Exile in The United States
In 1938 Bayer settled in New York City where he had a long and distinguished career in nearly every aspect of the graphic arts.
In 1944 Bayer married Joella Syrara Haweis, the daughter of poet and Dada artist Mina Loy. The same year, he became a U.S. citizen.
In 1946 the Bayers relocated. Hired by industrialist and visionary Walter Paepcke, Bayer moved to Aspen, Colorado as Paepcke promoted skiing as a popular sport. Bayer's architectural work in the town included co-designing the Aspen Institute and restoring the Wheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour.
In 1959, he designed his "fonetik alfabet", a phonetic alphabet, for English. It was sans-serif and without capital letters. He had special symbols for the endings -ed, -ory, -ing, and -ion, as well as the digraphs "ch", "sh", and "ng". An underline indicated the doubling of a consonant in traditional orthography.
While living in Aspen, Bayer had a chance meeting with the eccentric oilman, outdoorsman and visionary ecologist, Robert O. Anderson. When Anderson saw the ultra-modern, Bauhaus-inspired home that Bayer had designed & built in Aspen, he walked up to the front door and introduced himself. It was the beginning of a lifelong friendship between the two men and instigated Anderson's insatiable passion for enthusiastically collecting contemporary art.
With Anderson's eventual formation of the Atlantic Richfield Company, and as his personal art collection quickly overflowed out of his New Mexico ranch and other homes, ARCO soon held the unique distinction of possessing the world's largest corporate art collection, under the critical eye and sharp direction of Bayer as ARCO's Art and Design Consultant.
Overseeing acquisitions for ARCO Plaza, the newly-built twin 51 story office towers in Los Angeles, Bayer was also responsible for the ARCO logo and designing all corporate branding related to the company. Prior to the completion of ARCO Plaza, Anderson commissioned Bayer to design a monumental sculpture-fountain to be installed between the dark green granite towers. Double Ascension still stands between the twin skyscrapers.
Under Bayer's direction, ARCO's art collection grew to nearly 15,000 works nationwide, managed by Atlantic Richfield Company Art Collection staff. ARCO's collection was eclectic, and consisted of an extremely wide range of media & styles; ranging from contemporary and earlier paintings, sculpture, works on paper (including drawings, watercolors and signed original lithographs, etchings and serigraphs) and signed photographs to tribal and ethnic art from many cultures, as well as historic prints and artifacts, all displayed throughout ARCO's buildings in Los Angeles and several other cities. Three years after ARCO was taken over by BP in 2000, that company's then-chairman, Lord Brown, personally ordered ARCO's art collection liquidated. It was sold through Christie's and LA Modern Auctions.
Bayer made provisions to donate, after his death, a collection of his works which had been housed in ARCO's conference center in Santa Barbara to the Los Angeles County Museum of Art. The works are currently on loan to the Denver Art Museum. He was elected a Fellow of the American Academy of Arts and Sciences in 1979.
Read more about this topic: Herbert Bayer
Famous quotes containing the words united states, exile, united and/or states:
“Europe and the U.K. are yesterday’s world. Tomorrow is in the United States.”
—R.W. “Tiny” Rowland (b. 1917)
“The bond between a man and his profession is similar to that which ties him to his country; it is just as complex, often ambivalent, and in general it is understood completely only when it is broken: by exile or emigration in the case of one’s country, by retirement in the case of a trade or profession.”
—Primo Levi (1919–1987)
“In the United States, though power corrupts, the expectation of power paralyzes.”
—John Kenneth Galbraith (b. 1908)
“It may be said that the elegant Swann’s simplicity was but another, more refined form of vanity and that, like other Israelites, my parents’ old friend could present, one by one, the succession of states through which had passed his race, from the most naive snobbishness to the worst coarseness to the finest politeness.”
—Marcel Proust (1871–1922)