Exhibition dates: 29th August 2019 – 15th September 2019 posted November 2020
Kunstbibliothek
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin
Photo: Marcus Bunyan
A small, tight, focused exhibition which was stimulating for anyone interested in graphic design, photography, and typography – Neue Typografie.
Highlights included Covers for the Bauhaus books, 1925-1930, travel posters by A. M. Cassandre, plates from Moholy-Nagy’s 1929 Wohin geht die typographische Entwicklung? (Where is typography headed?) and a poster for the 1929 exhibition film und foto.
The inventiveness and creativity with colour, collage and the use of negative and positive space was peerless, elemental.
Dr Marcus Bunyan
.
All iPhone photographs © Marcus Bunyan. Many thankx for all other photographs to the Staatliche Museen zu Berlin. Please click on the photographs for a larger version of the image.
Wohin geht die typographische Entwicklung?
Where is typography headed?
Installation views of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin
Photos: Marcus Bunyan
die besten stuhl modelle der heutigen produktion
The best models of today’s production
ausstellung
exhibition
der Stuhl (installation view)
1929
Poster
kunstgewerbemuseum
Arts and Crafts Museum
Kunstbibliothek der Staatlichen Museen zu Berlin
Photo: Marcus Bunyan
Installation views of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin
Photo: Staatliche Museen zu Berlin
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing at left, Ausstellung Europäisches Kunstgewerbe (Exhibition of European applied arts) 1927; in the centre, Der Stuhl. Neue Typografie (New typography) 1929; and at right, Umschläge zu den Bauhausbüchern, 1925-1930 (Covers for the Bauhaus books, 1925-1930) 1925-1930
Photo: Marcus Bunyan
Herbert Bayer (1900-1985)
Ausstellung Europäisches Kunstgewerbe (Exhibition of European applied arts) (installation view)
1927
Poster
Druckerei Ernst Hedrich Nachfolger, Leipzig Buchdruck
Ernst Hedrich printer, Leipzig Letterpress
Lithograph
Kunstbibliothek der Staatlichen Museen zu Berlin
Photo: Marcus Bunyan
Herbert Bayer (1900-1985)
Ausstellung Europäisches Kunstgewerbe (Exhibition of European applied arts)
1927
Poster
Druckerei Ernst Hedrich Nachfolger, Leipzig Buchdruck
Ernst Hedrich printer, Leipzig Letterpress
Lithograph
35 1/4 x 23 3/4″ (89.5 x 60.3cm)
Kunstbibliothek der Staatlichen Museen zu Berlin
László Moholy-Nagy (Hungarian, 1895-1946)
Der Stuhl. Neue Typografie (New typography) (installation view)
1929
Poster
Entwerfer Berek-Druck (Nachweiszeit: 1928-1940), Drucker
Designer Berek-Druck (record time: 1928-1940), printer
Printed in Berlin
Printing ink (black) & paper
Linocut
61.0 x 43.5cm
Kunstbibliothek der Staatlichen Museen zu Berlin
Photo: Marcus Bunyan
László Moholy-Nagy (Hungarian, 1895-1946)
Umschläge zu den Bauhausbüchern, 1925-1930 (Covers for the Bauhaus books, 1925-1930) (installation view)
1925-1930
Book covers
Druckerei Hesse & Becker, Leipzig
Hesse & Becker printing company, Leipzig
Druckerei Ohlenroth, Erfurt Klischees von Dr. von Löbbeke u. Co., Erfurt Buchdruck
Ohlenroth printing company, Erfurt Letterpress
Kunstbibliothek der Staatlichen Museen zu Berlin
Photo: Marcus Bunyan
László Moholy-Nagy (Hungarian, 1895-1946)
Bauhausbücher 8, L. Moholy-Nagy: Malerei, Fotografie, Film
1925
Albert Langen Verlag Herstellung, Entwerfer, Mitarbeit, Verleger
Albert Langen Verlag, Manufacture, designer, collaboration, publisher
Offset printing on paper and letterpress
Art Library / Collection of graphic design
Kunstbibliothek der Staatlichen Museen zu Berlin
Photo: Marcus Bunyan
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing at left, Etoile du Nord 1927; and at second left, Chemin de Fer du Nord. Vitesse-Luxe-Confort 1929
Photo: Marcus Bunyan
A. M. Cassandre (1901-1968)
Etoile du Nord (North Star) (installation view)
1927
Poster
Druckerei Hachard et Cie., Paris
Hachard et Cie. Printing house, Paris
Lithograph
Photo: Marcus Bunyan
A. M. Cassandre (1901-1968)
Etoile du Nord (North Star)
1927
Poster
Druckerei Hachard et Cie., Paris
Hachard et Cie. Printing house, Paris
Lithograph
A. M. Cassandre (1901-1968)
Chemin de Fer du Nord. Vitesse-Luxe-Comfort (Northern Railway. Speed-Luxury-Comfort) (installation view)
1929
Poster
Druckerei L. Danel, Lille
L. Danel printing house, Lille
Lithograph
Photo: Marcus Bunyan
A. M. Cassandre
Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a French painter, commercial poster artist, and typeface designer.
He was born Adolphe Jean-Marie Mouron in Kharkiv, Ukraine, to French parents. As a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes.
Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits. He was a pioneer on airbrush arts.
His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d’Art Graphique.
With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper’s Bazaar to do cover designs.
Text from the Wikipedia website
A. M. Cassandre (1901-1968)
Chemin de Fer du Nord. Vitesse-Luxe-Comfort (Northern Railway. Speed-Luxury-Comfort)
1929
Poster
Druckerei L. Danel, Lille
L. Danel printing house, Lille
Lithograph
Max Burchartz (1887-1961)
Schubertfeier der Städtischen Bühnen Essen (Schubert celebration of the municipal theatres of Essen) (installation view)
1927
Poster
Druckerei F.W. Rohden Essen Buchdruck
F.W. Rohden Essen printing house
Letterpress
Max Burchartz (1887-1961)
Kölner Kammerorchester. Konzert aum Besten des Essener Blindenfürsorge-Vereins (Cologne Chamber Orchestra. Concert for the benefit of the Essen Blind Welfare Association) (installation view)
1927
Poster
Druckerei C.W. Haafeld, Essen Buchdruck
C.W. Haafeld, Essen printing house
Letterpress
Photo: Marcus Bunyan
Max Burchartz (1887-1961)
Schubertfeier der Städtischen Bühnen Essen (Schubert celebration of the municipal theatres of Essen)
1927
Poster
Druckerei F.W. Rohden Essen Buchdruck
F.W. Rohden Essen printing house
Letterpress
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing American advertisement 1925 from The Saturday Evening Post
Photos: Marcus Bunyan
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing at left, Marque PKZ 1923
Photo: Marcus Bunyan
Otto Baumberger (1889-1961)
Marque PKZ (installation view)
1923
Steindruckerei Wolfensberg, Zürich
Wolfensberg lithography, Zurich
Lithograph
Photo: Marcus Bunyan
Otto Baumberger (1889-1961)
Marque PKZ
1923
Steindruckerei Wolfensberg, Zürich
Wolfensberg lithography, Zurich
Lithograph
Otto Baumberger (21 May 1889 Altstetten, Zurich – 26 December 1961 Weiningen), was a noted Swiss painter and poster artist. Baumberger produced some 200 posters of great quality and style. His realistic rendering of a herringbone tweed coat became a classic of Swiss poster, an example of a Sachplakat (object poster).
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin
Photo: Marcus Bunyan
American advertisement
Mallory Straws (installation view)
1926
Chicago Sunday Tribune
Photo: Marcus Bunyan
Das Illustrierte Blatt (The Illustrated Sheet) Nr. 35, Page 895
“Boxweltmeister Tunneys Memoiren” (Boxing World Champion Tunney’s Memoir)
1927
First German publication
in
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung? Tafel 55 (installation view)
Where is typography headed? Chart 55
1929
Collage
© Kunstbibliothek, Staatliche Museen zu Berlin, Herbert Bayer, VG Bild-Kunst, Bonn 2019
Photo: Marcus Bunyan
Herbert Bayer 1928
in
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 58 (installation view)
Where is typography headed? Chart 58
1929
Collage
© Kunstbibliothek, Staatliche Museen zu Berlin, Herbert Bayer, VG Bild-Kunst, Bonn 2019
Photo: Marcus Bunyan
Jan Tschichold (1902-1974)
Die Hose (The pants) (installation view)
1927
F. Bruckmann printing house, Munich
Letterpress
Photo: Marcus Bunyan
Jan Tschichold (1902-1974)
Die Hose (The pants)
1927
F. Bruckmann printing house, Munich
Letterpress
Jan Tschichold (1902-1974)
Die Frau ohne Namen (The woman without a name) (installation view)
1927
Lithographische Anstalt Gebr. Obpacher AG, Munich
Lithographic Institute Gebr. Obpacher AG, Munich
Letterpress
Photo: Marcus Bunyan
Jan Tschichold
Jan Tschichold (born Johannes Tzschichhold, also known as Iwan Tschichold, or Ivan Tschichold; 2 April 1902 – 11 August 1974) was a calligrapher, typographer and book designer. He played a significant role in the development of graphic design in the 20th century – first, by developing and promoting principles of typographic modernism, and subsequently (and ironically) idealising conservative typographic structures. His direction of the visual identity of Penguin Books in the decade following World War II served as a model for the burgeoning design practice of planning corporate identity programs. He also designed the much-admired typeface Sabon. …
This artisan background and calligraphic training set him apart from almost all other noted typographers of the time, since they had inevitably trained in architecture or the fine arts. It also may help explain why he never worked with handmade papers and custom fonts as many typographers did, preferring instead to use stock fonts on a careful choice from commercial paper stocks.
Although, up to this moment, he had only worked with historical and traditional typography, he radically changed his approach after his first visit to the Bauhaus exhibition at Weimar. After being introduced to important artists such as László Moholy-Nagy, El Lissitzky, Kurt Schwitters and others who were carrying out radical experiments to break the rigid schemes of conventional typography. He became sympathetic to this attempt to find new ways of expression and to reach a much more experimental way of working, but at the same time, felt it was important to find a simple and practical approach.
He became one of the most important representatives of the “new typography” and in a famous special issue of ‘typographic communications’ in 1925 with the title of “Elemental Typography”, he put together the new approaches in the form of a thesis.
After the election of Hitler in Germany, all designers had to register with the Ministry of Culture, and all teaching posts were threatened for anyone who was sympathetic to communism. Soon after Tschichold had taken up a teaching post in Munich at the behest of Paul Renner, they both were denounced as “cultural Bolshevists”. Ten days after the Nazis surged to power in March 1933, Tschichold and his wife were arrested. During the arrest, Soviet posters were found in his flat, casting him under suspicion of collaboration with communists. All copies of Tschichold’s books were seized by the Gestapo “for the protection of the German people”. After six weeks a policeman somehow found him tickets for Switzerland, and he and his family managed to escape Nazi Germany in August 1933.
Text from the Wikipedia website
Jan Tschichold (1902-1974)
Die Frau ohne Namen (The woman without a name)
1927
Lithographische Anstalt Gebr. Obpacher AG, Munich
Lithographic Institute Gebr. Obpacher AG, Munich
Letterpress
As part of the bauhauswoche berlin 2019 (Bauhaus week Berlin 2019) the Kunstbibliothek is showing an historical exhibition room by the Bauhaus artist László Moholy-Nagy.
This pioneering exhibition room, entitled Wohin geht die typographische Entwicklung? (Where is typography headed?), was first shown in May 1929 in the Martin-Gropius-Bau as part of the exhibition Neue Typographie (“New Typography”), organised by the Staatliche Kunstbibliothek. Moholy-Nagy had been invited to design a room presenting the future of typography. He came up with 78 wall charts with photos, texts and pictures, all of which have been preserved. The exhibition room can therefore be shown again, complemented by additional posters, letterheads, and other specimens of New Typography from the Kunstbibliothek collection.
Moreover, well-known posters and advertisements from the Kunstbibliothek collection in the style known as New Typography augment the Moholy-Nagy exhibition. The selection includes works by Willi Baumeister, A. M. Cassandre, Walter Dexel, Johannes Molzahn, Kurt Schwitters and Jan Tschichold. The functional graphic design of New Typography, a style of advertising designed by artists that gained wide acceptance in the 1920s, broke with a long design tradition in the printing trade. Its aim was to create a contemporary design: first by propagating a standardisation of fonts and the industrial DIN norms, and second, by promoting ideals of readability, clarity and directness in keeping with the principles of Constructivist Art.
The exhibition focuses on this large-scale presentation with which artist Moholy-Nagy summed up years of his own teaching work at the Bauhaus and the ideas and visions of New Typography, ranging from Jan Tschichold and Willi Baumeister to Herbert Bayer. The exhibition programme includes evening discussions evaluating Moholy-Nagy’s ideas from a contemporary standpoint. An important part of the programme will be the launch of a new publication on Moholy-Nagy’s historical exhibition, edited in collaboration with Gutenberg Design Lab at Mainz University of Applied Sciences.
Text from the Staatliche Museen zu Berlin website
Installation view of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing at right, Paul Schuitema’s 13 Tentoonstelling van Schilderijen en Beeldhouw 1927
Photo: Marcus Bunyan
Paul Schuitema (1897-1973)
13 Tentoonstelling van Schilderijen en Beeldhouw (13 Exhibition of Paintings and Sculptures) (installation view)
1927
Kühn & Zoon printing house, Rotterdam
Lithograph
Photo: Marcus Bunyan
Paul Schuitema (1897-1973)
13 Tentoonstelling van Schilderijen en Beeldhouw (13 Exhibition of Paintings and Sculptures)
1927
Kühn & Zoon printing house, Rotterdam
Lithograph
Paul Schuitema
Geert Paul Hendrikus Schuitema (February 27, 1897 in Groningen – October 25, 1973 in Wassenaar) was a Dutch graphic artist. He also designed furniture and expositions and worked as photographer, film director, painter and teacher for publicity design at the Royal Academy of Art in The Hague.
Industrial design
Schuitema studied at the Academie voor Beeldende Kunsten in Rotterdam. In the 1920s, he began to work on graphic design, applying the principles of De Stijl and constructivism to commercial advertising. Along with Gerard Kiljan and his famous colleague Piet Zwart, he followed ideas pioneered in the Soviet Union by El Lissitzky and Rodchenko, in Poland by Henryk Berlewi and in Germany by Kurt Schwitters.
During his employment at the NV Maatschappij Van Berkel Patent scale company in Rotterdam, Schuitema gained recognition for his original designs of stationery and publicity material, often using only the colours black, red and white and bold sans serif fonts. From 1926 on, he started working with photomontages, becoming one of the pioneers of this technique in the field of industrial design.
Even though he was a convinced socialist and often designed leftist publications directed at industrial workers, Schuitema also worked for major companies, such as Philips.
Text from the Wikipedia website
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 1
Where is typography headed? Chart 1
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 12
Where is typography headed? Chart 12
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 22
Where is typography headed? Chart 22
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 34
Where is typography headed? Chart 34
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?, Tafel 44
Where is typography headed? Chart 44
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
Kurt Schwitters (German, 1887-1948)
Merz 11 Pelikan Nummer, Zeitschrift (Merz 11 Pelikan number, magazine)
1924
© Kunstbibliothek, Staatliche Museen zu Berlin
Kurt Schwitters
Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German artist who was born in Hanover, Germany. Schwitters worked in several genres and media, including dadaism, constructivism, surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
Internationalism, 1922-1937
Merz (periodical)
As the political climate in Germany became more liberal and stable, Schwitters’ work became less influenced by Cubism and Expressionism. He started to organise and participate in lecture tours with other members of the international avant-garde, such as Hans Arp, Raoul Hausmann and Tristan Tzara, touring Czechoslovakia, the Netherlands, and Germany with provocative evening recitals and lectures.
Schwitters published a periodical, also called Merz, between 1923 and 1932, in which each issue was devoted to a central theme. Merz 5 1923, for instance, was a portfolio of prints by Hans Arp, Merz 8/9, 1924, was edited and typeset by El Lissitsky, Merz 14/15, 1925, was a typographical children’s story entitled The Scarecrow by Schwitters, Kätte Steinitz and Theo van Doesburg. The last edition, Merz 24, 1932, was a complete transcription of the final draft of the Ursonate, with typography by Jan Tschichold.
His work in this period became increasingly Modernist in spirit, with far less overtly political context and a cleaner style, in keeping with contemporary work by Hans Arp and Piet Mondrian. His friendship around this time with El Lissitzky proved particularly influential, and Merz pictures in this period show the direct influence of Constructivism.
Thanks to Schwitters’ lifelong patron and friend Katherine Dreier, his work was exhibited regularly in the US from 1920 onwards. In the late 1920s he became a well-known typographer; his best-known work was the catalogue for the Dammerstocksiedlung in Karlsruhe. After the demise of Der Sturm Gallery in 1924 he ran an advertising agency called Merzwerbe, which held the accounts for Pelikan inks and Bahlsen biscuits, amongst others, and became the official typographer for Hanover town council between 1929 and 1934. Many of these designs, as well as test prints and proof sheets, were to crop up in contemporary Merz pictures. In a manner similar to the typographic experimentation by Herbert Bayer at the Bauhaus, and Jan Tschichold’s Die neue Typographie, Schwitters experimented with the creation of a new more phonetic alphabet in 1927. Some of his types were cast and used in his work. In the late 1920s Schwitters joined the Deutscher Werkbund (German Work Federation).
Exile, 1937-1948
Norway
As the political situation in Germany under the Nazis continued to deteriorate throughout the 1930s, Schwitters’ work began to be included in the Entartete Kunst (Degenerate Art) touring exhibition organised by the Nazi party from 1933. He lost his contract with Hanover City Council in 1934 and examples of his work in German museums were confiscated and publicly ridiculed in 1935. By the time his close friends Christof and Luise Spengemann and their son Walter were arrested by the Gestapo in August 1936 the situation had clearly become perilous.
On 2 January 1937 Schwitters, wanted for an “interview” with the Gestapo, fled to Norway to join his son Ernst, who had already left Germany on 26 December 1936. His wife Helma decided to remain in Hanover, to manage their four properties. In the same year, his Merz pictures were included in the Entartete Kunst exhibition titled in Munich, making his return impossible.
Text from the Wikipedia website
Egon Juda (German, b. 1895)
Einladung zur Ausstellung “Neue Typographie” (Invitation to the exhibition “New Typography”)
Berlin 1929
© Kunstbibliothek, Staatliche Museen zu Berlin
Installation views of the exhibition László Moholy-Nagy and New Typography: A Reconstruction of a Berlin Exhibition from 1929 at the Staatliche Museen zu Berlin showing at right,
Photos: Staatliche Museen zu Berlin
László Moholy-Nagy (Hungarian, 1895-1946)
Prospekttitelblatt (Prospectus title page) (installation view)
1928
film und foto
1929
in
László Moholy-Nagy (Hungarian, 1895-1946)
Wohin geht die typographische Entwicklung?
Where is typography headed?
1929
Photograph on card
© Staatliche Museen zu Berlin, Kunstbibliothek
Photo: Marcus Bunyan
László Moholy-Nagy (Hungarian, 1895-1946)
14 Bauhausbücher
1928
Letterpress
5 7/8 x 8 1/4″ (14.9 x 21cm)
Johannes Molzahn (1892-1965)
Wohung und Werkraum, Werkbundausstellung in Breslau (Apartment and workshop, Werkbund exhibition in Breslau) (installation view)
1929
Schenkalowsky, Breslau (Wroclaw) printing house
Lithograph
Photo: Marcus Bunyan
Johannes Ernst Ludwig Molzahn
Johannes Ernst Ludwig Molzahn was born 21 May 1892 in Duisburg. He learned drawing and photography, but later concentrated on painting. 1908-1914 he stayed in Switzerland. Molzahn became acquainted with Herwarth Walden, Walter Gropius, Theo van Doesburg and El Lissitzky. He was a member of the Arbeitsrat für Kunst. After World War I he worked as a graphic designer and through intervention of Bruno Taut became a graphics teacher in Magdeburg. He was forbidden to work by the Nazis in 1933 and fired.Eight of his works were shown in the exhibition of entartete Kunst in 1937.
He emigrated to the United States in 1938 and returned to Germany 1959, settling in Munich. He died there 31 December 1965.
Text from the Wikipedia website
Johannes Molzahn (1892-1965)
Wohung und Werkraum, Werkbundausstellung in Breslau (Apartment and workshop, Werkbund exhibition in Breslau)
1929
Schenkalowsky, Breslau (Wroclaw) printing house
Lithograph
1929 (installation view)
Photo: Marcus Bunyan
Kunstbibliothek
Matthäikirchplatz
10785 Berlin
Opening hours:
Sunday 11.00 – 18.00
Monday closed
Tuesday 10.00 – 18.00
Wednesday 10.00 – 18.00
Thursday 10.00 – 18.00
Friday 10.00 – 18.00
Saturday 11.00 – 18.00
Exhibition: ‘Moholy-Nagy: Future Present’ at the Los Angeles County Museum of Art (LACMA)
Tags: 1920s avant-garde, 1930s avant-garde, abstraction, American School of Design, architectural and theatre design, architectural design, art as a vehicle for social transformation, Art Institute of Chicago, atomic bomb, avant-garde, avant-garde artist, Bauhaus, Bauhaus graphic design, Berlin Radio Tower, biomorphic forms, book cover design, cameraless photography, CH BEATA I, Chicago Institute of Design, choreographed luminosity, collages, Construction 1922, Construction AL6, Constructivism, contemporary art practice, contemporary technology, Cover and design for Malerei Photographie Film, creative production as a multimedia endeavor, Cubism, Cubism and Futurism, dada, designer, drawings, early colour photography in advertising, experimental photography, F in Field, fascination with light, film, filmmaker, fotoplástica, Futurism, Galerie Der Sturm, geometric forms, Gesamtwerk, graphic art, Herbert Bayer, hungarian artist, Imperial Airways, industrial design, Institute of Design, integration of art technology and education, interdisciplinary art, Isokon furniture, knowledge of photography, Konstruktion AL6, LACMA, László Moholy-Nagy, László Moholy-Nagy 19, László Moholy-Nagy AL 3, László Moholy-Nagy Bauhaus, László Moholy-Nagy Berlin Radio Tower, László Moholy-Nagy CH BEATA I, László Moholy-Nagy Construction 1922, László Moholy-Nagy Construction AL6, László Moholy-Nagy F in Field, László Moholy-Nagy Light Modulator in Motion, László Moholy-Nagy Light Modulator in Repose, László Moholy-Nagy Light Prop, László Moholy-Nagy Light Prop for an Electric Stage, László Moholy-Nagy Light Space Modulator, László Moholy-Nagy Once a Chicken Always a Chicken, László Moholy-Nagy Painting Photography Film, László Moholy-Nagy Photogram 1925/26, László Moholy-Nagy Photogram 1925/28, László Moholy-Nagy Photogram 1926, László Moholy-Nagy Q, László Moholy-Nagy Red Cross and White Balls, László Moholy-Nagy Self-Portrait with Hand, László Moholy-Nagy Space Modulator CH for R1, László Moholy-Nagy Title unknown 1920/21, László Moholy-Nagy Vertical Black Red Blue, Leuk paintings, life in the modern city, Light Modulator in Motion, Light Modulator in Repose, Light Prop for an Electric Stage, Light Space Modulator, light-sensitive paper, London Underground, Los Angeles County Museum of Art, luminosity, Malerei Photographie Film, Moholy, Moholy 19, Moholy AL 3, Moholy Berlin Radio Tower, Moholy CH BEATA I, Moholy F in Field, Moholy Light Modulator in Repose, Moholy Light Prop for an Electric Stage, Moholy Once a Chicken Always a Chicken, Moholy Painting Photography Film, Moholy Photogram 1925/26, Moholy Photogram 1925/28, Moholy Photogram 1926, Moholy Q, Moholy Red Cross and White Balls, Moholy Room of the Present, Moholy Self-Portrait with Hand, Moholy Space Modulator CH for R1, Moholy-Nagy, Moholy-Nagy AL 3, Moholy-Nagy Construction AL6, Moholy-Nagy Konstruktion AL6, Moholy-Nagy Light Space Modulator, Moholy-Nagy Vertical Black Red Blue, Moholy-Nagy: Future Present, movement, New Bauhaus, New Bauhaus - American School of Design, New creative experiments are an enduring necessity, New Vision, Nuclear paintings, Once a Chicken Always a Chicken, painter, Painting Photography Film, paintings, Photogram 1925/26, Photogram 1925/28, Photogram 1926, photograms, photographer, photographs, photomontage, Plexiglas hybrids, Red Cross and White Balls, reproducible photographs, research with light, research with light transparency and movement, Room of the Present, Russian Constructivism, School of Design, sculptor, sculptures, Self-Portrait with Hand, social transformation, Solomon R. Guggenheim Foundation, Space Modulator CH for R1, Space Modulators, teacher, the human body in the modern world, theater design, theatre design, total work, transparency, transparency and movement, twentieth century avant-garde, use of industrial materials in painting and sculpture, utopian vision, Vertical Black Red Blue, Vision in Motion, Walter Gropius, writer
Exhibition dates: 12th February – 18th June 2017
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
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
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
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
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
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
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
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
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
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
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
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)
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
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
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
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 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 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
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
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
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
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
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
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
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
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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