Erwin Hauer Continua:
Architectural Screens and Walls
Erwin Hauer

If we rarely think of walls as works of mesmerizing beauty, Erwin Hauer can hardly be blamed. Erwin Hauer: Continua resurrects the extraordinary but little-known work of this Austrian-born sculptor, whose designs of perforated and modular structures are symphonies of measured elegance. Built in Austria, Canada, Italy, Mexico, Holland, the Antilles, Venezuela, and the U.S., Hauer's architectural walls and screens caused a stir when they were erected in the 1950s, but have since been lost in time. This book gathers stunning photographs of these works, many of them now destroyed or no longer accessible.

Hauer has exhibited widely in the United States and Europe and his sculptures can be found in many public and corporate collections, including those of the Brooklyn Museum of Art, the Chicago Art Institute, the Wadsworth Atheneum, the Benson Sculpture Park in Loveland, CO, and the Museum of the National Academy of Design.


Born in Vienna, Hauer has an MFA in sculpture from the Academy of Applied Art in Vienna, and studied at the Rhode Island School of Design. He taught at Yale Univ. School of Art for 30 years and has participated in 28 one-person exhibitions and more than 150 group shows in the US.

Among his many awards, Hauer was granted a Fulbright to study in the US, an annual award from the Industrial Designers Institute of Chicago, and the Morse Fellowship from Yale.

Hauer currently lives in Bethany, Connecticut.
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Editorial Reviews

Sculpting Infinity, Metropolis:
"...an extensively illustrated survey of work Hauer had begun in 1950 as a student in his native Vienna and later continued in the United States, where he arrived on a Fulbrighht in 1955. The continua were sculptural walls composed of intricately woven or looping forms that, when repeated accross a plane, created a visual taste of infinity. " — Mason Currey (October, 2006)

Light Offence, DAM:
"The beauty of the images in the book resurrected interest in the work of the sculptor, whose scuptural screens and walls were exploited to such architectural effect during the 1950s and 60s.

...the 80 - year old artist has lost none of his desire to explore the future potential of his creativity." — Emma Firmin (October/November 2006)

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