals created by the duo’s art object company, Silon. Palatnik, now 90, continues to create and exhibit throughout the world.
Row 1 (top to bottom): From the “Aparelho cinecromático” series, approx. 1951; Table and chairs for Arte Viva, approx. 1950; Lucite owls for Silon, approx.. 1965-1970; Row 2 (top to bottom): “P4” from the “Objeto Cinetico” series, 1966 (Photo: Vicente de Mello/Divulgação); credenza for Arte Viva, approx. 1950
Frederick Kiesler (1890–1965) was a polarizing figure that stirred conventional thought and caused consternation with his outlandish ideas of curved walls and biomorphic furniture featured in his 1942 interior design for Peggy Guggenheim’s “Art of This Century” gallery. Kiesler arrived in New York in 1926 from his homeland of Ukraine, bringing with him avant-garde ideas learned as the youngest member of de Stijl. Kiesler was a multi-disciplined artist that believed “form does not follow function. Function follows vision. Vision follows reality.” Called “the greatest non-building architect of our time,” Kiesler’s unbuilt visions of a home that connected to its inhabitants through solar energy, sensory lighting and large screens splashed with art seem prescient of today’s interactive and electronic home innovations. Deemed a charlatan by some and a visionary by others, Kiesler’s evocative ideas continue to be thought-provoking.
MODERN MINUTE 
You must be logged in to post a comment.