.a: Ink and wash on paper .b: Ink on tracing paper
Not on view
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.
Abstract Expressionist New York, October 3, 2010-April 25, 2011.
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Frederick Kiesler
American, born Austria-Hungary. 1890–1965 53 works onlineThroughout his career, Frederick Kiesler worked across mediums. He believed that “sculpture, painting, architecture should not be used as wedges to split our experience of art and life; they are here to link, to correlate, to bind dream and reality.
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