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Frederick John Kiesler

November 11, 2023

Frederick Jacob Kiesler (September 22, 1890 – December 27, 1965) was an Austrian-American architect, theoretician, theater designer, artist and sculptor.

Frederick Jacob Kiesler
Kiesler in 1924
Born
Friedrich Jacob Kiesler

(1890-09-22)September 22, 1890
Chernivtsi, Austria-Hungary
DiedDecember 27, 1965(1965-12-27) (aged 75)
New York City, US
NationalityAmerican
Known forArchitect, Designer
Notable workShrine of the Book (1957–65)

Biography edit

Kiesler was born Friedrich Jacob Kiesler in Czernowitz, Austro-Hungarian Empire (now Chernivtsi, Ukraine).

From 1908 to 1909, Kiesler studied at the Technische Hochschule in Vienna. From 1910–12, he attended painting and printmaking classes at the Akademie der bildenden Künste, both in Vienna. In July 1913, Kiesler quit the academy without having earned a diploma.

He married Stefanie (Stefi) Frischer (1896–1963) in 1920, and they moved to New York City in 1926, where he lived until his death. Kiesler collaborated there early on with the Surrealists, and with Marcel Duchamp. His writing was extensive, and his theoretical work embraced two lengthy manifestos, the article "Pseudo-Functionalism in Modern Architecture" (Partisan Review, July 1949) and the book Contemporary Art Applied to the Store and Its Display (New York: Brentano, 1930).

Stefi Kiesler died in September 1963. In 1964, the year before his death, Kiesler married Lillian Olinsey, his longtime secretary and confidante, as Stefi had advised him to do while she was still living. In May 1965, he traveled to Jerusalem for the inauguration of the Shrine of the Book; seven months later he died in New York City.

Design and architectural career edit

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.

Already in 1922, Kiesler created a multimedia design for the Berlin production of Karel Čapek's Rossum’s Universal Robots. Kiesler used a kinetic design that included moving side screens and a 2.5 metre iris. Moreover, film sequences were projected onto a waterfall, making it the first production in history that married media projection and flowing water.[1]

Kiesler organised the Internationale Ausstellung neuer Theatertechnik in Vienna in 1924 and on September 24, 1924 arranged the world premiere of the 16-minute film Ballet mécanique, directed by Dudley Murphy and Fernand Léger, with Man Ray. In November 1975, Lillian Kiesler, Frederick's second wife, found Léger's original spliced 35mm, 16-minute version of the film in the closet of their week-end house in the Hamptons on Long Island, near New York City. This version, restored by Anthology Film Archives, has since been included in the documentary film compilation Unseen Cinema: Early American Avant-Garde Film 1893–1941 (released as a seven-disc DVD set by Image Entertainment, October 2005). The music for the film was originally composed by George Antheil, who used it to create a separate concert piece, also named Ballet mécanique, which premiered in Paris in 1926.

His architectural designs include the Film Guild Cinema (1929) in New York City and, with Armand Phillip Bartos, the Shrine of the Book (1965) in Jerusalem, Israel.[2]

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.[3]

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 and Craftsmen (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).

Galaxies and installational works edit

During the 1950s, Kiesler created a series of paintings called Galaxies, which translated his vision of space into multi-paneled installations that protruded from the wall. Combining painting, sculpture and drawing, the Galaxies were presented as grouped units. To Kiesler, the space between the different parts was just as important as the paintings themselves, marking a reflection of the “inner necessity” of the work as a whole. He noted that it was the same as what “breathing is to our body reality.” Kiesler wrote further:

"Each painting represents a definite unit in itself just as in one family each member is of distinct individuality. Yet, their firm cohesion (into one) is inborn no matter how heterogeneous the character of the members might be. Under these circumstances, it seems natural that each painted unit, particularly when protruding from the wall, and viewed from the side, will also assume the value of a plastic entity, very much in the sense of sculpture, while the aspect of the total galaxy promotes too, the idea of an architectural coordinate without destroying the main character as a painting. Thus the traditional division of the plastic arts, sculpture, and architecture, is transmuted and overcome and their fluid unification is now contained within rather than combined from without."

 
Frederick Kiesler, Horse Galaxy, 1954

These multi-paneled paintings were also sparked by the artist's response to the political and social upheaval of his time. Conceived only a few years after the atomic bombings of Hiroshima and Nagasaki, Kiesler described his inspiration for the Galaxies as follows:

"If the reassessment of values in these tense times is of necessity for each and all of us, one is convinced that the artist’s work too can no longer be placed in isolation: that art must strive again to become part of daily experience. It seems, therefore, that painters, sculptors, and architects must conceive their work – as part of the world."

 
Installation view of Frederick Kiesler's Us, You, Me at the Parrish Art Museum in 2003.

Kiesler’s body of sculptural works also incorporate similar philosophies, uniting individual pieces with specific placements, further illustrating his theories of human-design relationships. His installation of Us, You, Me (completed 1963–65), included pieces in bronze, aluminum, wood, granite, and concrete in various sizes, and was shown at Hunter College/Times Square Gallery (2004),[4] The Parrish Art Museum (2003),[5] and the University of Iowa Museum of Art (1995). The idea of sculpture as a landscape in Us, You, Me reflects upon Kiesler’s history with stage design, and the subject matters marking underlying anxieties of modern life. Kiesler’s final sculpture Bucephalus, inspired by Alexander the Great’s battle horse, was to be entered by the viewer and used as a grotto for meditation. The sculpture was conceived in concrete and mesh by Kiesler and his assistant, Len Pitkowsky, between 1962–1965 and was posthumously cast in aluminum at the Polich Tallix Foundry, Rock Tavern, New York between 2006–2008.

Recognition and awards edit

Kiesler was often shunned by his peers, although he was chosen in 1952 as one of "the 15 leading artists at mid-century" by The Museum of Modern Art and in 1957 became a fellow of the Graham Foundation in Chicago. Israeli architects disapproved of his and Bartos's serving as the architects for the Shrine of the Book (1957–65) because they were not Israelis, even though they were Jews. Further objections to Kiesler were that he had not completed his architecture studies and had built no structures, despite having been a licensed architect in New York State since 1930. One of his colleagues at Columbia University joked: "If Kiesler wants to hold two pieces of wood together, he pretends he's never heard of nails or screws. He tests the tensile strengths of various metal alloys, experiments with different methods and shapes, and after six months comes up with a very expensive device that holds two pieces of wood together almost as well as a screw".[6]

The Austrian Frederick and Lillian Kiesler Private Foundation was established in 1997 in Vienna and biennially grants the Austrian Frederick Kiesler Prize for Architecture and the Arts. Recipients include Hani Rashid, Lise Anne Couture, Andrés Jaque, Toyo Ito, Andrea Zittel, and Judith Barry.[7]


Exhibitions edit

References edit

  1. ^ Dixon, Steve, 1956- (2007). Digital performance : a history of new media in theater, dance, performance art, and installation. Cambridge, Massachusetts. p. 75. ISBN 978-0-262-04235-2. OCLC 70199937.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: multiple names: authors list (link)
  2. ^ Jacobson, Samuel. "Classics: Shrine of the Book / Armand Phillip Bartos and Frederick John Kiesler", ArchDaily, September 24, 2011, accessed October 7, 2014
  3. ^ Thomas Creighton (July 1961), "Kiesler's Pursuit of an Idea," Progressive Architecture, vol. 42, no. 7, p. 104
  4. ^ Cotter, Holland (April 9, 2004). "Art in Review: 'Moved'". The New York Times.
  5. ^ Longwell, Alicia G. "FREDERICK KIESLER: THE LATE WORK US, YOU, ME AUGUST 10 – OCTOBER 12 2003". Parrish Art Museum.
  6. ^ "Design's Bad Boy", Architectural Forum, vol. 86, no. 2, p. 140, February 1947
  7. ^ Meissner, Jill (7 October 2016). "Austrian Frederick Kiesler Prize for Architecture and the Arts Laureate 2016 ANDRÉS JAQUE" (PDF). Austrian Frederick and Lillian Kiesler Private Foundation.

Sources edit

The Austrian Frederick and Lillian Kiesler Private Foundation

Further reading edit

  • Frederick Kiesler (October 1957), "The Art of Architecture for Art," Art News, vol. 56, no. 6, p. 41–43.
  • R.L. Held (1982), Endless Innovations: Frederick Kiesler's Theory and Scenic Design, Ann Arbor: UMI Research Press | ISBN 0-8357-1299-0
  • Dieter Bogner, ed. (1988), Friederich [sic] Kiesler: Architekt, Maler, Bildhauer, 1890–1965, Vienna: Löcker | ISBN 3-85409-124-9
  • Lisa Phillips, ed. (1989), Frederick Kiesler (exhibition catalogue), Scranton, Pennsylvania: W.W. Norton | ISBN 0-87427-063-4
  • Mel Byars (intro.) (1992), "What Makes American Design American?" in R.L. Leonard and C.A. Glassgold (eds.) (1930), Modern American Design, by the American Union of Decorative Artists and Craftsmen, New York; Acanthus Press (reprint ed.) | ISBN 0-926494-01-5
  • Chantal Béret et al. (1996), Frederick Kiesler: artiste-architecte (exhibition catalog), Paris: Centre Georges Pompidou | ISBN 2-85850-882-8
  • Maria Bottero (1995), Frederick Kiesler: arte, architettura, ambientel 19/a Triennale (exhibition catalog), Milan: Electa Montadori | ISBN 88-435-5296-1
  • Thomas Creighton (July 1961), "Kiesler's Pursuit of an Idea," Progressive Architecture, vol. 42, no. 7, p. 104
  • Tulga Beyerie et al. (2005), Fredrich Kiesler, Designer: Seating Furniture of the 30s and 40s / Designer: Sitzmöbel der 30er und 40er Jahre, Ostfildern: Hatje Cantz | ISBN 3-7757-1544-4
  • Stephen Phillips, "Introjection and Projection: Frederick Kiesler and His Dream Machine," 'Surrealism and Architecture,' ed. Thomas Mical (London: Routledge Press) 2004
  • Stephen Phillips, "Toward a Research Practice; Frederick Kiesler's Design Correlation Laboratory," Grey Room 38 (Winter 2010), 90–120.
  • Andrea Cawelti, "The Stage as a Well-Designed House: Frederick Kiesler's Ideal Theatre", Biblion 3, no. 1 (Fall 1994), 111–139
  • Susan Davidson and Philip Rylands, eds. (2005). "Peggy Guggenheim & Fredrick Kiesler: The Story of Art of This Century" (exhibition catalogue), Venice: Peggy Guggenheim Collection | ISBN 0-89207-320-9
  • Laura M. McGuire, "A Movie House in Space and Time: Frederick Kiesler's Film Arts Guild Cinema, New York, 1929," Studies in the Decorative Arts 14, no. 2 (Spring 2007), 45–787

External links edit

  • Works by or about Frederick John Kiesler at Internet Archive
  • Austrian Frederick and Lillian Kiesler Private Foundation website
  • Two Projects by Frederick Kiesler a film by Heinz Emigholz, Austria/Germany 2006/09

November 11, 2023
frederick, john, kiesler, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, s. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Frederick John Kiesler news newspapers books scholar JSTOR September 2021 Learn how and when to remove this template message Frederick Jacob Kiesler September 22 1890 December 27 1965 was an Austrian American architect theoretician theater designer artist and sculptor Frederick Jacob KieslerKiesler in 1924BornFriedrich Jacob Kiesler 1890 09 22 September 22 1890Chernivtsi Austria HungaryDiedDecember 27 1965 1965 12 27 aged 75 New York City USNationalityAmericanKnown forArchitect DesignerNotable workShrine of the Book 1957 65 Contents 1 Biography 2 Design and architectural career 3 Galaxies and installational works 4 Recognition and awards 5 Exhibitions 6 References 7 Sources 8 Further reading 9 External linksBiography editKiesler was born Friedrich Jacob Kiesler in Czernowitz Austro Hungarian Empire now Chernivtsi Ukraine From 1908 to 1909 Kiesler studied at the Technische Hochschule in Vienna From 1910 12 he attended painting and printmaking classes at the Akademie der bildenden Kunste both in Vienna In July 1913 Kiesler quit the academy without having earned a diploma He married Stefanie Stefi Frischer 1896 1963 in 1920 and they moved to New York City in 1926 where he lived until his death Kiesler collaborated there early on with the Surrealists and with Marcel Duchamp His writing was extensive and his theoretical work embraced two lengthy manifestos the article Pseudo Functionalism in Modern Architecture Partisan Review July 1949 and the book Contemporary Art Applied to the Store and Its Display New York Brentano 1930 Stefi Kiesler died in September 1963 In 1964 the year before his death Kiesler married Lillian Olinsey his longtime secretary and confidante as Stefi had advised him to do while she was still living In May 1965 he traveled to Jerusalem for the inauguration of the Shrine of the Book seven months later he died in New York City Design and architectural career editKiesler 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 Already in 1922 Kiesler created a multimedia design for the Berlin production of Karel Capek s Rossum s Universal Robots Kiesler used a kinetic design that included moving side screens and a 2 5 metre iris Moreover film sequences were projected onto a waterfall making it the first production in history that married media projection and flowing water 1 Kiesler organised the Internationale Ausstellung neuer Theatertechnik in Vienna in 1924 and on September 24 1924 arranged the world premiere of the 16 minute film Ballet mecanique directed by Dudley Murphy and Fernand Leger with Man Ray In November 1975 Lillian Kiesler Frederick s second wife found Leger s original spliced 35mm 16 minute version of the film in the closet of their week end house in the Hamptons on Long Island near New York City This version restored by Anthology Film Archives has since been included in the documentary film compilation Unseen Cinema Early American Avant Garde Film 1893 1941 released as a seven disc DVD set by Image Entertainment October 2005 The music for the film was originally composed by George Antheil who used it to create a separate concert piece also named Ballet mecanique which premiered in Paris in 1926 His architectural designs include the Film Guild Cinema 1929 in New York City and with Armand Phillip Bartos the Shrine of the Book 1965 in Jerusalem Israel 2 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 3 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 and Craftsmen 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 Galaxies and installational works editDuring the 1950s Kiesler created a series of paintings called Galaxies which translated his vision of space into multi paneled installations that protruded from the wall Combining painting sculpture and drawing the Galaxies were presented as grouped units To Kiesler the space between the different parts was just as important as the paintings themselves marking a reflection of the inner necessity of the work as a whole He noted that it was the same as what breathing is to our body reality Kiesler wrote further Each painting represents a definite unit in itself just as in one family each member is of distinct individuality Yet their firm cohesion into one is inborn no matter how heterogeneous the character of the members might be Under these circumstances it seems natural that each painted unit particularly when protruding from the wall and viewed from the side will also assume the value of a plastic entity very much in the sense of sculpture while the aspect of the total galaxy promotes too the idea of an architectural coordinate without destroying the main character as a painting Thus the traditional division of the plastic arts sculpture and architecture is transmuted and overcome and their fluid unification is now contained within rather than combined from without nbsp Frederick Kiesler Horse Galaxy 1954These multi paneled paintings were also sparked by the artist s response to the political and social upheaval of his time Conceived only a few years after the atomic bombings of Hiroshima and Nagasaki Kiesler described his inspiration for the Galaxies as follows If the reassessment of values in these tense times is of necessity for each and all of us one is convinced that the artist s work too can no longer be placed in isolation that art must strive again to become part of daily experience It seems therefore that painters sculptors and architects must conceive their work as part of the world nbsp Installation view of Frederick Kiesler s Us You Me at the Parrish Art Museum in 2003 Kiesler s body of sculptural works also incorporate similar philosophies uniting individual pieces with specific placements further illustrating his theories of human design relationships His installation of Us You Me completed 1963 65 included pieces in bronze aluminum wood granite and concrete in various sizes and was shown at Hunter College Times Square Gallery 2004 4 The Parrish Art Museum 2003 5 and the University of Iowa Museum of Art 1995 The idea of sculpture as a landscape in Us You Me reflects upon Kiesler s history with stage design and the subject matters marking underlying anxieties of modern life Kiesler s final sculpture Bucephalus inspired by Alexander the Great s battle horse was to be entered by the viewer and used as a grotto for meditation The sculpture was conceived in concrete and mesh by Kiesler and his assistant Len Pitkowsky between 1962 1965 and was posthumously cast in aluminum at the Polich Tallix Foundry Rock Tavern New York between 2006 2008 Recognition and awards editKiesler was often shunned by his peers although he was chosen in 1952 as one of the 15 leading artists at mid century by The Museum of Modern Art and in 1957 became a fellow of the Graham Foundation in Chicago Israeli architects disapproved of his and Bartos s serving as the architects for the Shrine of the Book 1957 65 because they were not Israelis even though they were Jews Further objections to Kiesler were that he had not completed his architecture studies and had built no structures despite having been a licensed architect in New York State since 1930 One of his colleagues at Columbia University joked If Kiesler wants to hold two pieces of wood together he pretends he s never heard of nails or screws He tests the tensile strengths of various metal alloys experiments with different methods and shapes and after six months comes up with a very expensive device that holds two pieces of wood together almost as well as a screw 6 The Austrian Frederick and Lillian Kiesler Private Foundation was established in 1997 in Vienna and biennially grants the Austrian Frederick Kiesler Prize for Architecture and the Arts Recipients include Hani Rashid Lise Anne Couture Andres Jaque Toyo Ito Andrea Zittel and Judith Barry 7 Exhibitions edit Galaxies by Kiesler Sidney Janis Gallery New York City September 27 October 19 1954 Frederick Kiesler Hochschule fur angewandte Kunst Vienna 1975 Friedrich sic Kiesler Visionar 1890 1965 Museum moderner Kunst Vienna and touring from 1988 Friedrick sic Kiesler Whitney Museum of American Art New York City 1989 Frederick Kiesler arte architettura ambiente Milan Italy 1995 Friederick sic Kiesler artiste architecte Centre Georges Pompidou Paris July 3 October 21 1996 Frederick J Kiesler Endless Space MAK Center for Art and Architecture at the Schindler House Los Angeles December 6 2000 February 25 2001 Frederick Kiesler Co Realities Drawing Center New York City 2008 Die Kulisse explodiert Friedrich Kiesler und das Theater Osterreichisches Theatermuseum Vienna October 25 2012 February 25 2013 traveled to Museum Villa Stuck Munich March 20 June 23 2013 Frederick Kiesler Life Visions Museum of Applied Arts Vienna 2016 Inside the Endless House Re Reading Friedrich Frederick Kiesler MAK Osterreichisches Museum fur angewandte Kunst Gegenwartskunst Vienna June 15 September 25 2016 Friedrich Kiesler Architect Artist Visionary Martin Gropius Bau Berlin March 11 June 11 2017References edit Dixon Steve 1956 2007 Digital performance a history of new media in theater dance performance art and installation Cambridge Massachusetts p 75 ISBN 978 0 262 04235 2 OCLC 70199937 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link CS1 maint multiple names authors list link Jacobson Samuel Classics Shrine of the Book Armand Phillip Bartos and Frederick John Kiesler ArchDaily September 24 2011 accessed October 7 2014 Thomas Creighton July 1961 Kiesler s Pursuit of an Idea Progressive Architecture vol 42 no 7 p 104 Cotter Holland April 9 2004 Art in Review Moved The New York Times Longwell Alicia G FREDERICK KIESLER THE LATE WORK US YOU ME AUGUST 10 OCTOBER 12 2003 Parrish Art Museum Design s Bad Boy Architectural Forum vol 86 no 2 p 140 February 1947 Meissner Jill 7 October 2016 Austrian Frederick Kiesler Prize for Architecture and the Arts Laureate 2016 ANDRES JAQUE PDF Austrian Frederick and Lillian Kiesler Private Foundation Sources editThe Austrian Frederick and Lillian Kiesler Private FoundationFurther reading editFrederick Kiesler October 1957 The Art of Architecture for Art Art News vol 56 no 6 p 41 43 R L Held 1982 Endless Innovations Frederick Kiesler s Theory and Scenic Design Ann Arbor UMI Research Press ISBN 0 8357 1299 0 Dieter Bogner ed 1988 Friederich sic Kiesler Architekt Maler Bildhauer 1890 1965 Vienna Locker ISBN 3 85409 124 9 Lisa Phillips ed 1989 Frederick Kiesler exhibition catalogue Scranton Pennsylvania W W Norton ISBN 0 87427 063 4 Mel Byars intro 1992 What Makes American Design American in R L Leonard and C A Glassgold eds 1930 Modern American Design by the American Union of Decorative Artists and Craftsmen New York Acanthus Press reprint ed ISBN 0 926494 01 5 Chantal Beret et al 1996 Frederick Kiesler artiste architecte exhibition catalog Paris Centre Georges Pompidou ISBN 2 85850 882 8 Maria Bottero 1995 Frederick Kiesler arte architettura ambientel 19 a Triennale exhibition catalog Milan Electa Montadori ISBN 88 435 5296 1 Thomas Creighton July 1961 Kiesler s Pursuit of an Idea Progressive Architecture vol 42 no 7 p 104 Tulga Beyerie et al 2005 Fredrich Kiesler Designer Seating Furniture of the 30s and 40s Designer Sitzmobel der 30er und 40er Jahre Ostfildern Hatje Cantz ISBN 3 7757 1544 4 Stephen Phillips Introjection and Projection Frederick Kiesler and His Dream Machine Surrealism and Architecture ed Thomas Mical London Routledge Press 2004 Stephen Phillips Toward a Research Practice Frederick Kiesler s Design Correlation Laboratory Grey Room 38 Winter 2010 90 120 Andrea Cawelti The Stage as a Well Designed House Frederick Kiesler s Ideal Theatre Biblion 3 no 1 Fall 1994 111 139 Susan Davidson and Philip Rylands eds 2005 Peggy Guggenheim amp Fredrick Kiesler The Story of Art of This Century exhibition catalogue Venice Peggy Guggenheim Collection ISBN 0 89207 320 9 Laura M McGuire A Movie House in Space and Time Frederick Kiesler s Film Arts Guild Cinema New York 1929 Studies in the Decorative Arts 14 no 2 Spring 2007 45 787External links editWorks by or about Frederick John Kiesler at Internet Archive Austrian Frederick and Lillian Kiesler Private Foundation website Shrine of the Book in Israel Museum Two Projects by Frederick Kiesler a film by Heinz Emigholz Austria Germany 2006 09 Retrieved from https en wikipedia org w index php title Frederick John Kiesler amp oldid 1169051899, wikipedia, wiki, book, books, library,

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