Convergence | Divergence | Emergence: A New Conversation on Bauhaus + BMC (Part Two)

Convergence | Divergence | Emergence: A New Conversation on Bauhaus + BMC (Part Two)

By Max Eternity


On a visit to Asheville, North Carolina, last year, I spent time at the Black Mountain College Museum + Arts Center. I interviewed Alice Sebrell while there, at which time the museum was exhibiting a show called Convergence | Divergence: Exploring Black Mountain College and Chicago’s New Bauhaus / Institute of Design.

Harriet Sohmers Zwerling, The Studies Building, ca. 1949, gelatin silver print. Gift of the artist.

In Part One of the interview, Sebrell talked about the interconnectedness of the [original] German Bauhaus with Black Mountain College (BMC) and the New Bauhaus, both in the United States. We talked also about how the exhibition came together—the endeavored work of Michael Reid, who curated the show.

Now in the continuation and conclusion of our conversation, Sebrell recalls the preservation effort I led for the Atlanta-Fulton Central Public Library, which was the final building built by Bauhaus alumni, Marcel Breuer. We also talked briefly about some of the art and textiles at the Bauhaus, and at BMC, including works by master weaver, Gunta Stotzl. Thereafter, Sebrell and I talked about the campus buildings at BMC—the first campus and the second campus—and specifically about E. W. Grove, who was the property developer responsible for initially building the BMC site, and other notable sites in the area.

What follows is the end of our recorded conversation and some snapshots of the catalog for Convergence / Divergence: Exploring Black Mountain College Chicago’s New Bauhaus / Institute of Design.