Frederick Kiesler was a committed networker and communicated regularly with the who’s who of the avant-garde. He was an important intermediary between the visionary ideas of the European Moderne movement and the up-and-coming New York art scene. About 20 contributions portray his colorful life and his multifaceted oeuvre in various contexts, and place Kiesler in a dialog with the most important artists and architects of his time. The publication on the occasion of the 20 year anniversary of the Friedrich Kiesler Foundation deals with his relationship with the Bauhaus, surrealism, and the New York School, as well as with personalities such as Richard Buckminster Fuller, Marcel Duchamp, Arshile Gorky, Theo van Doesburg, Piet Mondrian, Hans Arp, Sigfried Giedion, and others.

In the 1960s, children born during the international carnage of World War Two were becoming adults: falling in love; starting lives of purpose and promise; discovering family secrets; serving their countries, often involuntarily, and creating a variety of families. While in romantic Honolulu to sell the last family hotel to a group of employees, jaunty Luke meets dazzling Martha, who has been a registered nurse in New Zealand and is sailing from Auckland to her home in San Francisco, with only her dad for a crew. Tragedy strikes before Luke and Martha meet again, souring their reunion with exhaustion, tainting their relationship with deadly threats, issues of national security, and too much truth. Survive together, the FBI insists, or not at all.

Essays by Dieter Bogner, Friedrich Kiesler, Harald Krejci and Valentina Sonzogni.

Friedrich Kiesler - Life Visions introduces a visionary of the Viennese Moderne movement. The artist, designer, architect, stage designer, and exhibition designer Friedrich Kiesler (1890-1965) influenced European and American architecture and art scene with his avant-garde contributions; his oeuvre remains a source of inspiration to this day. The catalogue illustrates Kieslers entire oeuvre and discusses his theory of "correalism" concerning the relationship between works of art, humans, and space, as well as his innovative exhibition design. Contributions from contemporary artists such as Leonor Antunes, Céline Condorelli, Verena Dengler, Lili Reynaud-Dewar, Apolonija Sustersic, and Rirkrit Tiravanija give an insight into Kieslers importance today.

Edited by Susan Davidson and Philip Rylands Essays by Dieter Bogner, Francis V. O'Connor, Don Quaintance, Jasper Sharp and Valentina Sonzogni.

The material for this book has been taken from the 2006 thesis, Frederick Kiesler’s Art of This Century in New York, (1942-1947), in the Context of the Twentieth Century Art Museum. The prime objective was to establish why so few people remember Art of This Century, which Kiesler designed for Peggy Guggenheim in 1942, and she ruthlessly closed in 1947. A second aim was to investigate why there has been so research carried out on the Gallery, when it was acknowledged as a work of art in its own right at the time of opening. Indeed, in 2004 Thomas Krens, the Guggenheim Foundation’s director expressed concern that due to the lack of research it might slip into oblivion. Such a statement raises questions as to why it has taken the Guggenheim Foundation over half a century to resurrect Art of This Century, in the form of two exhibitions held in Frankfurt and Venice, or instigate its own research. The book opens with an historical account of the development of the modern art museum, as well as an overview of Kiesler’s life and multidisciplinary oeuvre. His association with selected, contemporary architectural theorists, and architects is looked at to establish whether they had any influence on his eclectic thinking. This is followed by a summary of Kiesler’s manifesto, On Correalism and Biotechnique: A Definition of a New Approach to Building Design, 1937-1939. The main body of the work is a detailed description of Art of This Century. The notion that Kiesler’s innovative theories and designs might be better understood in a twenty-first century architectural context is finally explored. "This book finally restores Frederick Kiesler to his rightful place in the history of twentieth century art and architecture. By a careful analysis of his sometimes fraught collaboration with the mercurial Peggy Guggenheim, Haines-Cooke uncovers the fascinating story of Kiesler’s ground-breaking new vision for the display of abstract art – rendered all the more poignant by its significant yet largely subliminal influence on much of the best in recent museum and gallery architecture." —Dr Jonathan Hale, University of Nottingham