1 00:00:01,160 --> 00:00:04,720 Speaker 1: Welcome to steph you missed in history class from works 2 00:00:04,720 --> 00:00:14,160 Speaker 1: dot com. Hello, and welcome to the podcast. I'm Holly 3 00:00:14,280 --> 00:00:18,520 Speaker 1: Fry and I'm Tracy B. Wilson. So Tracy, today we're 4 00:00:18,560 --> 00:00:21,919 Speaker 1: going to talk about the Bow House. I do not 5 00:00:22,040 --> 00:00:24,560 Speaker 1: mean the band that made Bella Legos He's dead that wait, 6 00:00:24,640 --> 00:00:27,159 Speaker 1: no mistake, I really love me s Peter Murphy, but 7 00:00:27,240 --> 00:00:30,360 Speaker 1: the German art and design school of the early nineteen hundreds, 8 00:00:30,680 --> 00:00:33,040 Speaker 1: and specifically, we are going to talk about the place 9 00:00:33,080 --> 00:00:35,519 Speaker 1: of women there and some of the specific ladies who 10 00:00:35,560 --> 00:00:38,839 Speaker 1: were part of the school's history. This has any topic 11 00:00:39,200 --> 00:00:43,239 Speaker 1: that has been requested many many times via email and 12 00:00:43,280 --> 00:00:45,680 Speaker 1: on social media, so thank you to everyone who asked 13 00:00:45,720 --> 00:00:49,360 Speaker 1: for it. UM, I really want to establish some realistic 14 00:00:49,440 --> 00:00:53,600 Speaker 1: expectations up front, though this is really an overview. There 15 00:00:53,600 --> 00:00:56,280 Speaker 1: has been so much scholarship on the Bow House that 16 00:00:56,360 --> 00:00:58,920 Speaker 1: it could be the foundation of an entire podcast series 17 00:00:58,960 --> 00:01:01,800 Speaker 1: on its own. There's really no way we can cover 18 00:01:02,000 --> 00:01:04,560 Speaker 1: everything in the scope of this episode. I mean, there 19 00:01:04,560 --> 00:01:09,760 Speaker 1: were so many UH pieces of art history and architecture 20 00:01:09,800 --> 00:01:13,280 Speaker 1: history UH and design and industrial design that have their 21 00:01:13,360 --> 00:01:16,959 Speaker 1: roots there that there are so many details around the 22 00:01:16,959 --> 00:01:19,360 Speaker 1: bout House that we could talk about, but we really 23 00:01:19,400 --> 00:01:22,440 Speaker 1: cannot do it all. So how we're gonna handle this 24 00:01:22,480 --> 00:01:23,880 Speaker 1: is we're going to start with a little bit of 25 00:01:23,880 --> 00:01:26,920 Speaker 1: the history of the school itself, and then we're gonna 26 00:01:26,959 --> 00:01:29,319 Speaker 1: talk a little about how women fit into that picture. 27 00:01:29,720 --> 00:01:31,800 Speaker 1: And then we're going to cover the biographies of just 28 00:01:31,880 --> 00:01:34,080 Speaker 1: a few of those women. They're far more than that, 29 00:01:34,240 --> 00:01:36,280 Speaker 1: so I hope we do not leave out one that 30 00:01:36,319 --> 00:01:38,960 Speaker 1: you are particularly partial to or interested in. But at 31 00:01:38,959 --> 00:01:40,960 Speaker 1: the end we will also talk about a great resource 32 00:01:41,040 --> 00:01:42,959 Speaker 1: to go to if you want to learn more about 33 00:01:42,959 --> 00:01:45,600 Speaker 1: these women. Uh so that is a scoop. We're gonna 34 00:01:45,680 --> 00:01:48,480 Speaker 1: jump into our discussion of the bau House and it's women. 35 00:01:49,080 --> 00:01:54,120 Speaker 1: The Bauhaus School was founded in by architect Walter Adof Gropius, 36 00:01:54,320 --> 00:01:57,360 Speaker 1: and the word about house translates to construction house or 37 00:01:57,400 --> 00:02:01,520 Speaker 1: building school when the school was a bablished in Vimar, Germany, 38 00:02:01,600 --> 00:02:04,480 Speaker 1: just as the Vimar Republic was established post World War One. 39 00:02:04,920 --> 00:02:08,360 Speaker 1: The goal was to incorporate arts into the real world 40 00:02:08,400 --> 00:02:11,880 Speaker 1: by teaching art and functional design in tandem. As part 41 00:02:11,919 --> 00:02:14,760 Speaker 1: of the launch of the school, Gropius wrote the Proclamation 42 00:02:14,800 --> 00:02:17,320 Speaker 1: of the bau House, which is a document that promoted 43 00:02:17,360 --> 00:02:20,000 Speaker 1: the idea of a world where a sculpture and painting 44 00:02:20,040 --> 00:02:24,119 Speaker 1: and architecture are all united as one group of artists, 45 00:02:25,120 --> 00:02:27,360 Speaker 1: and the curriculum of the bau House of Course was 46 00:02:27,400 --> 00:02:31,079 Speaker 1: built entirely around this ideal. Students of the school all 47 00:02:31,120 --> 00:02:33,799 Speaker 1: started in the same course, regardless of where their specific 48 00:02:33,840 --> 00:02:37,280 Speaker 1: interests were focused. Basics of what was called the bau 49 00:02:37,360 --> 00:02:40,600 Speaker 1: House theory were taught in this course, including everything from 50 00:02:40,600 --> 00:02:45,280 Speaker 1: color theory to material studies, and artists including vasili Kandinsky 51 00:02:45,400 --> 00:02:49,560 Speaker 1: and Paul Clay usually taught this comprehensive foundation course, which 52 00:02:49,600 --> 00:02:54,359 Speaker 1: is called workers in German. Post introduction. Students would then 53 00:02:54,440 --> 00:02:57,880 Speaker 1: move into their specialty fields of study, with the groundwork 54 00:02:57,919 --> 00:03:00,880 Speaker 1: of that entry course forming the foundation all of their study. 55 00:03:00,919 --> 00:03:05,520 Speaker 1: Beyond that point, subjects were offered that were offered included pottery, weaving, 56 00:03:05,720 --> 00:03:11,000 Speaker 1: cabinet making, metalwork, and typography. UH. But quickly in the 57 00:03:11,040 --> 00:03:13,520 Speaker 1: first few years of the school, it became apparent that 58 00:03:13,639 --> 00:03:17,440 Speaker 1: to really be a practical study, in line with Gropius's 59 00:03:17,520 --> 00:03:22,079 Speaker 1: desire to integrate art into practical design UH, the ideology 60 00:03:22,080 --> 00:03:24,600 Speaker 1: of the school needed to be tweaked slightly. So the 61 00:03:24,600 --> 00:03:27,000 Speaker 1: goal of the courses offered then shifted a bit to 62 00:03:27,120 --> 00:03:30,600 Speaker 1: giving students the education they needed to take that union 63 00:03:30,680 --> 00:03:34,160 Speaker 1: of art and functional design and then mass produce with it. 64 00:03:34,720 --> 00:03:38,400 Speaker 1: So the school's slogan, starting in ninety three, became Art 65 00:03:38,600 --> 00:03:42,480 Speaker 1: into Industry. Just a couple of years after that refocus 66 00:03:42,600 --> 00:03:46,800 Speaker 1: into industrial production, the Bathhouse moved its location to death Out, Germany. 67 00:03:46,880 --> 00:03:51,520 Speaker 1: In The new facility was designed by Walter Gropius, and 68 00:03:51,840 --> 00:03:54,760 Speaker 1: that building, which is still standing, is sometimes cited as 69 00:03:54,800 --> 00:03:59,880 Speaker 1: one of the earliest examples of modern architecture. It's asymmetrical 70 00:04:00,120 --> 00:04:03,960 Speaker 1: built using steel frame construction and large sheets of glass, 71 00:04:04,000 --> 00:04:06,760 Speaker 1: and the interior layout was designed for the most efficient 72 00:04:06,840 --> 00:04:11,520 Speaker 1: use of the space. Was also the year that Bauhouse 73 00:04:11,600 --> 00:04:14,440 Speaker 1: first applied for corporate status. That was a move that 74 00:04:14,520 --> 00:04:17,640 Speaker 1: intended to make the school itself both a place of 75 00:04:17,720 --> 00:04:20,800 Speaker 1: learning and a more structured business entity that could produce 76 00:04:20,839 --> 00:04:25,359 Speaker 1: the industrial designs that it's students and faculty created. Just 77 00:04:25,520 --> 00:04:28,640 Speaker 1: as the very building students learned in advanced the ideas 78 00:04:28,680 --> 00:04:33,400 Speaker 1: of modern modern architecture, the various specialized workshops and courses 79 00:04:33,520 --> 00:04:37,120 Speaker 1: often did the same in their fields. The textile workshop, 80 00:04:37,160 --> 00:04:40,240 Speaker 1: which we're going to discuss it more length, shortly encouraged 81 00:04:40,279 --> 00:04:43,719 Speaker 1: the use of non standard materials and weaving, including metal 82 00:04:43,800 --> 00:04:46,840 Speaker 1: and cellophane, which were really groundbreaking at the time but 83 00:04:46,880 --> 00:04:50,640 Speaker 1: are now pretty common in fabric production. The cabinet making 84 00:04:50,640 --> 00:04:54,680 Speaker 1: workshop got very expensive experimental with furniture, eventually leading to 85 00:04:54,680 --> 00:04:57,920 Speaker 1: the development of easily mass produced metal chairs and other 86 00:04:57,960 --> 00:05:03,239 Speaker 1: industrial Furnitshing furnishings, the metal working workshop developed modern pieces 87 00:05:03,240 --> 00:05:05,919 Speaker 1: such as lighting fixtures and tableware, all developed with a 88 00:05:05,960 --> 00:05:10,200 Speaker 1: focus on use of usability and function, and the typography 89 00:05:10,240 --> 00:05:13,240 Speaker 1: courses blended art and communication in a way that gave 90 00:05:13,360 --> 00:05:18,640 Speaker 1: equal importance to being both graphically pleasing and precise. And 91 00:05:18,720 --> 00:05:21,719 Speaker 1: though the influence of the bau House is unarguable, the 92 00:05:21,760 --> 00:05:25,560 Speaker 1: school itself really did not last very long. Gropius left 93 00:05:25,600 --> 00:05:29,920 Speaker 1: in and another architect, Hans Meyer uh stepped into the 94 00:05:30,000 --> 00:05:33,040 Speaker 1: role of director, and Meyer changed the curriculum by cutting 95 00:05:33,040 --> 00:05:36,680 Speaker 1: workshops that seemed too formalless to him, and he continued 96 00:05:36,720 --> 00:05:39,840 Speaker 1: to advance the idea of design that could be thoughtful 97 00:05:40,040 --> 00:05:44,279 Speaker 1: and artful and also mass produced. After only two years, 98 00:05:44,320 --> 00:05:48,160 Speaker 1: though Meyer stepped down in replaced by yet another architect, 99 00:05:48,240 --> 00:05:51,840 Speaker 1: Ludwig ms vender Roa, who shifted the school's offering to 100 00:05:51,920 --> 00:05:55,440 Speaker 1: be much more focused on architecture above all other crafts. 101 00:05:56,240 --> 00:05:58,479 Speaker 1: That same year, the school moved to Berlin and was 102 00:05:58,560 --> 00:06:02,640 Speaker 1: significantly reduced in Gale due to financial issues. It only 103 00:06:02,720 --> 00:06:05,880 Speaker 1: lasted three more years and shut down in nineteen thirty 104 00:06:05,880 --> 00:06:10,480 Speaker 1: three as Germany's political climate became progressively more unstable. In 105 00:06:10,560 --> 00:06:14,320 Speaker 1: January nineteen thirty three, Hitler had been sworn in his chancellor, 106 00:06:14,400 --> 00:06:16,680 Speaker 1: and when the Enabling Act of nineteen thirty three was 107 00:06:16,720 --> 00:06:19,120 Speaker 1: passed in March of that year, it signaled the end 108 00:06:19,160 --> 00:06:22,240 Speaker 1: of the Wimar Republic as it had existed. This could 109 00:06:22,320 --> 00:06:25,880 Speaker 1: literally be a whole other episode on how the lives 110 00:06:25,920 --> 00:06:28,640 Speaker 1: of the Bauhouse and the Bimar Republic ran in parallel. 111 00:06:29,240 --> 00:06:33,120 Speaker 1: That's that's beyond the scope of our brief overview here. 112 00:06:34,000 --> 00:06:37,200 Speaker 1: And after the Bauhaus was dissolved, many of its teachers 113 00:06:37,320 --> 00:06:39,799 Speaker 1: moved to the United States, where they continued to share 114 00:06:39,839 --> 00:06:43,679 Speaker 1: the school's design ideology with American students, which once again 115 00:06:43,720 --> 00:06:48,160 Speaker 1: expanded the footprint of Modernism. In nine six, the Bauhouse, 116 00:06:48,240 --> 00:06:51,720 Speaker 1: including its locations at both Weimar and Dessau, was made 117 00:06:51,760 --> 00:06:54,800 Speaker 1: a UNESCO World Heritage Site because of the school's far 118 00:06:54,920 --> 00:06:59,520 Speaker 1: reaching impact and design, architecture, art, and culture so like 119 00:06:59,560 --> 00:07:04,599 Speaker 1: I said, very very basic overview of the school. Again, 120 00:07:04,680 --> 00:07:08,800 Speaker 1: we could do many, many parts on bou House, but 121 00:07:08,800 --> 00:07:11,360 Speaker 1: we're going to talk now about the women that were there, 122 00:07:12,000 --> 00:07:14,280 Speaker 1: because when the bou House first began, it actually had 123 00:07:14,320 --> 00:07:18,000 Speaker 1: more women applicants than men. The proclamation of the bout House, 124 00:07:18,000 --> 00:07:20,120 Speaker 1: which will sometimes also see referred to as the bou 125 00:07:20,200 --> 00:07:25,120 Speaker 1: House Manifesto, in clearly stated that the school would welcome 126 00:07:25,240 --> 00:07:28,760 Speaker 1: quote any person of good repute, without regard to age 127 00:07:28,840 --> 00:07:32,560 Speaker 1: or sex. And while Walter Gropius openly declared that there 128 00:07:32,560 --> 00:07:34,680 Speaker 1: would be a quality of the sexes at the school 129 00:07:34,800 --> 00:07:38,080 Speaker 1: and women were certainly admitted, the reality was a great 130 00:07:38,120 --> 00:07:41,560 Speaker 1: deal more complex. After taking the same initial course in 131 00:07:41,600 --> 00:07:43,960 Speaker 1: bau House theory as the men, the women of the 132 00:07:43,960 --> 00:07:49,600 Speaker 1: school were strongly encouraged into exclusively the textile and ceramics workshops. 133 00:07:50,040 --> 00:07:53,880 Speaker 1: Gropius is said to have believed that women thought into dimensions, 134 00:07:53,920 --> 00:07:57,960 Speaker 1: making them more natural students of textile design, whereas men 135 00:07:58,040 --> 00:08:01,560 Speaker 1: could handle three dimensional thinking, and we're encouraged to do 136 00:08:01,640 --> 00:08:06,240 Speaker 1: the other available workshops. Of course, ladies were also encouraged 137 00:08:06,240 --> 00:08:10,600 Speaker 1: into ceramics, which is definitely a three dimensional medium, but 138 00:08:10,640 --> 00:08:13,440 Speaker 1: because the idea that it was an art of surfaces 139 00:08:13,560 --> 00:08:16,920 Speaker 1: rather than one of engineering. It's still flit fit into 140 00:08:16,960 --> 00:08:23,920 Speaker 1: this frankly bizarre and sexist assertion. It is one of 141 00:08:23,960 --> 00:08:26,320 Speaker 1: those things that I'm like, when I first read it, 142 00:08:26,320 --> 00:08:28,080 Speaker 1: which is some years ago, and I hadn't thought about 143 00:08:28,120 --> 00:08:30,600 Speaker 1: it in a long time since until I was doing 144 00:08:30,600 --> 00:08:33,520 Speaker 1: this research, I just said that one would have what, like, 145 00:08:35,120 --> 00:08:37,800 Speaker 1: there's no way that theory holds up, Like, even if 146 00:08:37,840 --> 00:08:40,640 Speaker 1: you think about, like the many women that have worked 147 00:08:40,679 --> 00:08:44,360 Speaker 1: in things like clothing and dressmaking, which is a very 148 00:08:44,440 --> 00:08:46,480 Speaker 1: three dimensional thing you have to have a sense of 149 00:08:46,480 --> 00:08:49,520 Speaker 1: how like things move in Spain. I'm like, there's no 150 00:08:49,600 --> 00:08:52,079 Speaker 1: way you can support that with any sort of evidence, 151 00:08:52,640 --> 00:08:56,840 Speaker 1: even women who had experience as apprentices or interns, for example, 152 00:08:56,880 --> 00:08:59,360 Speaker 1: at architecture firms. We're going to talk about one specific 153 00:08:59,400 --> 00:09:03,280 Speaker 1: example in just a bit. We're shunted into the weaving shop. 154 00:09:04,000 --> 00:09:07,160 Speaker 1: One of the probably unexpected outcomes of this corralling of 155 00:09:07,160 --> 00:09:10,760 Speaker 1: the women's students into textile work was that the weaving 156 00:09:10,760 --> 00:09:15,679 Speaker 1: workshop became very successful. Uh. As you mentioned earlier, there 157 00:09:15,679 --> 00:09:19,360 Speaker 1: were some groundbreaking there was some groundbreaking experimentation going on 158 00:09:19,440 --> 00:09:23,520 Speaker 1: with fiber work, but this workshop also became commercially successful 159 00:09:23,840 --> 00:09:27,600 Speaker 1: producing fabrics and textile art that remains both sought after 160 00:09:27,760 --> 00:09:30,680 Speaker 1: and emblematic for the school and its avant garde aesthetic. 161 00:09:31,120 --> 00:09:34,040 Speaker 1: We're going to talk about three specific women who were 162 00:09:34,080 --> 00:09:36,040 Speaker 1: part of the Bouthhouse, but first we're going to take 163 00:09:36,080 --> 00:09:38,800 Speaker 1: a brief break for a word from one of our sponsors. 164 00:09:42,960 --> 00:09:46,120 Speaker 1: This episode is brought to you by square Space. We've 165 00:09:46,120 --> 00:09:48,240 Speaker 1: talked about Holly and I both love square Space. 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So picking up with our ladies 196 00:11:23,280 --> 00:11:25,440 Speaker 1: of the bau House, We're first going to talk about 197 00:11:25,480 --> 00:11:28,280 Speaker 1: Gunta Stoltel and she was born in Munich in eight 198 00:11:29,679 --> 00:11:32,800 Speaker 1: and her father was a teacher. He encouraged her creativity 199 00:11:32,840 --> 00:11:35,560 Speaker 1: and her curiosity, which she exhibited from a very early age, 200 00:11:35,600 --> 00:11:38,160 Speaker 1: as many children do. Uh and at the age of 201 00:11:38,160 --> 00:11:41,360 Speaker 1: sixteen she began attending the Munich School of Arts and Crafts. 202 00:11:41,600 --> 00:11:45,679 Speaker 1: For three years, she studied there, learning about art history, ceramics, 203 00:11:45,720 --> 00:11:49,080 Speaker 1: and painting. During this time she was really prolific as 204 00:11:49,080 --> 00:11:53,199 Speaker 1: a sketch artist. She created hundreds of landscapes and portraits 205 00:11:53,200 --> 00:11:56,559 Speaker 1: and architectural drawings. Because of World War One, there was 206 00:11:56,600 --> 00:11:59,840 Speaker 1: a period where Stultzel left her studies and volunteered at 207 00:11:59,840 --> 00:12:02,280 Speaker 1: the Red Cross as a nurse that went on from 208 00:12:02,360 --> 00:12:05,680 Speaker 1: nineteen seventeen to nineteen eighteen. But even while serving in 209 00:12:05,679 --> 00:12:09,040 Speaker 1: this capacity, she never stopped drawing. She sketched throughout her 210 00:12:09,040 --> 00:12:10,960 Speaker 1: time as a warners, and when the war came to 211 00:12:11,000 --> 00:12:12,559 Speaker 1: an end, she went right back to the School of 212 00:12:12,640 --> 00:12:15,600 Speaker 1: Arts and Crafts to continue her studies. In the fall 213 00:12:15,640 --> 00:12:19,400 Speaker 1: of nineteen nineteen, she began studying at the Bathhouse, and 214 00:12:19,480 --> 00:12:22,720 Speaker 1: in the early summer of nineteen twenty, a new women's class, 215 00:12:22,720 --> 00:12:25,600 Speaker 1: which was weaving, was established by the school, and Walter 216 00:12:25,640 --> 00:12:29,040 Speaker 1: Gropius asked Gunda Stoltel to head it, which she agreed to, 217 00:12:29,920 --> 00:12:32,960 Speaker 1: and as a consequence, Staltel became both a leader and 218 00:12:33,040 --> 00:12:36,240 Speaker 1: a champion for the weaving workshop. She always worked to 219 00:12:36,320 --> 00:12:40,520 Speaker 1: incorporate new ideas and new techniques into classes. She wanted 220 00:12:40,520 --> 00:12:43,280 Speaker 1: to make sure that the students always had proper facilities 221 00:12:43,320 --> 00:12:46,880 Speaker 1: to incorporate those new ideas. For example, she set up 222 00:12:46,880 --> 00:12:50,200 Speaker 1: the school's first die facilities in nineteen two after she 223 00:12:50,240 --> 00:12:53,320 Speaker 1: had taken a course on die techniques. Throughout the years 224 00:12:53,360 --> 00:12:55,280 Speaker 1: that she was working and studying at the bath House, 225 00:12:55,320 --> 00:12:57,520 Speaker 1: she was also creating, and she was doing so in 226 00:12:57,559 --> 00:13:00,640 Speaker 1: ways that sometimes it could be quite lucrative. Her rags 227 00:13:00,640 --> 00:13:03,400 Speaker 1: were extremely popular, and one was sold at the Bouhouse 228 00:13:03,440 --> 00:13:07,560 Speaker 1: exhibition in three It's said to have inspired the buyer 229 00:13:07,640 --> 00:13:10,960 Speaker 1: to build a room specifically for it. Her work during 230 00:13:10,960 --> 00:13:14,760 Speaker 1: this time very clearly shows the influence of Clay and 231 00:13:14,840 --> 00:13:18,760 Speaker 1: Kandinski with the geometric shapes and bold colors woven into 232 00:13:18,840 --> 00:13:22,640 Speaker 1: her designs. And you can actually almost trace the development 233 00:13:22,679 --> 00:13:25,480 Speaker 1: of the bow House from art and design collective to 234 00:13:25,559 --> 00:13:29,640 Speaker 1: corporate entity by looking at the chronological development of Stolzel's work. 235 00:13:30,240 --> 00:13:33,079 Speaker 1: While she started weaving for the most part, pictorial art, 236 00:13:33,400 --> 00:13:36,760 Speaker 1: she really did transition over time to more sort of 237 00:13:37,160 --> 00:13:40,120 Speaker 1: I'm reluctant to use the word traditional, but things that 238 00:13:40,160 --> 00:13:43,120 Speaker 1: you would think about more as fabric designs that were 239 00:13:43,240 --> 00:13:50,280 Speaker 1: primarily and importantly reproducible as textile designs. In Stolzel was 240 00:13:50,400 --> 00:13:53,920 Speaker 1: made the craft master of the Weaving Workshop. At this point, 241 00:13:53,960 --> 00:13:57,160 Speaker 1: she began really strongly guiding the curriculum in the workshop 242 00:13:57,200 --> 00:14:01,120 Speaker 1: and established a well organized training system for students. Because 243 00:14:01,120 --> 00:14:04,840 Speaker 1: there weren't many technical guidelines for textile education of the 244 00:14:04,880 --> 00:14:07,959 Speaker 1: type that was happening at the Bauhouse, she was able 245 00:14:07,960 --> 00:14:10,720 Speaker 1: to incorporate a lot of experimentation into the curriculum for 246 00:14:10,880 --> 00:14:14,640 Speaker 1: students and teachers alike, and good to Stultel was later 247 00:14:14,679 --> 00:14:17,600 Speaker 1: given the title of Young Master in nineteen five, and 248 00:14:17,679 --> 00:14:20,560 Speaker 1: with it came the responsibility for the weaving workshop in 249 00:14:20,640 --> 00:14:24,000 Speaker 1: its entirety. And it's under her leadership in this role 250 00:14:24,080 --> 00:14:27,360 Speaker 1: that the workshop really became the most financially successful branch 251 00:14:27,360 --> 00:14:30,400 Speaker 1: of the bau House, with a consistent list of textile 252 00:14:30,520 --> 00:14:34,000 Speaker 1: orders that kept the weavers there working pretty much constantly 253 00:14:34,040 --> 00:14:39,080 Speaker 1: at full capacity. In nineteen twenty nine, Stultel married Aria Sharone, 254 00:14:39,200 --> 00:14:42,000 Speaker 1: and he was Jewish. By marrying a Jewish Man, she 255 00:14:42,160 --> 00:14:45,920 Speaker 1: forfeited her German citizenship. The couple had a daughter. The 256 00:14:45,960 --> 00:14:49,120 Speaker 1: same year. Political issues that were bubbling up as the 257 00:14:49,200 --> 00:14:52,000 Speaker 1: Nazi Party gained more and more power made Stoltzel and 258 00:14:52,040 --> 00:14:56,720 Speaker 1: Sharone increasingly targeted for harassment. In nineteen thirty one, Stultel 259 00:14:56,800 --> 00:14:59,680 Speaker 1: was forced to resign her position at Bauhaus and she 260 00:14:59,720 --> 00:15:03,440 Speaker 1: moved Switzerland. Her husband went back to his home country, 261 00:15:03,520 --> 00:15:07,800 Speaker 1: and the couple divorced five years later. After bau how 262 00:15:07,960 --> 00:15:11,560 Speaker 1: Stoltzel's career as a fiber artist was fairly successful. She 263 00:15:11,560 --> 00:15:13,880 Speaker 1: didn't make a ton of money, but she continued to work. 264 00:15:14,320 --> 00:15:17,200 Speaker 1: She initially co founded a fabric company with two other 265 00:15:17,200 --> 00:15:21,800 Speaker 1: Bauhau's alums, Gertrude pries Werch and Einrich Otto Herlman through 266 00:15:22,120 --> 00:15:25,520 Speaker 1: although their company struggled even though it's upholstery and curtain 267 00:15:25,560 --> 00:15:29,640 Speaker 1: textiles were really highly regarded. Stolso went on to contribute 268 00:15:29,640 --> 00:15:32,760 Speaker 1: fabrics to theatrical design. She exhibited her work as a 269 00:15:32,800 --> 00:15:37,040 Speaker 1: member of the Association of Swiss Women Painters, Sculptors and Craftswomen, 270 00:15:37,520 --> 00:15:40,280 Speaker 1: and she eventually set up her own workshop, the Flora 271 00:15:40,400 --> 00:15:45,000 Speaker 1: hand Weaving Mill. She remarried in ninety two to journalist 272 00:15:45,000 --> 00:15:47,760 Speaker 1: Willie Stadler, and at that point she became a Swiss citizen. 273 00:15:48,160 --> 00:15:49,720 Speaker 1: Prior to that, even though she had been living in 274 00:15:49,720 --> 00:15:52,440 Speaker 1: Switzerland for a while, her she was sort of in 275 00:15:52,480 --> 00:15:56,200 Speaker 1: a precarious position, and the following year nine three, she 276 00:15:56,240 --> 00:16:00,560 Speaker 1: had a daughter with Stadler. Her work from her bout 277 00:16:00,600 --> 00:16:03,920 Speaker 1: House years were often featured in exhibitions about the school, 278 00:16:04,000 --> 00:16:06,880 Speaker 1: and in nineteen seventy six the bout House Archive staged 279 00:16:06,880 --> 00:16:10,480 Speaker 1: a solo exhibition of her work. Genta Stolsel died in 280 00:16:10,600 --> 00:16:13,400 Speaker 1: Zurich in nineteen eighty three, and next up, we're going 281 00:16:13,440 --> 00:16:16,080 Speaker 1: to talk about another woman from the bout House whose 282 00:16:16,520 --> 00:16:20,160 Speaker 1: story takes a pretty sad turn. She interweaves a little 283 00:16:20,160 --> 00:16:23,240 Speaker 1: bit with good Stoltzel, so we're talking about Audi Burger. 284 00:16:23,480 --> 00:16:25,240 Speaker 1: And she was born in the area of the Austro 285 00:16:25,360 --> 00:16:28,800 Speaker 1: Hungarian Empire that is now modern day Croatia. In eighteen 286 00:16:29,600 --> 00:16:32,720 Speaker 1: she was considered a Yugoslavian citizen and she attended the 287 00:16:32,720 --> 00:16:35,880 Speaker 1: Collegiate School for Girls in Vienna before moving on to 288 00:16:35,920 --> 00:16:38,920 Speaker 1: the Royal Academy of Arts and Artistic Crafts in Zagreb 289 00:16:39,240 --> 00:16:43,080 Speaker 1: in n She finished her studies in Zagreb in nineteen 290 00:16:43,440 --> 00:16:46,400 Speaker 1: six and moved on to the Bouhouse in nineteen seven. 291 00:16:46,960 --> 00:16:50,520 Speaker 1: And after finishing the workours that's the foundation course, she 292 00:16:50,640 --> 00:16:53,880 Speaker 1: moved on to the textile workshop, where she met Good Stoltzel. 293 00:16:54,320 --> 00:16:57,960 Speaker 1: When Stoltel left bout House, she recommended Burger as her successor, 294 00:16:58,080 --> 00:17:01,240 Speaker 1: and Burger did take over the management of the textile program, 295 00:17:01,280 --> 00:17:03,880 Speaker 1: but she was never officially named as the leader of 296 00:17:03,880 --> 00:17:07,760 Speaker 1: the department, and when Ludwig Me's vander Roy appointed a 297 00:17:07,840 --> 00:17:10,560 Speaker 1: new head to the workshop in ninety two, it was 298 00:17:10,640 --> 00:17:14,199 Speaker 1: not Burger but Lily Reich who got the position. Burger 299 00:17:14,280 --> 00:17:18,800 Speaker 1: stayed on for a short while as Reich's assistant, and Burger, 300 00:17:18,880 --> 00:17:21,679 Speaker 1: who really is considered one of the most gifted artists 301 00:17:21,680 --> 00:17:24,480 Speaker 1: who have ever been part of the weaving workshop at Bouhouse, 302 00:17:25,080 --> 00:17:27,439 Speaker 1: took on a mentor role to other students and she 303 00:17:27,560 --> 00:17:31,640 Speaker 1: developed her own curriculum around textile work. When she left 304 00:17:31,680 --> 00:17:34,680 Speaker 1: the Bauhouse later in nineteen thirty two, Burger took her 305 00:17:34,720 --> 00:17:37,920 Speaker 1: extensive knowledge and skill to Berlin, where she opened her 306 00:17:37,960 --> 00:17:42,960 Speaker 1: own workshop Attelier for textile. Burger was skilled at creating 307 00:17:43,000 --> 00:17:46,919 Speaker 1: textured fabrics that used color to accentuate ships in the weave. 308 00:17:47,240 --> 00:17:51,000 Speaker 1: When she had an innovative approach to textile production, including 309 00:17:51,000 --> 00:17:54,159 Speaker 1: the incorporation of plastics and synthetic dies, that helped her 310 00:17:54,200 --> 00:17:58,399 Speaker 1: create successful business partnerships with several textile companies, and her 311 00:17:58,440 --> 00:18:01,200 Speaker 1: business was doing quite well and too nineteen thirty six, 312 00:18:02,320 --> 00:18:06,000 Speaker 1: but because her family was Jewish, Burger was banned at 313 00:18:06,080 --> 00:18:08,760 Speaker 1: that point from working in Germany. She had to shut 314 00:18:08,800 --> 00:18:10,840 Speaker 1: her her company and she began trying to get a 315 00:18:10,920 --> 00:18:13,359 Speaker 1: visa to travel to the US to join several of 316 00:18:13,400 --> 00:18:16,840 Speaker 1: her friends and mentors from the Bouhouse. She had, in 317 00:18:16,920 --> 00:18:19,760 Speaker 1: fact been offered a job in Chicago by Bauhouse professor 318 00:18:19,840 --> 00:18:23,600 Speaker 1: Laslow Moholy Nigi, who was starting a new Bauhouse in 319 00:18:23,600 --> 00:18:27,159 Speaker 1: the United States. Burger waited on her visa and in 320 00:18:27,160 --> 00:18:30,000 Speaker 1: the meantime traveled to London several times to seek work, 321 00:18:30,080 --> 00:18:32,320 Speaker 1: but she didn't do very well there. She didn't have 322 00:18:32,320 --> 00:18:34,800 Speaker 1: any connections to help her, and she didn't speak English, 323 00:18:34,840 --> 00:18:38,679 Speaker 1: so to most Londoners she was considered German. In nineteen 324 00:18:38,760 --> 00:18:41,720 Speaker 1: thirty eight, she traveled back to Yugoslavia to visit her mother, 325 00:18:41,840 --> 00:18:44,639 Speaker 1: who was sick, and she wasn't able to leave. She 326 00:18:44,720 --> 00:18:47,400 Speaker 1: and her family were sent to the Auschwitz concentration camp 327 00:18:47,440 --> 00:18:50,560 Speaker 1: in nineteen forty four, where she died. So our next 328 00:18:51,280 --> 00:18:53,520 Speaker 1: woman from Bouhouse that we're going to talk about as Gertrude, 329 00:18:53,520 --> 00:18:57,160 Speaker 1: aren't and she was born Gertrude Hanschk. I'm probably pronouncing 330 00:18:57,160 --> 00:19:00,480 Speaker 1: that incorrectly. Bear with me in Upper Celestia in nineteen 331 00:19:00,480 --> 00:19:03,080 Speaker 1: o three, and since she's best known by her married name, 332 00:19:03,200 --> 00:19:05,000 Speaker 1: that's actually how we're going to refer to her, even 333 00:19:05,040 --> 00:19:08,200 Speaker 1: at times prior to her marriage, just f y I. So, 334 00:19:08,280 --> 00:19:10,840 Speaker 1: unlike many of the other women who made their way 335 00:19:11,000 --> 00:19:15,120 Speaker 1: into the Bouhouse School, Aren't was intent on becoming an architect. 336 00:19:15,600 --> 00:19:18,880 Speaker 1: She apprenticed with the Carl Minehart architecture firm and Airfort 337 00:19:18,920 --> 00:19:23,000 Speaker 1: Germany from nineteen nineteen to nineteen two, so she was 338 00:19:23,040 --> 00:19:26,000 Speaker 1: at that architecture firm for three years, and during that 339 00:19:26,040 --> 00:19:28,680 Speaker 1: time she also became interested in photography, and that was 340 00:19:28,720 --> 00:19:32,359 Speaker 1: because her employers suggested that she should document the architecture 341 00:19:32,400 --> 00:19:35,160 Speaker 1: of the city with her camera. During her time at 342 00:19:35,200 --> 00:19:39,880 Speaker 1: the firm, she also studied other branches of design, including typography, drawing, 343 00:19:39,960 --> 00:19:44,240 Speaker 1: and art history. After she saw the nineteen three Bowhouse 344 00:19:44,280 --> 00:19:46,960 Speaker 1: exhibition that is the very one where gun To Stoltzel's 345 00:19:47,000 --> 00:19:50,399 Speaker 1: rug work was so successful, Aren't, who had a student 346 00:19:50,440 --> 00:19:52,959 Speaker 1: grant at this point, decided to use it to attend 347 00:19:52,960 --> 00:19:56,640 Speaker 1: the School of bou House to study architecture. But remember 348 00:19:56,760 --> 00:19:59,199 Speaker 1: this was a time prior to the bou House establishing 349 00:19:59,280 --> 00:20:01,840 Speaker 1: architecture as a formal course of study on its own. 350 00:20:02,680 --> 00:20:05,560 Speaker 1: This meant that Aren't was you guessed it ushered towards 351 00:20:05,600 --> 00:20:09,600 Speaker 1: the weaving workshop. After she completed the foundation course despite 352 00:20:09,600 --> 00:20:14,159 Speaker 1: her architectural background, Aren't dutifully worked in textiles, culminating an 353 00:20:14,240 --> 00:20:18,600 Speaker 1: apprenticeship project with the Glaucow Weaverskilled and then she graduated, 354 00:20:18,640 --> 00:20:23,680 Speaker 1: married fellow student Alfred Aren't and never worked in textiles again. Yeah, 355 00:20:23,720 --> 00:20:26,040 Speaker 1: I love that. She was apparently quite good, she did 356 00:20:26,040 --> 00:20:31,600 Speaker 1: great in her coursework, but was like, that's a wrap instead. Instead, 357 00:20:32,280 --> 00:20:35,200 Speaker 1: the newlyweds moved to eastern Germany, and while they were there, 358 00:20:35,240 --> 00:20:38,359 Speaker 1: Alfred worked in an architecture firm and Gertrude worked there 359 00:20:38,400 --> 00:20:41,760 Speaker 1: as a photographer. She documented buildings for that same firm, 360 00:20:41,880 --> 00:20:44,359 Speaker 1: just as she had done as an apprentice prior to 361 00:20:44,440 --> 00:20:47,320 Speaker 1: her time at the Bowhouse. But after only two years, 362 00:20:47,400 --> 00:20:50,119 Speaker 1: the Arn'ts moved back to Dessau and back to Bowhouse 363 00:20:50,240 --> 00:20:53,399 Speaker 1: that was, and they did that because Alfred had been 364 00:20:53,440 --> 00:20:56,760 Speaker 1: appointed as a teacher at the school. They didn't stay 365 00:20:56,800 --> 00:20:59,879 Speaker 1: long though. In nineteen thirty the couple had their first child, 366 00:21:00,040 --> 00:21:02,119 Speaker 1: a son, and the following year they had a daughter. 367 00:21:02,600 --> 00:21:05,919 Speaker 1: Throughout this time, Gertrude was still taking pictures, including a 368 00:21:06,000 --> 00:21:10,440 Speaker 1: series of self portraits, forty three of them entitled mask Portraits. 369 00:21:10,880 --> 00:21:14,160 Speaker 1: In nineteen thirty two, Gertrude, Alfred and their two children 370 00:21:14,200 --> 00:21:17,399 Speaker 1: moved back to East Germany. They lived in prope Silla 371 00:21:17,520 --> 00:21:21,680 Speaker 1: until eight and then they moved to Darmstadt. Well shouldn't 372 00:21:21,680 --> 00:21:25,040 Speaker 1: continue her photography pursuits for long after that point. Gertrude 373 00:21:25,080 --> 00:21:26,600 Speaker 1: lived there for the rest of her life, which was 374 00:21:26,680 --> 00:21:28,840 Speaker 1: quite long. She died in two thousand at the age 375 00:21:28,880 --> 00:21:34,159 Speaker 1: of ninety seven, and in January, the Bouhouse Archive mounted 376 00:21:34,160 --> 00:21:38,080 Speaker 1: an exhibition of Gertrude's work that showcased her textile work 377 00:21:38,119 --> 00:21:43,120 Speaker 1: as a student right alongside her extensive photography work. While 378 00:21:43,160 --> 00:21:45,439 Speaker 1: these are only three of the women who came from 379 00:21:45,480 --> 00:21:48,440 Speaker 1: the bouth House School, there were so so many others, 380 00:21:48,440 --> 00:21:52,000 Speaker 1: and unfortunately most of them go largely unknown, although that 381 00:21:52,119 --> 00:21:54,800 Speaker 1: is starting to change. And if you want to learn more, 382 00:21:54,880 --> 00:21:57,400 Speaker 1: and I mean loads more, with a lot more specifics 383 00:21:57,440 --> 00:21:59,800 Speaker 1: and details about the women of Bouhouse, there is a 384 00:22:00,000 --> 00:22:04,879 Speaker 1: wonderful monograph titled bow House Women Art Handicraft Design that 385 00:22:05,000 --> 00:22:07,520 Speaker 1: was published to coincide with a Museum of Modern Art 386 00:22:07,560 --> 00:22:11,320 Speaker 1: exhibit in and that book focuses on twenty of the 387 00:22:11,359 --> 00:22:14,080 Speaker 1: female artists who are part of the school's important, though 388 00:22:14,119 --> 00:22:17,240 Speaker 1: brief history, And it's a very high likelihood that there 389 00:22:17,240 --> 00:22:19,480 Speaker 1: will be an episode or two in the future about 390 00:22:19,520 --> 00:22:21,879 Speaker 1: specific artists from bau House that we have not mentioned 391 00:22:21,880 --> 00:22:26,600 Speaker 1: here today, so stay tuned in. The bou House Archive 392 00:22:26,680 --> 00:22:29,439 Speaker 1: in Berlin hosted a series of exhibitions under the banner 393 00:22:29,480 --> 00:22:31,679 Speaker 1: of Female bou House in an effort to try and 394 00:22:31,680 --> 00:22:34,359 Speaker 1: finally bring some recognition to the women who studied at 395 00:22:34,359 --> 00:22:37,240 Speaker 1: the school and continued to work in art and design, 396 00:22:37,960 --> 00:22:40,080 Speaker 1: which is awesome. I was talking to Holly before we 397 00:22:40,119 --> 00:22:43,200 Speaker 1: started recording about how UM and our sort of division 398 00:22:43,240 --> 00:22:46,560 Speaker 1: of labor for the more administrative tasks for the podcast. 399 00:22:46,600 --> 00:22:50,720 Speaker 1: I'm usually the person that gets artwork, and I could 400 00:22:50,720 --> 00:22:54,199 Speaker 1: not find any picture of anything by any of the 401 00:22:54,200 --> 00:22:56,560 Speaker 1: women we were talking about. So Holly now is going 402 00:22:56,600 --> 00:23:00,880 Speaker 1: to employ some some secret connections to try to help 403 00:23:01,000 --> 00:23:04,760 Speaker 1: us out with that. That's uh, definitely atypical in terms 404 00:23:04,840 --> 00:23:08,959 Speaker 1: of when we talk about UM artists and and designers 405 00:23:09,000 --> 00:23:11,520 Speaker 1: and and dancers and people who had some kind of 406 00:23:11,840 --> 00:23:14,320 Speaker 1: visual career that was documented in some way. We usually 407 00:23:14,359 --> 00:23:17,320 Speaker 1: don't have a big problem finding pictures of their work, 408 00:23:17,400 --> 00:23:19,000 Speaker 1: but that was not the case when I was looking 409 00:23:19,000 --> 00:23:22,800 Speaker 1: for pictures today. Yeah, you can find some if you 410 00:23:22,840 --> 00:23:25,120 Speaker 1: go looking online, but in terms of pictures that are 411 00:23:25,200 --> 00:23:29,880 Speaker 1: usable like from um places like Getty or other photography 412 00:23:29,880 --> 00:23:34,840 Speaker 1: sites that provide like journalism photos, you really don't find many. 413 00:23:34,880 --> 00:23:39,040 Speaker 1: And it's fascinating because I mean truly, particularly in textile arts, 414 00:23:39,080 --> 00:23:42,760 Speaker 1: a lot of the work these women did is still 415 00:23:44,000 --> 00:23:47,399 Speaker 1: really vital and being used whether people realize it or 416 00:23:47,440 --> 00:23:51,399 Speaker 1: not in the textile industry today. Uh So it is 417 00:23:51,440 --> 00:23:54,439 Speaker 1: sort of fascinating. You can hear people talk about some 418 00:23:54,560 --> 00:23:57,639 Speaker 1: of the men, particularly the architects and painters like kandin 419 00:23:57,720 --> 00:24:00,080 Speaker 1: Ski and Clay who were part of about House, It, 420 00:24:00,160 --> 00:24:05,200 Speaker 1: you very rarely hear the women referenced, so uh important, fascinating. 421 00:24:05,280 --> 00:24:07,840 Speaker 1: They all have really interesting stories of their own, so 422 00:24:08,320 --> 00:24:10,280 Speaker 1: hopefully we can continue to shed a little more light 423 00:24:10,320 --> 00:24:13,359 Speaker 1: on that. Do you also have some listener mail. I do, 424 00:24:13,520 --> 00:24:15,879 Speaker 1: and it combines two topics that we have talked about 425 00:24:16,040 --> 00:24:19,080 Speaker 1: which sound gross together, but uh, you know it works. 426 00:24:19,080 --> 00:24:21,640 Speaker 1: They're separated out. We're gonna talk about knitting and pizza. 427 00:24:22,760 --> 00:24:26,159 Speaker 1: And this is from our listener Clara, and she says, Hi, 428 00:24:26,280 --> 00:24:28,560 Speaker 1: Holley and Tracy, I am a huge fan of the podcast, 429 00:24:28,640 --> 00:24:31,360 Speaker 1: YouTube and previous hosts have kept my brain from melting 430 00:24:31,680 --> 00:24:34,120 Speaker 1: as I build cad models for eight hours a day. 431 00:24:34,560 --> 00:24:36,280 Speaker 1: I'm in the middle of listening to your live show 432 00:24:36,320 --> 00:24:38,240 Speaker 1: on pizza and I had to tell you, as someone 433 00:24:38,280 --> 00:24:40,760 Speaker 1: who was born and grew up in Boulder, Colorado, I 434 00:24:40,800 --> 00:24:43,159 Speaker 1: did not realize until you mentioned it that dipping the 435 00:24:43,200 --> 00:24:45,680 Speaker 1: crust in honey as a dessert was a local thing. 436 00:24:46,359 --> 00:24:48,360 Speaker 1: When I was little, I used to obsessively eat off 437 00:24:48,400 --> 00:24:50,600 Speaker 1: all of the little bits that still had sauce on them, 438 00:24:51,000 --> 00:24:53,600 Speaker 1: before putting far too much honey on my crest with 439 00:24:53,760 --> 00:24:55,480 Speaker 1: through the heck let a six year old wheeled the 440 00:24:55,520 --> 00:24:58,959 Speaker 1: honey bottle. In recent years, I've become less fastidious and 441 00:24:58,960 --> 00:25:01,000 Speaker 1: find it a bit of tomato saw zing on the 442 00:25:01,040 --> 00:25:04,359 Speaker 1: honeycrest is quite tasty. Now living in Rhode Island, I've 443 00:25:04,440 --> 00:25:06,919 Speaker 1: enjoyed a wide array of new pizza styles, but I 444 00:25:06,960 --> 00:25:10,000 Speaker 1: missed the whole wheat crust. I also wanted to thank 445 00:25:10,040 --> 00:25:12,280 Speaker 1: you for the episode on knitting a few weeks back. 446 00:25:12,440 --> 00:25:14,520 Speaker 1: Knitting is an obsession I have in common with my 447 00:25:14,560 --> 00:25:17,440 Speaker 1: partner many people in my family and also many people 448 00:25:17,480 --> 00:25:19,639 Speaker 1: in her family that keeps us better in touch, and 449 00:25:19,680 --> 00:25:22,280 Speaker 1: it's fun to see how we each tackle knitting puzzles differently. 450 00:25:22,880 --> 00:25:24,800 Speaker 1: I'd like to speak a little bit about the online 451 00:25:24,840 --> 00:25:26,800 Speaker 1: knitting community, as I feel that it will one day 452 00:25:26,840 --> 00:25:31,159 Speaker 1: be recognized as historically significant. Maybe you already know this stuff, 453 00:25:31,160 --> 00:25:33,600 Speaker 1: but here it goes. Gone are the days days of 454 00:25:33,640 --> 00:25:38,200 Speaker 1: guilds and trade secrets. Instead, online knitting communities, specifically Ravelry, 455 00:25:38,320 --> 00:25:42,080 Speaker 1: have developed a collaborative and mutually beneficial network between hobbyists 456 00:25:42,080 --> 00:25:46,679 Speaker 1: and artisans. Each project page encourages referencing the pattern yarns 457 00:25:46,800 --> 00:25:48,879 Speaker 1: used to create each knitted piece, which is useful for 458 00:25:48,960 --> 00:25:52,639 Speaker 1: future knitters, while also acting as free earnest advertising for 459 00:25:52,720 --> 00:25:56,359 Speaker 1: the reference pattern designer yarn producer. If Foster's respect for 460 00:25:56,400 --> 00:25:59,520 Speaker 1: the inherently collaborative nature of the craft while also respecting 461 00:25:59,520 --> 00:26:03,000 Speaker 1: the signific against of individual creativity and labor. We're all 462 00:26:03,080 --> 00:26:06,639 Speaker 1: knitting on the shoulders of warmly dressed giants. Other artists 463 00:26:06,640 --> 00:26:09,000 Speaker 1: networks hobbyist and professional could learn a lot from the 464 00:26:09,080 --> 00:26:12,119 Speaker 1: knitting communities of the world. Of the online communities, I 465 00:26:12,119 --> 00:26:14,280 Speaker 1: rely on in my practice as a designer, the knitting 466 00:26:14,320 --> 00:26:18,120 Speaker 1: community is the most sophisticated and accessible. Ten years from now, 467 00:26:18,160 --> 00:26:20,960 Speaker 1: app and web designers will hold up Ravelry as their inspiration. 468 00:26:21,359 --> 00:26:24,600 Speaker 1: Perhaps they already are now. She has also learned how 469 00:26:24,640 --> 00:26:27,119 Speaker 1: to now bend and to increase her knitting speed by 470 00:26:27,119 --> 00:26:31,760 Speaker 1: studying historical fibercraft blogs. She's currently learning a medieval flak 471 00:26:31,800 --> 00:26:35,840 Speaker 1: spinning technique and making her own distaff. Uh. There's She 472 00:26:35,880 --> 00:26:39,119 Speaker 1: mentions also that there's just a ton of generously free 473 00:26:39,680 --> 00:26:44,080 Speaker 1: info for people, like videos online for people that learn visually, 474 00:26:44,359 --> 00:26:46,840 Speaker 1: and it's great. Uh, thank you so much, Clara. I 475 00:26:46,880 --> 00:26:48,639 Speaker 1: think that's an interesting thing to point out. I used 476 00:26:48,680 --> 00:26:51,240 Speaker 1: to work for an online fabric company and ravelry was 477 00:26:52,080 --> 00:26:54,800 Speaker 1: an area that we kind of worked in and had 478 00:26:54,840 --> 00:26:58,080 Speaker 1: feelers in. Uh. And it's true, It's not one because 479 00:26:58,080 --> 00:27:00,119 Speaker 1: I'm not an avid knitter. I wasn't super involved that 480 00:27:00,200 --> 00:27:03,040 Speaker 1: part of it, but I was always kind of impressed 481 00:27:03,040 --> 00:27:05,160 Speaker 1: when we would have meetings and talk about how ravelry 482 00:27:05,240 --> 00:27:08,880 Speaker 1: was going, like how much sort of open sharing and not. 483 00:27:09,040 --> 00:27:12,800 Speaker 1: If anybody has ever been part of a creative community online, 484 00:27:12,880 --> 00:27:16,639 Speaker 1: you know that sometimes things can get a little tense, 485 00:27:18,200 --> 00:27:21,040 Speaker 1: Rivalries can develop people well too. I mean, it happens 486 00:27:21,040 --> 00:27:22,960 Speaker 1: in any community online. I don't want to just say 487 00:27:23,000 --> 00:27:24,879 Speaker 1: that it's creative communities, but those are the ones that 488 00:27:24,880 --> 00:27:27,359 Speaker 1: I've been the most exposed to. But that thus seems 489 00:27:27,400 --> 00:27:30,320 Speaker 1: to be less the case with ravelry in my limited experience. 490 00:27:30,359 --> 00:27:34,680 Speaker 1: I'm sure people have um examples where that would prove otherwise, 491 00:27:34,720 --> 00:27:37,560 Speaker 1: but it is very interesting. I think one of the 492 00:27:37,560 --> 00:27:41,840 Speaker 1: interesting things about sort of the burst of the Internet, 493 00:27:42,119 --> 00:27:44,560 Speaker 1: since I do remember a time before everyone was online, 494 00:27:45,200 --> 00:27:48,000 Speaker 1: is that it has created this sort of strange, wonderful 495 00:27:48,080 --> 00:27:52,520 Speaker 1: world where people doing very old world crafts and hobbies 496 00:27:52,640 --> 00:27:55,080 Speaker 1: can actually come together in a new way and share information. 497 00:27:55,640 --> 00:28:00,720 Speaker 1: We got several notes slash suggestions that we start a 498 00:28:00,760 --> 00:28:04,600 Speaker 1: stuff You Missed in History class ravelry group after our 499 00:28:04,640 --> 00:28:07,719 Speaker 1: episode on knitting UH, and I think I would like 500 00:28:07,760 --> 00:28:11,280 Speaker 1: to say, we have no objections to the existence of 501 00:28:11,359 --> 00:28:14,399 Speaker 1: a stuff you miss the NaSTA history class like fan group, 502 00:28:15,119 --> 00:28:18,920 Speaker 1: but I don't think either you or I has the 503 00:28:18,920 --> 00:28:24,560 Speaker 1: the number one current yarn craft enthusiasm or the time 504 00:28:26,680 --> 00:28:28,560 Speaker 1: to head that up. But you know, if we we 505 00:28:28,560 --> 00:28:31,919 Speaker 1: would have no objections whatsoever to folks collectively forming their 506 00:28:31,960 --> 00:28:35,480 Speaker 1: own UH fan group, I would be delighted to see that. 507 00:28:35,840 --> 00:28:38,440 Speaker 1: I would literally be useless. I would just be like neat, 508 00:28:38,600 --> 00:28:40,840 Speaker 1: like I wouldn't have anything really of value to all 509 00:28:41,520 --> 00:28:45,080 Speaker 1: I would. I would intend to offer something and never 510 00:28:45,840 --> 00:28:51,120 Speaker 1: get to it. Yeah, unrelated to any of that. I 511 00:28:51,240 --> 00:28:55,840 Speaker 1: was in Iceland and there was a yarn aisle that 512 00:28:55,960 --> 00:28:59,440 Speaker 1: was literally it was one whole side of the aisle 513 00:29:00,280 --> 00:29:03,560 Speaker 1: at a twenty four hour grocery store. I love it, 514 00:29:04,200 --> 00:29:06,720 Speaker 1: and I had a moment where I regretted not buying 515 00:29:06,720 --> 00:29:09,240 Speaker 1: myself to some yarn to then knit something with when 516 00:29:09,280 --> 00:29:10,800 Speaker 1: I got home and say, this is the thing I 517 00:29:10,840 --> 00:29:12,880 Speaker 1: knitted with the yarn that came from a twenty four 518 00:29:12,920 --> 00:29:17,760 Speaker 1: hour planned a grocery store. But I know, realistically, what 519 00:29:17,880 --> 00:29:19,719 Speaker 1: really would have happened is that yarn would have come 520 00:29:19,760 --> 00:29:22,760 Speaker 1: home and then sat in the yarn drawer. Yeah, in 521 00:29:22,840 --> 00:29:25,840 Speaker 1: a plastic bag somewhere where you discover it in another 522 00:29:25,880 --> 00:29:27,600 Speaker 1: eight years and go, oh, man, I forgot to do 523 00:29:27,640 --> 00:29:30,280 Speaker 1: anything with this ye that never happens to me. I 524 00:29:30,280 --> 00:29:33,920 Speaker 1: don't know what you're talking about. I didn't give you 525 00:29:34,000 --> 00:29:38,000 Speaker 1: a literal like giant tote of fabric when I moved 526 00:29:38,120 --> 00:29:41,000 Speaker 1: to Boston. And that's yes, But some of that's actually 527 00:29:41,000 --> 00:29:45,440 Speaker 1: gotten used to say. Okay, if you would like to 528 00:29:45,480 --> 00:29:47,720 Speaker 1: write to us and share your stories about knitting or 529 00:29:47,800 --> 00:29:50,160 Speaker 1: pizza or anything you like, you can do so at 530 00:29:50,200 --> 00:29:52,880 Speaker 1: History Podcast at house stuffworks dot com. We're also at 531 00:29:52,920 --> 00:29:56,000 Speaker 1: Facebook dot com slash mist in history, on Twitter at 532 00:29:56,040 --> 00:29:59,240 Speaker 1: mist in History, at pinterest dot com, slash mist in 533 00:29:59,320 --> 00:30:02,200 Speaker 1: History at mist in history dot tumbler dot com, and 534 00:30:02,320 --> 00:30:05,280 Speaker 1: on Instagram at mist in history. Uh. You can visit 535 00:30:05,280 --> 00:30:07,240 Speaker 1: our parents site, which is how stuff Works, where you 536 00:30:07,240 --> 00:30:10,040 Speaker 1: can search for almost anything your heart desires and you're 537 00:30:10,040 --> 00:30:12,280 Speaker 1: going to turn up some interesting articles. You can visit 538 00:30:12,360 --> 00:30:14,480 Speaker 1: us online at mist in history dot com, where we 539 00:30:14,520 --> 00:30:17,120 Speaker 1: have an archive of every episode ever of all time, 540 00:30:17,600 --> 00:30:19,560 Speaker 1: as well as show notes for any of the episodes 541 00:30:19,600 --> 00:30:23,200 Speaker 1: that feature Tracy and me. And we encourage you to 542 00:30:23,240 --> 00:30:25,160 Speaker 1: kind of visit us at house to works dot com 543 00:30:25,240 --> 00:30:31,960 Speaker 1: and missed in history dot com for more on this 544 00:30:32,120 --> 00:30:34,600 Speaker 1: and thousands of other topics. Because it has to works 545 00:30:34,600 --> 00:30:35,080 Speaker 1: dot