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Alexander Archipenko, Torso in Space, 1936, bronze, the Museum of Fine Arts, Houston, Museum purchase funded by the Board of Governors of Rice University in grateful memory of Alice Pratt Brown. © 2014 Estate of Alexander Archipenko / Artists Rights Society (ARS), New York

Artful Thursday “Archipenko’s Berlin: The Roaring Twenties”

Thursday, Aug 14, 2014
6:30 p.m. - 7:30 p.m.

Law Building, Lower Level
1001 Bissonnet Map & Directions

Presented by Anna Tahinci, PhD, professor and head of art history, Glassell School of Art.

As a complement to the exhibition Alexander Archipenko: The Berlin Drawings, Anna Tahinci engages the audience in a multi-disciplinary reading of Berlin's visual and performing arts in the 1920s, including literature, poetry, and cabaret lyrics.

Inventive, Kiev-born American artist Alexander Archipenko (1887–1964) lived in Berlin in the early 1920s before settling in the United States in 1923. The short and fragile democracy of Germany’s Weimar Republic (1919–33) turned the city of Berlin into a sophisticated metropolis, attracting artists from all around Europe—including the Russian avant-garde.

Berlin in the 1920s was a vibrant arts hub where the visual and performing arts blossomed. The liberal zeitgeist appealed to artists like Archipenko, Marc Chagall, and Wassily Kandinsky. The so-called “Roaring Twenties” were the time of Bauhaus design; of Marlene Dietrich acting on the stage and in silent films; of Kurt Weill exploring musical theater; of Marina Tsvetaeva publishing her poems; and of Albert Einstein serving as director of the Kaiser Wilhelm Institute for Physics. During this period, the cosmopolitan city of Berlin was bursting with bars, dance halls, cabarets, and movie theaters, in a spirit summed up in the musical Cabaret.

This event is free! Drop in to participate.

Promotional support generously provided by Houston Public Media.

Special thanks to Adept Word Management for transcription services.

All education programs at the Museum of Fine Arts, Houston, receive endowment income from funds provided by Caroline Wiess Law; The National Endowment for the Humanities; the William Randolph Hearst Foundation; the Fondren Foundation; BMC Software, Inc.; the Wallace Foundation; the Louise Jarrett Moran Bequest; the Neal Myers and Ken Black Children’s Art Fund; the Favrot Fund; and Gifts in honor of Beth Schneider.