LGBT Community Center Art Installation

The new LGBT Community Center of Greater Cleveland, located in the Gordon Square Arts District on Cleveland’s west side, opened on June 14 and I’m so proud to have my art installed in this beautiful building designed by David Thal of WMF Architects. The work titled “Fifty Three Rhombuses” at 118″ x 56″ is printed on a composite aluminum panel and shaped by CNC router.

With spaces and programs to serve the LGBT community in a variety of ways, the building is a safe and open beacon in the community. I want to thank Phyllis Harris (Executive Director LGBT Community Center Cleveland), Mindy Tousley (Executive Director Artists Archives of the Western Reserve), David Thal (Architect), and the late David Ream for making it possible to come to life.

from left: Shae London (center staff), David Thal (architect) and Phyllis Harris (executive director of the center)
David Thal (architect) and me
My husband Bruce Baumwoll and me
A view of the building at twilight (under construction photo)

Barry Bergdoll In Editorial Opinion in the New York Times Asks, “What is the Bauhaus”

The Bauhaus has been a great influence, on first my architecture and then my art. This month marks the centennial of its founding; a good time to revisit it’s influence over the last century.

Barry Bergdoll, professor of art history at Columbia University and chief curator of architecture at the Museum of Modern Art, opinions in an editorial in the New York Times, that the legacy of the Bauhaus has been turned into a kind of a trademark slogan; turned into style and fashion. The legacy of the Bauhaus has much more complexity, and as often been misunderstood, as Bergdoll so intelligently considers.

The building that housed the Bauhaus art school from 1925 to 1932 in Dessau, Germany, is today a museum. The founder of the Bauhaus, Walter Gropius, designed the structure. CreditSean Gallup/Getty Images


At its worst, Bauhaus has been reduced to mere style, a superficial sensibility informing labels, brands and fashion. Gropius and his acolytes recognized and deplored the idea, claiming that their designs arose from a pure functionalist embrace of modern materials, and in response to the demands of modern living — nothing more. “No Bauhaus Style and No Bauhaus Fashion,” a writer warned in the pages of the house organ, also calledBauhaus“Such facile stylistic labeling of the modern must be emphatically rejected.”

Barry Bergdoll

Click here to read the editorial