2016年9月1日 星期四

Laszlo Moholy-Nagy, Future Present, ”Funkturm Berlin (Radio Tower Berlin),”1928

Throughout his career, Moholy-Nagy created works of an explicitly historical or autobiographical nature. In recognition of Blood Cancer Awareness Month consider "Leuk 4," completed a year before Moholy's death from leukemia, which poignantly evokes the artist's illness through numerous images of cancer cells. Reference can also be made to Moholy's former Bauhaus colleague Kandinsky—also concerned with rebirth and transformation—whose paintings team amoebic creatures with biological images culled from scientific literature. Learn more:http://gu.gg/36ue303ND64

Letter from the Editor
This week, we release another podcast, this one explores the borough of Queens, where more and more artists are moving as rents become unmanageable in neighboring Brooklyn. This podcast came out of my own growing love for Queens, and the new energy that is emanating from the most culturally diverse urban area in the world.
We talk to Tania Bruegera about her Immigrant Movement International project and her recent troubles in Cuba, we chat with artist Mariam Ghani about her commissioned mural about endangered languages at the Queen Museum, and we visit the Queens International biennial with director Laura Raicovich and guest co-curator Lindsey Berfond to discuss the exhibition’s themes.
I've really been enjoying this new audio format, and stay tuned for our next episode, which should be out within the next week.
Please subscribe to the Hyperallergic Podcast on Soundcloud or iTunes.
Hrag Vartanian
by Allison Meier

Decked out in red factory overalls, László Moholy-Nagy cut a striking figure of an avant-garde utopian during his time teaching at the Bauhaus in Dessau from 1923 to 1928. Read More →


Solomon R. Guggenheim Museum

ARTnews Magazine recommends the opening of "Moholy-Nagy: Future Present" as one of nine art events to attend this week in New York City:http://gu.gg/Pdn4300zAkT
Image: László Moholy-Nagy, "A 19," 1927

"Moholy-Nagy: Future Present," a comprehensive retrospective of the work of László Moholy-Nagy opens this Friday. The exhibition offers an unparalleled opportunity to examine the career of this pioneering painter, photographer, sculptor, and filmmaker, who was also active in graphic, exhibition, and stage design. An influential teacher at the Bauhaus School of Art and Design in Germany and a prolific writer,‪#‎MoholyNagy‬ believed art could work hand-in-hand with technology for the betterment of humanity. Learn more: http://gu.gg/P29k300xhgT

Moholy-Nagy: ,
May–September 2016
News from our Press Office—The first comprehensive retrospective in nearly fifty years of pioneering artist and educator László Moholy-Nagy (1895–1946) opens at the Guggenheim May 27:http://gu.gg/WBSg2
László Moholy-Nagy counts as one of the most influential figures in photography from the 1920s to 1940s, the heyday of classic modernism. He was an influential instructor at the Bauhaus and the author of several important texts on photography. In 1928, Moholy created a series of views of the Berlin Radio Tower, one of the most exciting new feats of modern architecture in the German capital.
Here, he turned his camera around and pointed it straight down at the ground, choosing a plunging perspective that revealed the eye-opening potential of unexpected angles.
László Moholy-Nagy,”Funkturm Berlin (Radio Tower Berlin),”1928, gelatin silver print © Artists Rights Society (ARS), New York/ VG Bild-Kunst, Bonn
En écho à l'exposition Le Corbusier, découvrez à partir de demain les films et archives en relation avec la pensée de l'architecte !https://www.centrepompidou.fr/id/caXrkR5/rBgeEae/fr
Laszlo Moholy-Nagy, Architekturkongress, 1933 (détail)
© Coll. Centre Pompidou


The Hungarian painter, designer, and teacher László Moholy-Nagy (1895-1946) was one of the leading figures in the Bauhaus and was highly instrumental in bringing its ideas to the United States.
László Moholy-Nagy was born on July 20, 1895, in Bacsbarsod. He studied law before becoming interested in painting. In 1919 he discovered the work of the Russian constructivists El Lissitzky and Kasimir Malevich, whose lifelong influence can be seen in Moholy-Nagy's paintings with the characteristic severe patterns of rectangles and other geometric shapes scattered sparsely over a plain background.
In 1921 Moholy-Nagy moved to Berlin. His paintings were now completely nonobjective, and he began to study the function and effect of light, which became one of his main continuing interests. Combined with this was his enthusiasm for the potential uses of the new plastic materials. Like Marcel Duchamp, he began to question the traditional involvement of the artist's hand in his own work. In 1922 Moholy-Nagy came up with a brilliant and audacious idea: he had five paintings made for him by a factory. He telephoned the factory and described what he wanted, using the factory's color chart and graph paper. As Duchamp did with his ready-mades, Moholy-Nagy claimed the five paintings as his because he had thought of them rather than actually made them by his own hand.
Moholy-Nagy's interests in a new relationship between the artist and his art, his investigations into the use of light, and his use of new materials made him a very suitable member of the Bauhaus, where he went to teach in 1923. The Bauhaus had been founded in 1919 by Walter Gropius to provide a new sort of artistic training, where the artist no longer had to choose between art and design but was instead given an all-round education which would allow him to use his knowledge of art and materials to make a more functional art, often involved in industrial design.
Moholy-Nagy taught the introductory course at the Bauhaus and helped turn it away from its preoccupation with mysticism and intuitive philosophy and toward a more practical and tightly controlled emphasis on materials and their potential and function. He was peculiarly adept at fusing theory and practice and was thus highly successful at both teaching and writing. In 1928 he left the Bauhaus and executed stage designs in Berlin, using his Bauhaus-evolved ideas of space and light. During a short stay in London he produced a number of documentary films.
In 1937 Moholy-Nagy went to Chicago, where he directed the New Bauhaus for a year and then set up his own School of Design, which he ran on Bauhaus principles until his death in Chicago on Nov. 24, 1946. An extraordinarily idealistic man, he passionately believed in his own concepts of design and teaching and worked feverishly to accomplish his aims. It is in large part owing to him that the Bauhaus ideas so thoroughly infused American design.
Further Reading
Moholy-Nagy's own writings are very epigrammatic and perhaps provide a more exciting picture of the potential of his ideas than do his artistic productions. His The New Vision (1928) and Vision in Motion (1947) give a fine sense of his liveliness of mind and wide-ranging interests. An extremely touching and very informative book is the biography by his wife, Sibyl Moholy-Nagy, Moholy-Nagy: Experiment in Totality (1950; 2d ed. 1969).
Additional Sources
Kaplan, Louis, Laszlo Moholy-Nagy: biographical writings, Durham: Duke University Press, 1995.