Frederick Kiesler

Frederick Kiesler ( 1890-1965) was born in Czernowitz (now Chernivtsi, Ukraine). Kiesler was productive as a theater and art-exhibition designer in the 1920s in Vienna and Berlin. In 1920, he started a brief collaboration with architect Adolf Loos and, in 1923 became a member of the De Stijl group in 1923. Kiesler was friendly with many of the major figures of the European avant-garde, which may have influenced his heretical approach to artistic theories and practices From 1925 tp his death he worked in New York city. From 1937 to 1943, Kiesler was the director of the Laboratory for Design Correlation within the Department of Architecture at Columbia University, where the study program was more pragmatic and commercially oriented than his deep, theoretical concepts and ideas, such as those about "correalism" or "continuity," which concern the relationship among space, people, objects and concepts (Creighton: 1961). For his object designs, such as the biomorphic furniture in his Abstract Gallery room of Peggy Guggenheim’s The Art of This Century Gallery art salon (1942), for example. For it, he sought to dissolve the visual, real, image, and environment into a free-flowing space. He likewise pursued this approach with his “Endless House,” exhibited in maquette form in 1958–59 at The Museum of Modern Art. The project stemmed from his shop-window displays of the 1920s and his Film Guild Cinema in New York City, mentioned above. Pursuing display and art-gallery work, he was a window designer for Saks Fifth Avenue from 1928 to 1930. Earlier in his career in Europe, Kiesler invented the 1924 L+T (Leger und Trager) radical hanging system for galleries and museums. His unorthodox architectural drawings and plans that he called "polydimensional" were somewhat akin to Surrealist automatic drawings. He designed some intriguing furniture, a few pieces of which were featured in the yearbook of the short-lived American Union of Decorative Artists (AUDAC); he was a founding member of the organization in 1930. Some models of the furniture — none of which was reproduced in numbers as intended — have been posthumously manufactured in limited quantities by various firms in Europe since 1990. The most popular has been the cast-aluminum "Two-Part Nesting Table" (1935).

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BAUHAUS CLASSICS_KI09 - Table Matrix International, cast anodized aluminium

Frederick Kiesler 1935

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"A coffee table split into two different parts , simply juxtaposed, to create more compositions, thanks to its shaped tops. Designed by Frederick Kiesler in 1935, its gives a domestic ...