Kiesler began to develop The Endless House in the 1920s, and it continued to occupy him for decades. He described this single-family home as “endless like the human body—there is no beginning and no end to it.” A commission to make a full-scale prototype of the dwelling for MoMA’s sculpture garden in the late 1950s never came to completion, but he made numerous concept and preparatory drawings, including those on view here. Kiesler’s work in architecture, set and furniture design, painting, poetry, and sculpture was guided by his theory of correalism, an inclusive philosophy that embraced science and magic in equal parts and advocated for the dissolution of the boundaries that separate them. These interests were reflected in his participation in panels and discussions at the Club on a range of topics, from art and architecture to music.
Gallery label from Abstract Expressionist New York, October 3, 2010-April 25, 2011.