Posts Tagged ‘collages

17
Jun
17

Exhibition: ‘Moholy-Nagy: Future Present’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 12th February – 18th June 2017

 

László Moholy-Nagy (1895-1946) 'F in Field' 1920

 

László Moholy-Nagy (1895-1946)
F in Field
1920
Gouache and collage on paper
8 11/16 × 6 15/16 in.
Private collection, courtesy of Kunsthandel Wolfgang Werner, Bremen/Berlin
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

 

“To meet the manifold requirements of this age with a definite program of human values, there must come a new mentality and a new type of personality. The common denominator is the fundamental acknowledgment of human needs; the task is to recognise the moral obligation in satisfying these needs, and the aim is to produce for human needs, not for profit.”

.
László Moholy-Nagy in Vision in Motion, published posthumously in 1947

 

 

New vision

One of the most creative human beings of the 20th century, and one of its most persuasive artists … “pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design.”

New visual creations, new combinations of technology and art: immersive installations featuring photographic reproductions, films, slides, posters, and examples of architecture, theatre, and industrial design that attempted to achieve a Gesamtwerk (total work) that would unify art and technology with life itself. Moholy’s “belief in the power of images and the various means by which to disseminate them” presages our current technological revolution.

It’s time another of his idioms – the moral obligation to satisfy human values by producing for human needs, not for profit – is acted upon.

The aim is to produce for human needs, not for profit.

Marcus

.
Many thankx to the Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

The first comprehensive retrospective of the work of László Moholy-Nagy (1895-1946) in the United States in nearly 50 years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. Moholy-Nagy: Future Present examines the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. The exhibition includes more than 250 works in all media from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is a large-scale installation, the Room of the Present, a contemporary construction of an exhibition space originally conceived by Moholy-Nagy in 1930. Though never realised during his lifetime, the Room of the Present illustrates Moholy’s belief in the power of images and the various means by which to disseminate them – a highly relevant paradigm in today’s constantly shifting and evolving technological world.

 

 

 

An exhibition walkthrough of Moholy-Nagy: Future Present at LACMA. Mark Lee, Principal of Johnston Marklee and Carol S. Eliel, Curator of Modern Art at LACMA discuss how Johnston Marklee’s design of the exhibition dialogues with the multiple mediums that constitute Moholy-Nagy’s vast body of work.

 

László Moholy-Nagy (1895-1946) 'Title unknown' 1920/21

 

László Moholy-Nagy (1895-1946)
Title unknown
1920/21
Gouache, collage, and graphite on paper
9 5/8 × 6 3/8 in.
Los Angeles County Museum of Art, Gift of Kate Steinitz
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © Museum Associates/LACMA

 

László Moholy-Nagy (1895-1946) 'Photogram' 1941

 

László Moholy-Nagy (1895-1946)
Photogram
1941
Gelatin silver photogram
28 x 36 cm
The Art Institute of Chicago, Gift of Sally Petrilli, 1985
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

 

László Moholy-Nagy (1895-1946) '19' 1921

 

László Moholy-Nagy (1895-1946)
19
1921
Oil on canvas
44 × 36 1/2 in.
Harvard Art Museums/Busch-Reisinger Museum, Gift of Sibyl Moholy-Nagy
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © President and Fellows of Harvard College

 

László Moholy-Nagy (1895-1946) 'Red Cross and White Balls' 1921

 

László Moholy-Nagy (1895-1946)
Red Cross and White Balls
1921
Collage, ink, graphite, and watercolor on paper
8 7/16 × 11 7⁄16 in.
Museum Kunstpalast Düsseldorf
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo © Museum Kunstpalast – Horst Kolberg – ARTOTHEK

 

László Moholy-Nagy (1895-1946) 'Construction' 1922

 

László Moholy-Nagy (1895-1946)
Construction
1922
Oil and graphite on panel
21 3/8 × 17 15/16 in.
Harvard Art Museums/Busch-Reisinger Museum, Gift of Lydia Dorner in memory of Dr. Alexander Dorner
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © President and Fellows of Harvard College

 

László Moholy-Nagy (1895-1946) 'Q' 1922/23

 

László Moholy-Nagy (1895-1946)
Q
1922/23
Collage, watercolor, ink, and graphite on paper attached to carbon paper
23 3⁄16 × 18 1⁄4 in.
National Gallery of Art, Washington, Ailsa Mellon Bruce Fund
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

 

 

The Los Angeles County Museum of Art (LACMA) presents Moholy-Nagy: Future Present, the first comprehensive retrospective of the pioneering artist and educator László Moholy-Nagy (1895-1946) to be seen in the United States in nearly 50 years. Organized by LACMA, the Solomon R. Guggenheim Foundation, and the Art Institute of Chicago, this exhibition examines the rich and varied career of the Hungarian-born modernist. One of the most versatile figures of the twentieth century avant-garde, Moholy (as he is often called) believed in the potential of art as a vehicle for social transformation and in the value of new technologies in harnessing that potential. He was a pathbreaking painter, photographer, sculptor, designer, and filmmaker as well as a prolific writer and an influential teacher in both Germany and the United States. Among his innovations were experiments with cameraless photography; the use of industrial materials in painting and sculpture; research with light, transparency, and movement; work at the forefront of abstraction; fluidity in moving between the fine and applied arts; and the conception of creative production as a multimedia endeavour. Radical for the time, these are now all firmly part of contemporary art practice.

The exhibition includes approximately 300 works, including paintings, sculptures, drawings, collages, photographs, photograms, photomontages, films, and examples of graphic, exhibition, and theatre design. A highlight is the full-scale realisation of the Room of the Present, an immersive installation that is a hybrid of exhibition space and work of art, seen here for the first time in the United States. This work – which includes photographic reproductions, films, images of architectural and theatre design, and examples of industrial design – was conceived by Moholy around 1930 but realised only in 2009. The exhibition is installed chronologically with sections following Moholy’s career from his earliest days in Hungary through his time at the Bauhuas (1923-28), his post-Bauhaus period in Europe, and ending with his final years in Chicago (1937-46).

Moholy-Nagy: Future Present is co-organised by Carol S. Eliel, Curator of Modern Art, LACMA; Karole P. B. Vail, Curator, Solomon R. Guggenheim Museum; and Matthew S. Witkovsky, Richard and Ellen Sandor Chair and Curator, Department of Photography, Art Institute of Chicago. The exhibition’s tour began at the Solomon R. Guggenheim Museum in New York, continued at the Art Institute of Chicago, and concludes at LACMA.

“Moholy-Nagy is considered one of the earliest modern artists actively to engage with new materials and technologies. This spirit of experimentation connects to LACMA’s longstanding interest in and support of the relationship between art and technology, starting with its 1967-71 Art and Technology Program and continuing with the museum’s current Art + Technology Lab,” according to Michael Govan, LACMA CEO and Wallis Annenberg Director. “This exhibition’s integrated view of Moholy’s work in numerous mediums reveals his relevance to contemporary art in our multi- and new media age.”

Moholy’s goal throughout his life was to integrate art, technology, and education for the betterment of humanity; he believed art should serve a public purpose. These goals defined the artist’s utopian vision, a vision that remained as constant as his fascination with light, throughout the many material changes in his oeuvre,” comments Carol S. Eliel, exhibition curator. “Light was Moholy’s ‘dream medium,’ and his experimentation employed both light itself and a range of industrial materials that take advantage of light.”

 

László Moholy-Nagy (1895-1946) 'Photogram' 1925/28, printed 1929

 

László Moholy-Nagy (1895-1946)
Photogram
1925/28, printed 1929
Gelatin silver print (enlargement from photogram) from the Giedion Portfolio
15 3/4 × 11 13/16 in.
The Museum of Fine Arts, Houston, museum purchase funded by the Mary Kathryn Lynch Kurtz Charitable Lead Trust, The Manfred Heiting Collection
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Photograph (Self-Portrait with Hand)' 1925/29, printed 1940/49

 

László Moholy-Nagy (1895-1946)
Photograph (Self-Portrait with Hand)
1925/29, printed 1940/49
Gelatin silver print
9 5/16 × 7 in.
Galerie Berinson, Berlin
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Photogram' 1925/26

 

László Moholy-Nagy (1895-1946)
Photogram
1925/26
Gelatin silver photogram
7 3/16 × 9 1/2 in.
Museum Folkwang, Essen
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © Museum Folkwang Essen – ARTOTHEK

 

László Moholy-Nagy (1895-1946) 'Photogram' 1926

 

László Moholy-Nagy (1895-1946)
Photogram
1926
Gelatin silver print
9 3/8 x 7 in.
Los Angeles County Museum of Art, Ralph M. Parsons Fund
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © Museum Associates/LACMA

 

 

Photogram (1926): In the 1920s Moholy was among the first artists to make photograms by placing objects – including coins, lightbulbs, flowers, even his own hand – directly onto the surface of light-sensitive paper. He described the resulting images, simultaneously identifiable and elusive, as “a bridge leading to a new visual creation for which canvas, paintbrush, and pigment cannot serve.”

 

László Moholy-Nagy (1895-1946) 'Cover and design for Malerei Photographie Film (Painting Photography Film)' 1925

 

László Moholy-Nagy (1895-1946)
Cover and design for Malerei Photographie Film (Painting Photography Film)
1st ed., Bauhausbücher (Bauhaus Books) 8 (Albert Langen Verlag, 1925), bound volume
9 1/16 × 7 1/16 in.
Collection of Richard S. Frary
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Once a Chicken, Always a Chicken' 1925

 

László Moholy-Nagy (1895-1946)
Once a Chicken, Always a Chicken
1925
Photomontage (halftone reproductions, paper, watercolor, and grapite) on paper
15 × 19 in.
Alice Adam, Chicago
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

 

About the artist

László Moholy-Nagy was born in Hungary in 1895. He enrolled as a law student at the University of Budapest in 1915, leaving two years later to serve as an artillery officer in the Austro-Hungarian army during World War I. He began drawing while on the war front; after his discharge in 1918 Moholy convalesced in Budapest, where he focused on painting. He was soon drawn to the cutting-edge art movements of the period, including Cubism and Futurism. Moholy moved to Vienna in 1919 before settling in Berlin in 1920, where he served as a correspondent for the progressive Hungarian magazine MA (Today).

The letters and glyphs of Dada informed Moholy’s visual art around 1920 while the hard edged geometries and utopian goals of Russian Constructivism influenced his initial forays into abstraction shortly thereafter, particularly works that explored the interaction among coloured planes, diagonals, circles, and other geometric forms. By the early 1920s Moholy had gained a reputation as an innovative artist and perceptive theorist through exhibitions at Berlin’s radical Galerie Der Sturm as well as his writings. His lifelong engagement with industrial materials and processes – including the use of metal plating, sandpaper, and various metals and plastics then newly-developed for commercial use – began at this time.

In 1923 Moholy began teaching at the Bauhaus, an avant-garde school that sought to integrate the fine and applied arts, where his colleagues included Wassily Kandinsky, Paul Klee, and other path breaking modernists. Architect Walter Gropius, founder of the Bauhaus, invited Moholy to expand its progressive curriculum, particularly by incorporating contemporary technology into more traditional methods and materials. He also had a part in Bauhaus graphic design achievements, collaborating with Herbert Bayer on stationery, announcements, and advertising materials.

Photography was of special significance for Moholy, who believed that “a knowledge of photography is just as important as that of the alphabet. The illiterates of the future will be ignorant of the use of the camera and pen alike.” In the 1920s he was among the earliest artists to make photograms by placing objects directly onto the surface of light-sensitive paper. He also made photographs using a traditional camera, often employing exaggerated angles and plunging perspectives to capture contemporary technological marvels as well as the post-Victorian freedom of the human body in the modern world. His photographs are documentary as well as observations of texture, captured in fine gradations of light and shadow. Moholy likewise made photomontages, combining assorted elements, typically newspaper and magazine clippings, resulting in what he called a “compressed interpenetration of visual and verbal wit; weird combinations of the most realistic, imitative means which pass into imaginary spheres.” Moholy-Nagy includes the largest grouping of the artist’s photomontages ever assembled.

After leaving the Bauhaus in 1928, Moholy turned to commercial, theatre, and exhibition design as his primary means of income. This work, which reached a broad audience, was frequently collaborative and interdisciplinary by its very nature and followed from the artist’s dictum “New creative experiments are an enduring necessity.”

Even as his commercial practice was expanding, Moholy’s artistic innovations and prominence in the avant-garde persisted unabated. He continued to bring new industrial materials into his painting practice, while his research into light, transparency, and movement led to his 35 mm films documenting life in the modern city, his early involvement with colour photography for advertising, and his remarkable kinetic Light Prop for an Electric Stage of 1930. An extension of his exhibition design work, Moholy’s Room of the Present was conceived to showcase art that embodied his “new vision” – endlessly reproducible photographs, films, posters, and examples of industrial design.

Forced by the rise of Nazism to leave Germany, in 1934 Moholy moved with his family to Amsterdam, where he continued to work on commercial design and to collaborate on art and architecture projects. Within a year of arriving the family was forced to move again, this time to London. Moholy’s employment there centred around graphic design, including prominent advertising campaigns for the London Underground, Imperial Airways, and Isokon furniture. He also received commissions for a number of short, documentary influenced films while in England. In 1937, the artist accepted the invitation (arranged through his former Bauhaus colleague Walter Gropius) of the Association of Arts and Industries to found a design school in Chicago, which he called the New Bauhaus – American School of Design. Financial difficulties led to its closure the following year, but Moholy reopened it in 1939 as the School of Design (subsequently the Institute of Design, today part of the Illinois Institute of Technology). Moholy transmitted his populist ethos to the students, asking that they “see themselves as designers and craftsmen who will make a living by furnishing the community with new ideas and useful products.”

Despite working full-time as an educator and administrator, Moholy continued his artistic practice in Chicago. His interest in light and shadow found a new outlet in Plexiglas hybrids of painting and sculpture, which he often called Space Modulators and intended as “vehicles for choreographed luminosity.” His paintings increasingly involved biomorphic forms and, while still abstract, were given explicitly autobiographical or narrative titles – the Nuclear paintings allude to the horror of the atomic bomb, while the Leuk paintings refer to the cancer that would take his life in 1946. Moholy’s goal throughout his life was to integrate art, technology, and education for the betterment of humanity. “To meet the manifold requirements of this age with a definite program of human values, there must come a new mentality,” he wrote in Vision in Motion, published posthumously in 1947. “The common denominator is the fundamental acknowledgment of human needs; the task is to recognise the moral obligation in satisfying these needs, and the aim is to produce for human needs, not for profit.”

 

László Moholy-Nagy (1895-1946) 'AL 3' 1926

 

László Moholy-Nagy (1895-1946)
AL 3
1926
Oil, industrial paint, and graphite on aluminium
15 3/4 × 15 3/4 in.
Norton Simon Museum, Pasadena, California, The Blue Four Galka Scheyer Collection
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Photograph (Berlin Radio Tower)' 1928/29

 

László Moholy-Nagy (1895-1946)
Photograph (Berlin Radio Tower)
1928/29
Gelatin silver print
14 3/16 × 10 in.
The Art Institute of Chicago, Julien Levy Collection, Special Photography Acquisition Fund
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Digital image © The Art Institute of Chicago

 

 

Photograph (Berlin Radio Tower) (1928/29): Moholy used a traditional camera to take photos that often employ exaggerated angles and plunging perspectives to capture contemporary technological marvels such as the Berlin Radio Tower, which was completed in 1926. This photograph epitomises Moholy’s concept of art working hand-in-hand with technology to create new ways of seeing the world – his “new vision.”

 

László Moholy-Nagy (1895-1946) 'Photograph (Light Prop)' 1930

 

László Moholy-Nagy (1895-1946)
Photograph (Light Prop for an Electric Stage)
1930
Gelatin silver print
9 7/16 × 7 1/8 in.
The J. Paul Getty Museum, Los Angeles
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

 

A short documentation from the replica of Moholy-Nagy’s Light Space Modulator in Van Abbe Museum in Eindhoven, Holland

 

 

Làslò Moholy Nagy film
1930

 

László Moholy-Nagy (1895-1946) 'Photograph (Light Prop)' c. 1930

 

László Moholy-Nagy (1895-1946)
Photograph (Light Prop for an Electric Stage)
c. 1930
Gelatin silver print
14 3/4 × 10 3/4 in.
The Museum of Modern Art, New York, Gift of the artist
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Digital image © The Museum of Modern Art / licensed by SCALA / Art Resource, NY

 

Installation view of Room 2, designed by László Moholy-Nagy, of the German section of the annual salon of the Society of Decorative Artists, Paris, May 14-July 13, 1930

 

Installation view of Room 2, designed by László Moholy-Nagy, of the German section of the annual salon of the Society of Decorative Artists, Paris, May 14-July 13, 1930
Bauhaus-Archiv Berlin
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo: Bauhaus-Archiv Berlin

 

László Moholy-Nagy (1895-1946) 'Room of the Present' 1930, constructed 2009

 

László Moholy-Nagy (1895-1946)
Room of the Present
Constructed 2009 from plans and other documentation, dated 1930
Mixed media, inner dimensions: 137 3/4 x 218 7/8 x 318 3/4 in.
Van Abbemuseum, Eindhoven, 2953
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photography by Peter Cox, Eindhoven, The Netherlands

 

 

The Room of the Present is an immersive installation featuring photographic reproductions, films, slides, posters, and examples of architecture, theatre, and industrial design, including an exhibition copy of Moholy’s kinetic Light Prop for an Electric Stage (1930). The Room exemplifies Moholy’s desire to achieve a Gesamtwerk (total work) that would unify art and technology with life itself. A hybrid between exhibition space and work of art, it was originally conceived around 1930 but realised only in 2009, based on the few existing plans, drawings, and related correspondence Moholy left behind.

 

László Moholy-Nagy (1895-1946) 'Construction AL6 (Konstruktion AL6)' 1933-34

 

László Moholy-Nagy (1895-1946)
Construction AL6 (Konstruktion AL6)
1933-34
Oil and incised lines on aluminum
60 × 50 cm
IVAM, Institut Valencià d’Art Modern, Generalitat
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

 

László Moholy-Nagy (1895-1946) 'CH BEATA I' 1939

 

László Moholy-Nagy (1895-1946)
CH BEATA I
1939
Oil and graphite on canvas
46 7/8 × 47 1/8 in.
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photo © Solomon R. Guggenheim Foundation, New York, photography by Kristopher McKay

 

László Moholy-Nagy (1895-1946) 'Photograph (Light Modulator in Motion)' 1943

 

László Moholy-Nagy (1895-1946)
Photograph (Light Modulator in Motion)
1943
Gelatin silver print
6 9/16 x 4 7/16 in.
George Eastman Museum, Rochester, New York, purchase with funds provided by Eastman Kodak Company
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Photograph (Light Modulator in Repose)' 1943

 

László Moholy-Nagy (1895-1946)
Photograph (Light Modulator in Repose)
1943
Gelatin silver print
6 7/16 x 4 1/2 in.
George Eastman Museum, Purchased with funds provided by Eastman Kodak Company
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

László Moholy-Nagy (1895-1946) 'Vertical Black, Red, Blue' 1945

 

László Moholy-Nagy (1895-1946)
Vertical Black, Red, Blue
1945
Los Angeles County Museum of Art, purchased with funds provided by Alice and Nahum Lainer, the Ducommun and Gross Acquisition Fund, the Fannie and Alan Leslie Bequest, and the Modern and Contemporary Art Council, as installed in Moholy-Nagy: Future Present at the Los Angeles County Museum of Art
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo
© 2017 Museum Associates/LACMA

 

 

László Moholy-Nagy (1895-1946) 'Space Modulator CH for R1' 1942

 

László Moholy-Nagy (1895-1946)
Space Modulator CH for R1
1942
Oil and incised lines on Formica
62 3/16 × 25 9/16 in.
Hattula Moholy-Nagy, Ann Arbor, Michigan
© 2017 Hattula Moholy-Nagy/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Photography by Peter Schälchli

 

 

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29
Mar
17

Exhibition: ‘One and One Is Four: The Bauhaus Photocollages of Josef Albers’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 23rd November 2016 – 2nd April 2016

 

NEARLY A WEEK SINCE MY LAST POSTING SO LET’S MAKE THIS A GOOD ONE…

A fabulous posting on the photocollages of that most excellent of artists, Josef Albers, where the selection of images and their pairings “take on questions of duality, time, and narrative…” – to which I might add, questions of perspective and context. These photocollages are a revelation to me.

The complex photo narratives move image across time and space. This can be seen in the photomontage Untitled (Bullfight, San Sebastian) (1930/1932, below) where the multitude of photographs of a bullfight in San Sebastien, “can be read as a short story or experimental film, where we as viewers recognise that we are being transported to a distant time and place…”

Here the visual plane is fragmented, the scale mixed, shape, direction and space/time continuity confused. Structures are repeated; time is overlaid; perspective is shifted; narrative is multiplied. This is complex, New Vision image making, not just the downwards or upward looking objectivity of Russian constructivism, but a more nuanced splicing of time and space. The bullfight is magnificent in its “in the round” picturing … the splitting of the arena in the central images confuses direction, scale and circularity.

There are further “in the round” elements (mimicking Renaissance triple portrait painting such as Triple Portrait of Cardinal de Richelieu (1642) in the National Gallery of Art, London), seen in the work Amédée Ozenfant, summer 1931 (below) which, while objectifying the human countenance, contains that nugget of truth: that portraiture is an expression of humanism. Other photocollages, for example Road, Paznauntal, July 1930; Hotel staircases, Geneva, 1929 (with its Escher-like construction); Flooded trees and forest; and Dessau, end of winter, 1931 (all below), challenge our orientation in the world both physically and spiritually.

These photocollages, 70 of which were made between 1928 and 1932, were never discovered until after Albers was dead. No one ever knew he took photographs. but it was obviously important to him that he did so. Would he be able to say whether he was being serious, or he was having fun? Probably both. What a shame that they are often mutually exclusive in the last 30 -40 years.

It’s all very well to be able to say you are having fun – but what about being in this state (i.e. Albers state when he was compositing the photographs) and not even knowing … not even thinking of the question. Perhaps his was a private form of meditation on the nature of vision.

Marcus

(Written using dictation software, the rest all cut and paste)

.
Many thankx to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Beginning at the Bauhaus in 1928, Albers made hundreds, perhaps thousands, of photographs with his handheld Leica camera, and he made thousands more, mostly while traveling, in the decades following his emigration to the United States in 1933. But we concern ourselves here with a group of seventy photocollages mounted to A3 boards, established as a standard size in Germany in 1922 at 29.7 by 42 centimetres (11 3/4 by 16 1/2 inches). No record exists of Albers ever having exhibited these collages in his lifetime, nor does he appear to have spoken of them. Yet in their rigorous construction and allusive potential, they represent a singularly creative body of work. The images Albers used to make these collages fall rather neatly into four categories – portraits, mannequins, the natural world, and the built environment – and Albers attends to a remarkably narrow subsection within each of these: The portraits feature only people Albers knew well – fellow Bauhäusler, family, and friends. The primary urban motif is the mannequin, which was also featured in the photographs of contemporaries such as Eugène Atget, Bill Brandt, Manuel Álvarez Bravo, Horacio Coppola, and scores of others who were attentive to the figures’ Surrealist echoes. His images of nature consist of mostly waves, some trees, and a few mountains, and there are only a handful of man-made structures. Albers’s limited range of subjects achieves new significance in his collages, where their selection and pairings take on questions of duality, time, and narrative, topics that resist being infused into single images of similar subjects.”
.
Sarah Hermanson Meister. “Josef Albers: An Open Mind for the Newer and Nearer,” from One and One Is Four: The Bauhaus Photocollages of Josef Albers, Museum of Modern Art, New York, 2016, pp. 11-12.

 

“The abstract language that Albers adopted for the great majority of his oeuvre precludes temporal specificity, which makes the close study of a number of his photocollages all the more compelling, specifically in Albers’s attentiveness to the complexity engendered by incorporating multiple photographs – each captured in a fraction of a second, but inevitably across time – into a single work.”
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Sarah Hermanson Meister. “Josef Albers: An Open Mind for the Newer and Nearer,” from One and One Is Four: The Bauhaus Photocollages of Josef Albers, Museum of Modern Art, New York, 2016, p. 15.

 

 

Josef Albers (American, born Germany 1888-1976) 'El Lissitzky, Dessau' 1930/1932

 

Josef Albers (American, born Germany 1888-1976)
El Lissitzky, Dessau
1930/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

 

“The image on the left shows Lissitzky smiling warmly, almost conspiratorially, at Albers. The background divides neatly into three tones – black, white, and gray – each of which corresponds loosely to Lissitzky’s (black) tie, (white) shirt, and the middle shades of the photographic spectrum that echo Lissitzky’s tanned complexion and balding pate. The horizontal image on the right is the same width but half the height of the vertical image, and in it we see Lissitzky almost in profile, looking toward his other likeness. This time the asymmetry of his placement within the frame is even more pronounced: his nose is cropped by the left edge, his forehead by the top, but the right half of the image is virtually empty. While we feel confident that these photographs were captured at the same meeting, the darker background in the right-hand image and the differentiation between Lissitzky’s shirt and collar (which, on the left, seem identical) remind the viewer of the variability of photographic representation. Albers mounted these prints with their top edges roughly aligned and with nearly equivalent space between their outside edges and the sides of the board: there is no evident rhyme or reason in the interstitial spaces. This irregularity draws the viewer’s attention to the geometric forms within each image and to the prints themselves, which might be construed as Albers’s nod to the dynamic geometric vocabulary that Lissitzky employed in his own art and design.”

Sarah Hermanson Meister. “Josef Albers: An Open Mind for the Newer and Nearer,” from One and One Is Four: The Bauhaus Photocollages of Josef Albers, Museum of Modern Art, New York, 2016, pp. 13-14.

 

Josef Albers (American, born Germany 1888-1976) 'El Lissitzky, Dessau' 1930/1932 (detail)

 

Josef Albers (American, born Germany 1888-1976)
El Lissitzky, Dessau (detail)
1930/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Untitled (Bullfight, San Sebastian)' 1930/1932

 

Josef Albers (American, born Germany 1888-1976)
Untitled (Bullfight, San Sebastian)
1930/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

 

“Nowhere does Albers change the rules of the game more profoundly than in his collages that feature a multitude of photographs. His collage of a bullfight in San Sebastian can be read as a short story or experimental film, where we as viewers recognise that we are being transported to a distant time and place, no less enchanting for its impossibility.

At the centre we find the nominal subject: a procession of banderilleros, picadors, and matadors. Surrounding this are three views of the arena filled with crowds, whose choreographed disjunction evokes the rhythm of the event they are gathered to see. The sweep of the arcade is plainly elevated in the central view, with a nearly symmetrical relationship to those architectural forms on the left and right, whereas the cropped edge of the ring awkwardly intersects its corresponding form, an oblique allusion, perhaps, to the impossibility of predicting the outcome of this highly ritualised event. The two images that anchor the bottom of the collage show more dramatic vantage points. A plethora of boater hats, caps, and a scattering of bare heads, each precisely described, is juxtaposed against a mass of automobiles presumably parked outside. These horizonless seas of repeated forms were common motifs for avant-garde photographers of the period. It is the tightly woven – but not flawless – relationships between these individual components, akin to cuts in a film, that reward our reconsideration of these elements with respect to the whole.”

Sarah Hermanson Meister. “Josef Albers: An Open Mind for the Newer and Nearer,” from One and One Is Four: The Bauhaus Photocollages of Josef Albers, Museum of Modern Art, New York, 2016, pp. 14-15.

 

Josef Albers (American, born Germany 1888-1976) 'Untitled (Bullfight, San Sebastian)' 1930/1932 (detail)

Josef Albers (American, born Germany 1888-1976) 'Untitled (Bullfight, San Sebastian)' 1930/1932 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Untitled (Bullfight, San Sebastian) (details)
1930/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Paris, Eiffel Tower' 1929/1932

 

Josef Albers (American, born Germany 1888-1976)
Paris, Eiffel Tower
1929/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

 

“Of the seventy photocollages Albers made at this time, more than half feature but two photographic prints: their placement reveals both formal innovation and a sensitivity to the unique characteristics of the individual photographs. Albers’s photographs of the Eiffel Tower, made during a summer break from teaching, suggest his attentiveness to the range of possibilities offered by his Leica, and the close relationship between his work and that of his contemporaries. Both images in his collage feature plunging perspectives; the sunlight and shadow in the image on the left draw our attention to the diminutive figures below. Albers was not a particularly fastidious printer, yet he was surely attuned to the fact that every tone in the photograph on the right exists on the continuum of tones between the highlights and shadows on the left. Lest the viewer suspect that these are purely mechanical byproducts of the process, Albers trims each image with a subtly but noticeably irregular hand, underscoring the artist’s creative agency. This marriage of industry and craft was a hallmark of the Bauhaus. To further emphasise the aesthetic, non-documentary function of these photographs, Albers anchors them at the top left of his board, pointedly shifting the viewer’s perspective.”

Sarah Hermanson Meister. “Josef Albers: An Open Mind for the Newer and Nearer,” from One and One Is Four: The Bauhaus Photocollages of Josef Albers, Museum of Modern Art, New York, 2016, p. 14.

 

Josef Albers (American, born Germany 1888-1976) 'Paris, Eiffel Tower' 1929/1932 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Paris, Eiffel Tower (detail)
1929/1932
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Paul Klee in his studio, Dessau, November 1929'

 

Josef Albers (American, born Germany 1888-1976)
Paul Klee in his studio, Dessau, November 1929
November 1929
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker, 2015
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976). 'Paul Klee, Dessau, November 1929' 1929/1932

 

Josef Albers (American, born Germany 1888-1976)
Paul Klee, Dessau, November 1929
1929/1932
Gelatin silver prints mounted to board
11 11/16 x 16 7/16″ (29.7 x 41.8 cm) overall
The Museum of Modern Art, New York
Gift of The Josef and Anni Albers Foundation
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976). 'Paul Klee, Dessau' 1929/1932 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Paul Klee, Dessau, November 1929 (detail)
1929/1932
Gelatin silver prints mounted to board
11 11/16 x 16 7/16″ (29.7 x 41.8 cm) overall
The Museum of Modern Art, New York
Gift of The Josef and Anni Albers Foundation
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Amédée Ozenfant, summer 1931'

 

Josef Albers (American, born Germany 1888-1976)
Amédée Ozenfant, summer 1931
1931
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Vasily Kandinsky, master on the terrace at Hannes Meyer’s, spring 1929; May 1930'

 

Josef Albers (American, born Germany 1888-1976)
Vasily Kandinsky, master on the terrace at Hannes Meyer’s, spring 1929; May 1930
1929/1930
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976). 'Marli Heimann, All During an Hour' 1931/1932

 

Josef Albers (American, born Germany 1888-1976)
Marli Heimann, All During an Hour
1931/1932
Gelatin silver prints mounted to board
11 11/16 x 16 7/16″ (29.7 x 41.8 cm) overall
The Museum of Modern Art, New York
Gift of The Josef and Anni Albers Foundation, 1988
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Oskar Schlemmer, April 1929; Schlemmer in the Bauhaus Masters' Council, 1928; Schlemmer with Hans Wittwer, Ernst Kállai, and Marianne Brandt, Preliminary Course Exhibition, 1927/28; Schlemmer and Tut, summer 1928; Schlemmer, April 1930; Schlemmer, 1928' 1927/1929

 

Josef Albers (American, born Germany 1888-1976)
Oskar Schlemmer, April 1929; Schlemmer in the Bauhaus Masters’ Council, 1928; Schlemmer with Hans Wittwer, Ernst Kállai, and Marianne Brandt, Preliminary Course Exhibition, 1927/28; Schlemmer and Tut, summer 1928; Schlemmer, April 1930; Schlemmer, 1928
1927/1929
Gelatin silver prints mounted on board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Oskar Schlemmer, April 1929; Schlemmer in the Bauhaus Masters' Council, 1928; Schlemmer with Hans Wittwer, Ernst Kállai, and Marianne Brandt, Preliminary Course Exhibition, 1927/28; Schlemmer and Tut, summer 1928; Schlemmer, April 1930; Schlemmer, 1928' 1927/1929 (detail)

 

Josef Albers (American, born Germany 1888-1976)
Oskar Schlemmer, April 1929; Schlemmer in the Bauhaus Masters’ Council, 1928; Schlemmer with Hans Wittwer, Ernst Kállai, and Marianne Brandt, Preliminary Course Exhibition, 1927/28; Schlemmer and Tut, summer 1928; Schlemmer, April 1930; Schlemmer, 1928 (detail)
1927/1929
Gelatin silver prints mounted on board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

 

“Josef Albers (American, born Germany, 1888-1976) is a central figure in 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University. Best known for his iconic series Homages to the Square, Albers made paintings, drawings, and prints and designed furniture and typography. The least familiar aspect of his extraordinary career is his inventive engagement with photography, which was only discovered after his death. The highlight of this work is undoubtedly the photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.

The first serious exploration of Albers’s photographic practice occurred in a modest exhibition at MoMA in 1988, The Photographs of Josef Albers. In 2015, the Museum acquired 10 photocollages by Albers – adding to the two donated by the Josef and Anni Albers Foundation almost three decades ago – making its collection the most significant anywhere outside the Foundation. This installation celebrates both this landmark acquisition and the publication of One and One Is Four: The Bauhaus Photocollages of Josef Albers, which focuses exclusively on this deeply personal and inventive aspect of Albers’s work and makes many of these photocollages available for the first time.

Book

The Museum of Modern Art announces the release of One and One Is Four: The Bauhaus Photocollages of Josef Albers, the first publication to reproduce all 70 photocollages created by Josef Albers at the Bauhaus using photographs he made between 1928 and 1932. Hailed in his own lifetime as among the most important figures of 20th-century art, both as a practitioner and as a teacher at the Bauhaus, Black Mountain College, and Yale University, Albers (1888-1976) achieved widespread acclaim across a range of mediums, from glassworks and furniture design to printmaking and painting. Yet Albers’s engagement with modernist photography remained largely hidden until after his death, and it is only now that the entire series of unique photocollages the artist produced at the famed art school – before he and his wife fled Nazi Germany for the US – has been published together, many for the first time. At once expansive and restrained, this remarkable body of work anticipates concerns that Albers would pursue throughout his career: seriality, perception, and the relationship between handcraft and mechanical production.

One and One Is Four reveals an Albers at once familiar and unexpected – playful yet disciplined, personal yet enigmatic – through a body of work whose genius becomes fully apparent when considered as a whole. “Albers’s photocollages stand as remarkable contributions to the medium in their own right,” explains Sarah Hermanson Meister, Curator in the Department of Photography and the author of the book, “while they anticipate in important ways key concerns that would animate the artist’s work throughout his career, including his iconic Homages to the Square.” An essay by art historian and Bauhaus scholar Elizabeth Otto underscores the originality of Albers’s achievement through a survey of photocollages by Albers’s fellow Bauhäusler, and a contribution by MoMA conservator Lee Ann Daffner examines the artist’s materials to suggest new insights into these works, the discovery of which has been celebrated as one of the great art finds of the past century. The publication also includes a transcription of a lecture delivered by Albers at Black Mountain College in February 1943 titled “Photos as Photography and Photos as Art” – Albers’s sole public statement about the medium – and a preface by Nicholas Fox Weber, Executive Director of The Josef and Anni Albers Foundation.

The first serious exploration of Albers’s photographic practice occurred in a modest exhibition of 38 photographs organized by John Szarkowski at MoMA in 1988, The Photographs of Josef Albers. At the time, the Josef and Anni Albers Foundation donated two photocollages to the Museum. In 2015, the Museum acquired 10 additional photocollages by Albers, making its collection the most significant anywhere outside the Foundation. A new installation featuring 16 photocollages, on view from November 23, 2016, through April 2, 2017, in the Museum’s fifth-floor galleries, celebrates both the publication and this landmark acquisition. The exhibition is organized by Sarah Meister with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography. The exhibition is supported by the Annual Exhibition Fund.”

Press release from MoMA

 

Josef Albers (American, born Germany 1888-1976) 'Mannequins' c. 1930

 

Josef Albers (American, born Germany 1888-1976)
Mannequins
c. 1930
Gelatin silver prints mounted to board
16 3/8 x 11 5/8″ × (41.6 x 29.5 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Walter Gropius and Schifra Canavesi, Ascona August 1930'

 

Josef Albers (American, born Germany 1888-1976)
Walter Gropius and Schifra Canavesi, Ascona, August 1930
August 1930
Gelatin silver prints mounted to board
16 3/8 x 11 5/8″ × (41.6 x 29.5 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Susanne, Biarritz, August 1929'

 

Josef Albers (American, born Germany 1888-1976)
Susanne, Biarritz, August 1929
August 1929
Gelatin silver prints mounted to board
16 3/8 x 11 5/8″ × (41.6 x 29.5 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Mrs. Lewandowski of Munich, Ascona, August 1930'

 

Josef Albers (American, born Germany 1888-1976)
Mrs. Lewandowski of Munich, Ascona, August 1930
August 1930
Gelatin silver prints mounted to board
16 3/8 x 11 5/8″ × (41.6 x 29.5 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Road, Paznauntal, July 1930'

 

Josef Albers (American, born Germany 1888-1976)
Road, Paznauntal, July 1930
July 1930
Gelatin silver prints mounted to board
16 3/8 x 11 5/8″ × (41.6 x 29.5 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Hotel staircases, Geneva, 1929'

 

Josef Albers (American, born Germany 1888-1976)
Hotel staircases, Geneva, 1929
1929
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker, 2015
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Flooded trees and forest' c. 1931

 

Josef Albers (American, born Germany 1888-1976)
Flooded trees and forest
c. 1931
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Dessau, end of winter, 1931'

 

Josef Albers (American, born Germany 1888-1976)
Dessau, end of winter, 1931
1931
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker, 2015
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Brackish water, Biarritz, August 1929'

 

Josef Albers (American, born Germany 1888-1976)
Brackish water, Biarritz, August 1929
August 1929
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

Josef Albers (American, born Germany 1888-1976) 'Biarritz, August 1929'

 

Josef Albers (American, born Germany 1888-1976)
Biarritz, August 1929
August 1929
Gelatin silver prints mounted to board
11 5/8 × 16 3/8″ (29.5 × 41.6 cm) overall
The Museum of Modern Art, New York
Acquired through the generosity of Jo Carole and Ronald S. Lauder, and Jon L. Stryker, 2015
© 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York
Photo: John Wronn

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
T: (212) 708-9400

Opening hours:
Monday – Thursday, Saturday – Sunday 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm

MOMA website

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29
Sep
13

Review: ‘Tangent’ by Michael Corridore at Edmund Pearce Gallery, Melbourne

Exhibition dates: 11th September – 5th October 2013

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This is a patchy exhibition by Michael Corridore at Edmund Pearce Gallery.

The four small images from the initial foray into digital collage (the top four photographs below, all 2001) are the most striking and effective works in the exhibition. Lucid in their Duchampian layering and movement, these beautiful photographs most clearly express the conceptual ideas behind the collages. The four pieces literally stopped me in my tracks when I saw them in the gallery space. The colours are bold, the overlapping and movement refined and the effect on this viewer was profound, so intense was the visualisation of the work.

The new photographs possess a different order of being. Subtle and requiring greater contemplation there were only five images that impinged on my consciousness in the rest of the exhibition (the first five photographs after the press release below, all 2013). Even the best of them seem more an exercise in the formal qualities of digital collage rather than the élan vital of the earlier work. While Corridore re-interprets “what we see from differing perspectives and synthesize[s] those components of our observations and memory information into a two-dimensional image,” what he produces are images that are not that memorable. Interesting exercises, perhaps, in the topography of being, but not that memorable or emotive as images.

The rest of the new photographs simply did not work for me. Either there was not enough for this viewer to hang his hat on (visually speaking) or the image was so subtle and occluded behind the glass of the frame that the viewer gets no feeling, no presence from the image at all. (Of course, this is the perennial difficulty of framing dark or subtle work in a gallery environment, the ability of the viewer to actually see the work if glass or perspex is placed in front of it. Either you pin the work to the wall, or frame it without glass, or mount on aluminium but all but the latter precludes the easy sale to customers who want an artwork ready to purchase off the gallery wall). Tangentially speaking, it is as if the train of thought of the artist has wandered as he seeks other pathways to creation, pathways that fail to interestingly develop the initial topic of conversation.

It is all very well to go off at a tangent (defined as a line, curve, or surface meeting another line, curve, or surface at a common point and sharing a common tangent line or tangent plane at that point; a sudden digression or change of course), but the meeting point between artist’s intentions and the viewer’s reception have to at some point possess some common ground of interest and understanding. As it stands, I will always, always remember Corridore’s initial ‘fictional realities’ for their intensity and beauty but the later work will seep from my mind as easily as thought placed it there.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Michael Corridore. 'Form Collage 0004' 2001

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Michael Corridore
Form Collage 0004
2001
Archival pigment print
20 x 26.5 cm
© Michael Corridore

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Michael Corridore. 'Form Collage 0015' 2001

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Michael Corridore
Form Collage 0015
2001
Archival pigment print
26.5 x 20 cm
© Michael Corridore

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Michael Corridore. 'Form Collage 0001' 2001

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Michael Corridore
Form Collage 0001
2001
Archival pigment print
26.5 x 20 cm
© Michael Corridore

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Michael Corridore. 'Form Collage 0003' 2001

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Michael Corridore
Form Collage 0003
2001
Archival pigment print
26.5 x 20 cm
© Michael Corridore

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Although a departure from the Angry Black Snake series and ongoing landscape work, Tangents reflects Michael’s deep artistic practise and an ability to experiment confidently with different techniques and styles. Such strong technique reflects this photographer’s mastery of his craft.

Michael Corridore’s primary interest in his fine-art and commercial photography has been in inventing new narratives. Whether it is spectators shrouded in the smoke of burning rubber, his unique portraits of the famous and not so famous, capturing empty urban everyday spaces, or external landscapes that are at times exceptionally beautiful or beautifully strange and mysterious, you cannot help but be drawn in by Corridore’s ‘fictional realities’.

In this new series, Tangents, Corridore uses references to Cubism and art history, redefining such ideas in a modern photographic context. This project was commenced in 2000 and now in 2013 it has been fully realised by the artist due to advances in digital capture technology. Vibrant and subtle colour can now be fully preserved in the collage process.

“In this series of collages, I have returned to a series that I had started in 2000. The original series resulted in about a dozen or so photographs. My first attempts at collage were through printing negatives onto black and white Lithographic film and layering multiple sheets of those films onto a light box and photographing the assembled sheets as collages.

From there I decided to experiment with digital capture of the original components and assemble the layers in photoshop so that I could preserve colour, which was lost in the lithographic printing process. This was my first foray into working with digital capture technology.

In the past year I began to explore this collage process again photographing various forms working with life models, mannequins and various household objects which offered me the opportunity to explore both malleable and solid forms and shapes that could be layered together in the assembled collages.

This exploration in collage stems from my interest in the Cubists approach to re-interpreting what we see from differing perspectives and synthesize those components of our observations and memory information into a two-dimensional image.”

Michael Corridore artist statement 2013

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Michael Corridore. 'Form 3784' 2013

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Michael Corridore
Form 3784
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Michael Corridore. 'Form 3781' 2013

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Michael Corridore
Form 3781
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Michael Corridore. 'Form 4107' 2013

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Michael Corridore
Form 4107
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Michael Corridore. 'Form 4102' 2013

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Michael Corridore
Form 4102
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Michael Corridore. 'Form 0137' 2013

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Michael Corridore
Form 0137
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Michael Corridore. 'Form 3783' 2013

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Michael Corridore
Form 3783
2013
Archival pigment print
100 x 67 cm
© Michael Corridore

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Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

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05
Jun
12

Exhibition: ‘Pacific Standard Time: Art in Los Angeles 1950-1980’ at Martin-Gropuis-Bau Berlin

Exhibition dates: 15th March – 10th June 2012

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What a bumper posting – so much to enjoy and something for everyone!

Many thankx to Martin-Gropuis-Bau for allowing me to publish the artwork in the posting. Please click on the photographs for a larger version of the image.

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Ed Ruscha
Standard Station, Amarillo, Texas
1963
Oil on Canvas
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
Gift of James Meeker, Class of 1958, in memory of Lee English, Class of 1958, scholar, poet, athlete and friend to all

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Betye Saar
The Phrenologer’s Window
1966
Assemblage of two panel wood frame with print and collage
Private Collection; courtesy of Michael Rosenfeld Gallery, LLC, New York, NY

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Eleanor Antin
100 BOOTS Move On
1971 – 1973
Halftone reproduction
Getty Research Institute, Los Angeles, CA
© Eleanor Antin

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Sam Francis
Berlin Red
1969 – 1970
Acrylic on canvas
Nationalgalerie, Staatliche Museen zu Berlin
© Sam Francis Foundation, Cailfornia / VG Bild-Kunst, Bonn 2012
Foto: bpk / Nationalgalerie, SMB / Jörg P. Anders

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Wallace Berman
Semina Cover with Wife (Photograph of Shirley Berman)
1959
Halftone reproduction on cardstock
Getty Research Institute, Los Angeles, CA

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“The exhibition project Pacific Standard Time – Art in Los Angeles, 1950-1980 traces the development of the Los Angeles art scene during the post-war period, when the city on the Pacific hosted an impressively varied and versatile art scene, thus proving that it was more than Hollywood and a sprawling metropolis in the land of sunshine and palm trees. Pacific Standard Time features such internationally esteemed artists as John Baldessari, David Hockney, Edward Kienholz or Ed Ruscha as well as protagonists that are yet to be discovered like the abstract painters Helen Lundeberg and Karl Benjamin, the ceramicists Ken Price and John Mason, and sculptors such as De Wain Valentine.

The mega show – over 60 institutions and galleries in Los Angeles were involved – is taking the two main core exhibitions of the Getty Museum and the Getty Research Institute to Europe. The sole European venue is the Martin-Gropius-Bau in Berlin. The section of the exhibition that was to be seen in Los Angeles’ Getty Museum under the title of Crosscurrents in L.A. – Painting and Sculpture, 1950-1970, presents painting and sculpture. In the second part that was to be seen in Los Angeles under the title of Greetings from L.A. – Artists and Publics, 1950-1980, posters, artists’ catalogues, postcards, invitation cards and other memorabilia are shown which offer a deeper insight into the networks of the Los Angeles art scene at that time. For Berlin the show has been supplemented to include photographs by Julius Shulman, whose architectural shots defined the image of the Californian lifestyle in the 1950s. His incomparable sensibility and intuitive feel for composition and the ‘critical moment’ established him as a master of his craft.

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Part One: Crosscurrents

The first part of the Berlin show brings together more than 70 works by over 50 artists and traces the rise of the Southern Californian art scene between 1945 and 1980. The list of names reads like a Who’s Who of today’s internationally esteemed artists, as people like John Baldessari, David Hockney, Edward Kienholz, Bruce Nauman or Ed Ruscha began their careers here.

The entrée into Pacific Standard Time begins with British artist David Hockney’s iconic painting A Bigger Splash from the year 1967. It is one of the key pictures of the exhibition and stands for the hedonistic life under palm trees with permanent sunshine and never-ending parties.

The exhibition is structured both chronologically and thematically, comprising six sections that reflect the entire spectrum of the art trends that sprang up simultaneously in Los Angeles. Abstract works – ceramic sculptures and paintings of bleak clarity – are to be seen in the first section. The second section shows assemblage sculptures and collages by artists like George Herms, Wallace Berman and Ed Bereal, who paved the way for this artistic approach in the 1950s, and their successors, including many African-American artists. The third section documents the rise of Los Angeles to become an important art centre, while the fourth shows paintings by internationally recognized Los Angeles artists as Richard Diebenkorn, David Hockney and Ed Ruscha. It becomes clear that Southern California was one of the leading centres for large-format pop art and abstract painting in the 1960s. The fifth section examines how, at a time when painting was growing in significance on the Atlantic Coast of the USA, artists on the West Coast were beginning to extend their notions of traditional painting and sculpture, with perceptual phenomena and the material processes of artistic production coming to the fore. Here we find works that have arisen out of a collision between art and technology, such as a sculpture by De Wain Valentine, who uses industrial materials like polyester casting resin, or a canvas by Mary Corse, into which the smallest, high-grade reflecting glass microspheres have been worked. We are also introduced to a group of artists whose works show traces of their creation, such as those of Joe Goode, Allan McCollum, Ed Moses and Peter Alexander.

Berlin is supplementing the Getty exhibition by devoting a special room to the early interna-tional perception of art in Los Angeles. It will feature the works Berlin Red by Sam Francis, a 8 x 12 meter painting that was commissioned by Berlin’s Neue Nationalgalerie in 1969, and Volksempfängers (People’s Wireless) by Edward Kienholz. As a DAAD scholar Kienholz often lived in Berlin from 1973 on.

Another distinctive feature of the exhibition are the various room installations, including Stuck Red and Stuck Blue by James Turrell and Four Corner Piece by Bruce Nauman. In 1966 Turrell began working on his Light Room installations. In the work displayed in the Martin-Gropius-Bau that he designed in 1970, he uses light to dissolve the borders of spatial structures and transform them. In his Four Corner Piece from 1971 Bruce Nauman creates a particular spatial experience through the interplay of physical information vs. visual infor-mation.

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Part Two: Greetings from L. A.

In the second part of the exhibition, elaborated by the Getty Research Institute, the Martin-Gropius-Bau shows over 200 objects – photographs, artists’ catalogues, books, posters, postcards, invitations, letters and artworks, of which many are on public view for the first time. We are given a sense of how Californian artists, through the involvement of a wide audience, brought art into contact with the general public. We also see how intensely the international networks linking groups of artists functioned.

Greetings from L.A. begins with Making the Scene and describes the gallery scene in Los Angeles from the 1950s to the 1970s. We are introduced to art dealers and collectors of the kind who congregated at La Cienega Boulevard – Rolf Nelson, Riko Mizuno and Betty Asher. On this gallery-lined boulevard, which crosses the Sunset Boulevard immortalized by Ed Ruscha, the reputation of Los Angeles as a city of modern and contemporary art was made.

Public Disturbances, the second section of the show, is devoted to three important exhibitions which drew fierce criticism and even led to arrests. Wallace Berman’s 1957 exhibition in the Ferus Gallery was closed down by the police. Violent controversies were triggered by the War Babies exhibition (1961) in the Huysman Gallery. There were also strong differences of opinion between the Los Angeles County Museum of Art (LACMA) and the Los Angeles County Board of Supervisors over the inclusion of Kienholz’s installation Back Seat Dodge ’38 (1964) in his grand retrospective of 1966.

The Private Assembly section of the exhibition focuses on the works created by Wallace Berman, George Herms, Charles Brittin and their circle in the 1950s and 1960s. The intimacy of these objects is explained not only by the unmistakable traces of artistic authorship they bear, but also by the fact that they were only accessible to a select, non-public audience. Mainly active outside the commercial gallery scene, this group of assemblage artists concentrated their energies on private artworks, which they handed over personally or sent by mail as a token of friendship.

The fourth section, Mass Media, introduces artists who selected the mass media as a model for their own art. Ed Ruscha, Allen Ruppersberg and Chris Burden occupied themselves with popular culture and mass production as alternative means of production and distribution. They used impersonal forms, such as those of objects or advertising materials commercially produced and sold as consumer goods. By avoiding conventional exhibition rooms, these artists reached a new public. They often exhibited anonymously, thus making the identity of artist and work secondary.

Art School as Audience, the fifth section of the exhibition, sheds light on the important role of art schools in the development of contemporary art forms. They served as the static pole, because in them artists constituted the audience of other fellow artists. The California Institute of the Arts, commonly known as CalArts, and its predecessor, the Chouinard Art Institute, were key venues for important groups of artists, as can be seen from the works of such students as Ed Ruscha and Joe Goode, and such teachers as John Baldessari, Miriam Schapiro and Judy Chicago. Other important forums were the new art faculties that came into existence at the universities and other higher education facilities in Los Angeles County. At the campuses of Irvine or San Diego in particular there was a stimulating audience for the experiments of such artists as Martha Rosler, Barbara Smith and Eleanor Antin.

The last section, The Art of Protest, examines how social and political developments mobilized artists to display their works in the street. In the 1960s Los Angeles became the scene of the first protests led by artists against the Vietnam War. This gave rise in 1966 to the construction of a Peace Tower at the corner of La Cienega and Sunset Boulevards. In the following decade it was feminism that moved many artists to become social activists, as can be seen from the work of Suzanne Lacy and Leslie Labowitz-Starus In Mourning and in Rage 1977, a highly esteemed protest performed on the steps of City Hall.

Greetings from L.A. offers a new look at art in Southern California by showing how the artists of this region changed the conventional relations between art and public and developed alternatives for a public role of art and its place in society.

The exhibition affords glimpses into some recently acquired archives, like those of Betty Asher, Hal Glicksman, George Herms, Wolfgang Stoerchle, High Performance magazine, the galleries of Rolf Nelson, Mizuno and Jan Baum as well as of the papers of Charles Brittin and Edmund Teske. These are supplemented by material from archives not normally associated with Southern California, such as the papers of the critics Irving Sandler, Barbara Rose and Lawrence Alloway of New York; of Marcia Tucker, the founder and curator of New York’s New Museum of Contemporary Art; and of the Kasmin Gallery, London.

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Part Three: Julius Shulman

The last part of the Berlin exhibition shows over 50 photographs by Julius Shulman – the most important American photographer of architecture in the post-war period. For more than thirty years he photographed Modernist houses –  built by Richard Neutra, Frank Lloyd Wright, or Frank Gehry – thus making many of them into architectural icons. The exhibition shows some of his key works.

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List of artists represented

Peter Alexander, John Altoon, Chuck Arnoldi, John Baldessari, Larry Bell, Billy Al Bengston, Karl Benjamin, Ed Bereal, Tony Berlant, Wallace Berman, Marjorie Cameron, Cameron, Vija Celmins, Judy Chicago, Mary Corse, Ronald Davis, Richard Diebenkorn, Laddie John Dill, Melvin Edwards, Frederick Eversley, Lorser Feitelson, Llyn Foulkes, Sam Francis, Joe Goode, Robert Graham, Frederick Hammersley, George Herms, David Hockney, Stephan von Huene, Craig Kauffman, Edward Kienholz, Helen Lundeberg, John Mason, Allan McCollum, John McLaughlin, Ron Miyashiro, Ed Moses, Lee Mullican, Bruce Nauman, Helen Pashgian, Ken Price, Noah Purifoy, Ed Ruscha, Betye Saar, Henry Takemoto, DeWain Valentine, Gordon Wagner, Norman Zammitt.”

Press release from Martin-Gropuis-Bau website

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Julius Shulman
Malin Residence, “Chemosphere”
1960
Gelatin silver print
Getty Research Institute, Los Angeles, CA
© J. Paul Getty Trust

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Julius Shulman
Case Study House #22
1960
Gelatin silver print
Getty Research Institute, Los Angeles, CA
© J. Paul Getty Trust

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Charles Brittin
Peace Tower
1966
Silver-dye bleach print
Getty Research Institute, Los Angeles, CA
© J. Paul Getty Trust

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Peter Alexander
Cloud Box (Large)
1966
Cast polyester resin
Janis Horn and Leonard Feldman
© Peter Alexander
Foto: Brian Forrest

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Jerry McMillan
Ed Bereal in His Studio
c. 1961
Gelatin silver print mounted on board
Getty Research Institute, Los Angeles, CA
Gift of George Herms
© Jerry McMillan

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David Hockney
A Bigger Splash
1967
Acrylic on canvas
96 x 96“
© David Hockney
Tate Gallery, London, 2011

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Wallace Berman
Untitled (Verifax Collage)
1969
Verifax collage on board
Collection of Michael D. Fox, Berkeley CA, Courtesy Steven Wolf Fine Arts, San Francisco CA
© Courtesy of the Estate of Wallace Berman and Michael Kohn Gallery, Los Angeles
Foto: Joe Schopplein

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Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
T: +49 (0)30 254 86-0

Opening Hours:
Wednesday to Monday 10 – 20 hrs
Tuesday closed

Martin-Gropius-Bau website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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