Posts Tagged ‘Hungarian photography

17
Jul
19

Exhibition: ‘Every Past Is My Past’ (photographs from the Fortepan digital photo archives) at the Hungarian National Gallery (MNG), Budapest

Exhibition dates: 16th April – 25th August 2019

Curator of the exhibition: István Virágvölgyi
Co-curator: Miklós Tamási
Curatorial assistant: Mária Madár

The catalog is a richly illustrated catalog in Hungarian and English.

 

 

Unknown photographer. 'Untitled' 1948

 

Unknown photographer
Untitled
1948
Fortepan / Capital of Budapest Archives

 

 

In seeking to understand the past, present and future of a people and a country, the importance of analysing the pictures stored within a historical photographic archive cannot be underestimated. The photographs in an archive such as the Hungarian Fortepan digital photo archive are a form of cultural memory, a collective consciousness, in pictures, of the numerous lifelines of the people of that country, its history, it triumphs, its trials and tribulations. Jean-Paul Sartre observes, “Time … is everywhere a self-transcendence and a referring of the before to the after and of the after to the before…” Photographs do this very well, as the future beyond the click of the shutter, becomes past time; that very time is then transcended back into present time, the past into the present embracing the future, when someone looks at an “old” photograph. The old is young again.

The Fortepan digital photo archive usually de/pics anonymous people taken by unknown photographers in sometimes known, sometimes unknown settings. It represents “Hungary’s 20th century history, the images focusing on the lives of ordinary people and their experiences, as conveyed by private photographers.” These vernacular photographs act as a tabula rasa,1 a touchstone for hidden stories and histories. The prima materia, the base material of chaos, forms a clean slate (tabula rasa) on which is written the order of the image. Out of light emerges darkness, the inversion that is the negative, which is then made positive again during printing. The etching of light onto the negative builds up a story first seen in the mind’s eye – that knowledge then decoded (or not) through experience and perception: how do you interpret a photograph? What language does it speak? Do you understand what it is saying? The before to the after and the after to the before…

And then we see. Images of happy human beings hanging from a crossbar; a young boy with amputation looking quizzically at the camera while a doctor and nurses pose stiffly, sullenly; and the horrors of war and an uprising that failed. The bits and pieces of lives and people and places and things and events and wars and death and youth and happiness and fun. A palimpsest. The past presently emerging, the present being constantly overwritten, the future embedded in the past. We are but a speck, an infinitesimal speck in the cosmos, not even a micron of a grain of sand in the fluidity of space/time.

“Even our experience of time and space, argues Jameson, has been transformed under postmodernism. Time has collapsed into a perpetual present, in which everything from the past has been severed from its historical context in order to circulate anew in the present, devoid of its original meanings but contributing to the cluttered texture of our commodified surroundings. The result, he writes, is historical amnesia, a lack of knowledge about the past that, in its pathological form, resembles the schizophrenic’s inability to remember anything and consequent inability to sustain a coherent identity.”2

What the photographs of the Fortepan archive let us achieve is to compile an incomplete, an in/coherent but valid identity from a certain perspective (and that is very important). As with any system of classification, it all depends who is looking and from what point of view. They also let us meditate on our brief existence in order to say, we were/are/will be here. And it mattered.

I look forward to hopefully meeting my friends Tamás Németh and Miklós Tamási when I am in Budapest soon.

Dr Marcus Bunyan

 

  1. Tabula rasa is the theory that individuals are born without built-in mental content and that therefore all knowledge comes from experience or perception.
  2. Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Duke University Press, Durham, N.C., 1991, p. 419 quoted in Springer, Claudia. Electronic Eros: Bodies and Desire in the Postindustrial Age. Austin: University of Texas Press, 1996, p. 40

.
Many thankx to the Hungarian National Gallery, Tamás Németh, Ákos Szepessy and the Fortepan digital photo archives for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Time … is everywhere a self-transcendence and a referring of the before to the after and of the after to the before … If time is considered by itself, it immediately dissolves into an absolute multiplicity of instants which considered separately lose all temporal nature and are reduced pure and simply to the total a-temporality of the this.”

.
Satre, Jean-Paul. Being and Nothingness. (trans. Hazel Barnes). London: Methuen, 1966, p. 215.

 

“Fortepan is a collective effort at “codebreaking” the assembled scanned negatives, to decipher what is there before us in the image. Fortepan has become a public resource of the Hungarian audio-visual culture.”

“In a word, Fortepan perhaps helps to make the 20th century, with all its turns and twists, a little more understandable, bearable and emotionally fathomable.”

.
Miklós Tamási, Founder of Fortepan

 

“The archive is one that is free, high resolution, and operates based on Creative Commons 3. This means that it can be used free of charge even for commercial purposes. Even in such cases, people don’t owe us anything.”

.
András Török, Cultural Manager of Fortepan

 

 

 

 

VIRTUAL TOUR OF THE EXHIBITION

 

 

Unknown photographer. 'Untitled (amputation)' 1916

 

Unknown photographer
Untitled (amputation)
1916
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Slovakia, Esztergom the Castle Hill and the Basilica from the Maria-Valeria Bridge' 1900

 

Unknown photographer
Hungary, Slovakia, Esztergom the Castle Hill and the Basilica from the Maria-Valeria Bridge
1900
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Hungary, Balaton, Siofok' 1920

 

Unknown photographer
Hungary, Balaton, Siofok
1920
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Rácalmás opposite the Catholic Church (demolished in 1969)' 1920

 

Unknown photographer
Hungary, Rácalmás opposite the Catholic Church (demolished in 1969)
1920
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest III., Óbuda Óbuda Shipyard, Danube branch next to Hajógyári Island, BL floating crane and two DDSG barge' 1920

 

Unknown photographer
Hungary, Budapest III., Óbuda Óbuda Shipyard, Danube branch next to Hajógyári Island, BL floating crane and two DDSG barge
1920
Fortepan / Capital of Budapest Archives

 

 

From the material of the popular Fortepan digital photo archive, a selection of more than three hundred pieces at the Hungarian National Gallery is presented. The exhibited pictures are closely related to Hungary’s 20th century history. The age in which they were made is manifested in many different ways in these images, but the emphasis is on the view and life events of the average person through the private photographs that provide the backbone of the collection.

Representing Hungary’s 20th century history, the images focus on the lives of ordinary people and their experiences, as conveyed by private photographers.

The founders of the collection, two high school classmates Miklós Tamási and Ákos Szepessy, began to collect the photographs in the digital Fortepan archives back in the 1980s. They launched an online site with 5,000 digitised images in 2010. Today the collection numbers 110,000 photos.

Each photograph in the exhibition tells a story. In some cases these stories can be reconstructed, but in most others the people in the pictures are no longer known, and neither are the circumstances in which the photo was taken, allowing visitors to use their imagination and invent their own stories linked to the images.

 

Unknown photographer. 'Untitled (woman and boy)' 1935

 

Unknown photographer
Untitled (woman and boy)
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Romania, Transylvania, Strait of Békés' 1935

 

Unknown photographer
Romania, Transylvania, Strait of Békés
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Slovakia, Three Revuca highway between Veľký Šturec pass and village, opposite Čierny Kameň' 1935

 

Unknown photographer
Slovakia, Three Revuca highway between Veľký Šturec pass and village, opposite Čierny Kameň
1935
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Szentes St. Imre street, opposite number 5' 1936

 

Unknown photographer
Hungary, Szentes St. Imre street, opposite number 5
1936
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Hungary, Budapest VIII. Tavaszmező utca 1, Gartner Károly, writer of sipotei Golgotha' 1942

 

Unknown photographer
Hungary, Budapest VIII. Tavaszmező utca 1, Gartner Károly, writer of sipotei Golgotha
1942
Fortepan / Capital of Budapest Archives

 

 

Gartner Károly (author) Gyula Komjáti (graphics). A Sipotei Golgotha: Romániai Rabmagyarok Története (A Sipotei Golgotha: The history of the Romanian prisoners of Hungarians). G. Z. Hartrampf I, 1932

The name of Șipotele, even for those interested in history, is mostly unknown. One of the most inhumane prisoners of war prisons in the First World War was established near this Romanian settlement, and most of the prisoners were Hungarian. Șipotele was located near the Romanian-Russian border at the time, eight kilometres from the Prut River and 40 kilometers south of lași.

 

Gartner Károly. 'A Sipotei Golgotha: Romániai Rabmagyarok Története' 1932 book cover

 

Gartner Károly (1908-1972) (author)
Gyula Komjáti (1894-1958) (graphics)
G. Z. Hartrampf I (publisher)
A Sipotei Golgotha: Romániai Rabmagyarok Története
Golgotha ​​Sipotei: The history of the Romanian prisoners of Hungarians
1932
Book cover

 

 

Gartner Károly (1908-1972) was born in Transylvania and married Irén Weigand, an officer of the Waterworks in Székesfehérvár, in 1936. Károly Gartner was mentioned in his thirties and forties as a result of his reminiscences of Golgotha, which depicts the death of fourteen thousand Hungarian prisoners of war from the experiences of the First World War. Together with his wife he also wrote a Hungarian song titled Cherry Blossom, was former director of the Phoenix Chocolate Shop, was the national director of the Bethlen István National Unity Party, and from 1938 he was the head of the Municipal Food Plant in Budapest.

Gyula Komjáti (1894-1958) was a Hungarian graphic artist, painter and teacher. He studied at Olgyai Viktors at the College of Fine Arts in Budapest. He was captured in World War I; it has become known through the graphics and etchings of the Sipotei prison camp. In 1926 he won the Ernst Prize and the Zichy Prize. Between 1927 and 1929 he spent a longer time in London with a state scholarship. He also captured World War II in drawings. From 1953 he was a teacher at the Budapest School of Fine Arts and Applied Arts.

 

Gyula Komjáti (1894-1958) 'Csendélet Sipotén' 1917

 

Gyula Komjáti (1894-1958)
Csendélet Sipotén
1917
Drawing for the book Golgotha Sipotei

 

Unknown photographer. 'Untitled' 1942

 

Unknown photographer
Untitled
1942
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest XIV., City Park, Budapest International Fair showing captured Soviet I-15 Csajka fighter wreck' 1942

 

Unknown photographer
Hungary, Budapest XIV., City Park, Budapest International Fair showing captured Soviet I-15 Csajka fighter wreck
1942
Fortepan / Capital of Budapest Archives

 

 

Polikarpov I-15

The Polikarpov I-15 (Russian: И-15) was a Soviet biplane fighter aircraft of the 1930s. Nicknamed Chaika (Russian: Чайка, “Seagull”) because of its gulled upper wings, it was operated in large numbers by the Soviet Air Force, and together with the Polikarpov I-16 monoplane, was one of the standard fighters of the Spanish Republicans during the Spanish Civil War, where it was called Chato (snub-nose).

More than 1,000 I-15bis fighters were still in Soviet use during the German invasion when the biplane was employed in the ground attack role. By late 1942, all I-15s and I-15bis’ were relegated to second line duties.

Text from the Wikipedia website

 

Kogo. 'Polikarpov I-15bis 'Bort 19' (Aviarestoration)' 2005

 

Kogo
Polikarpov I-15bis ‘Bort 19’ (Aviarestoration)
2005
CC 2.0

 

Unknown photographer. 'Untitled' 1943

 

Unknown photographer
Untitled
1943
Fortepan / Capital of Budapest Archives

 

 

More than 110,000 photographs of Fortepan’s digital collection were collected by two high school classmates, Miklós Tamási and Ákos Szepessy in the 1980s. After the regular, but possibly collecting, amateur photos and negatives appearing on the out of stock markets, they launched their Internet site in 2010 with the publication of 5,000 digitised photos. Soon, many private individuals and public institutions have joined the donating circle of 600 people, whose images are expanding monthly with the archive.

The two most important features of Fortepan’s archive (named after the most popular amateur film by amateur photographers of the former Vác Forte) are free and common. Shared because it is made up of our pictures and is about our world. Shared because it is based on volunteers. Shared because anyone can help identify individual locations and people. Free because it is freely available to anyone without any restrictions, and images can be used without royalty.

It belongs to all the photos in the exhibition, it was a story. In the fortunate case, this story can be recalled, but in most cases it is no longer known what the individuals in the photos are, the history of the individual images – so the visitor’s imagination is left to see the story behind the photo.  Today’s background stories provide an insight into the misery of the world champion, who is modelled on the figure on the back of the old twenty-pound banknote, or the rescue of a burnt photo archive. In addition to this, the exhibition is strongly summoned by the ruined Budapest destroyed during World War II; visitors can walk through an imaginary capital street with pictures taken over decades and in different places, placed in the position of Fortepan editors and picking pictures of a legacy; or read into the many readers’ letters written to Fortepan.

In the exhibition, as well as in a large, common family photo album, along the paths of human life, photographs taken before the 1990s are followed by a total of about 200 pieces. For the first time in this exhibition, the main characters are children, then young people, adults and finally the elderly. In addition, we present more than 150 photos, of which sixteen well-described stories are drawn. Including the 2 World War II fronts – as a war correspondent saw; the idyll of rural life with the eyes of a photographic painter; barely photographed history of the Hungarian Holocaust; life in Transylvania during the dictatorship of the 1980s or everyday life of a First World War Prisoner in Siberia. The pictures of Budapest, destroyed by war, or youth sports with the defence content of the Cold War years form a separate story. But there is more unity in the last years of the Austro-Hungarian Monarchy, pictures of the Stalin statue in 1956, photographs of the rebellious youth of the 1970s and 1980s, or banned photos of commuters from 1964. The sixteen stories, with their associated photos and their complementary items, appear in a separate installation at the exhibition.

In our centuries-old common history, the exhibition updates our memory of the memories that are directly and directly linked to us, just as Zsuzsa Rakovszky puts it in his poem Fortepan: “Every past is my past”.

Text from the Hungarian National Gallery website [Online] Cited 29/06/2019

 

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

 

Installation views of the exhibition Every Past Is My Past at the Hungarian National Gallery (MNG), Budapest

 

 

About Fortepan

Fortepan is a copyright-free and community-based photo archive with over 100,000 photographs available for anyone to browse and download in high-resolution, free of charge. The images are free to share with the appropriate credit given as FORTEPAN / NAME OF DONOR. Please do provide the full credit at all times as it is a tribute to the selfless contribution of the donor.

This website was launched in 2010 by Ákos Szepessy and Miklós Tamási and it initially contained photographs found randomly in the streets of Budapest. The archive has expanded since then through donations from families, amateur and professional photographers, along with public collections. The images on the website are selected by editors. The descriptions attached to the images are compiled and edited by volunteers, utilising information contributed at the Fortepan Forum. We gladly offer to process your photographs and negatives as well, you can contact us at fortepan@gmail.com.

Fortepan’s collaborators are: László Gál, Luca Jávor, László Lajtai, Pál Négyesi, Tamás Németh, András Pálfi, Zsolt Pálinkás, Gábor Péter, Dávid Sándor, Gyula Simon, Miklós Tamási, András Török, János Varga, János F. Varga. Fortepan’s work is supported by Arcanum, Blinken OSA Archivum, Archive of Modern Conflict and Forum Hungaricum Nonprofit Kft. Administrative management is provided by Summa Artium Nonprofit Kft.

Text from the Fortepan website

 

Unknown photographer. 'Hungary, Uzsa (at that time part of the Lesenceistvánd settlement), Liget utca' 1950

 

Unknown photographer
Hungary, Uzsa (at that time part of the Lesenceistvánd settlement), Liget utca
1950
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary on 8126 from Söréd and Csákberény towards Csákberény. To the right is the Bodajk-Gánt railway' 1950s

 

Unknown photographer
Hungary on 8126 from Söréd and Csákberény towards Csákberény. To the right is the Bodajk-Gánt railway
1950s
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest VII. Elizabeth (Lenin) road from New York Palace to Blaha Lujza Square' 1956

 

Unknown photographer
Hungary, Budapest VII. Elizabeth (Lenin) road from New York Palace to Blaha Lujza Square
1956
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest V. South of Kossuth Lajos Square, underground construction area' 1956

 

Unknown photographer
Hungary, Budapest V. South of Kossuth Lajos Square, underground construction area
1956
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Hungary, Budapest VIII. II. Pope John Paul (Republic) Square, main entrance of the Erkel Theater' 1956

 

Unknown photographer
Hungary, Budapest VIII. II. Pope John Paul (Republic) Square, main entrance of the Erkel Theater
1956
Fortepan / Capital of Budapest Archives

 

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1957

 

Unknown photographer
Untitled
1957
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1969

 

Unknown photographer
Untitled
1969
Fortepan / Capital of Budapest Archives

 

Unknown photographer. 'Untitled' 1969

 

Unknown photographer
Untitled
1969
Fortepan / Capital of Budapest Archives

 

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

Installation view of the exhibition 'Every Past Is My Past' at the Hungarian National Gallery (MNG), Budapest

 

Installation views of the exhibition Every Past Is My Past at the Hungarian National Gallery (MNG), Budapest

 

 

Hungarian National Gallery
1014 Budapest, Szent György Square 2
Central Telephone: +361 201 9082

Opening hours
Tuesday to Sunday 10.00 to 18.00
Monday closed

Fortepan website

Hungarian National Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

11
Nov
14

Exhibition: ‘The New Landscape: Experiments in Light by Gyorgy Kepes’ at the Cantor Arts Center at Stanford University

Exhibition dates: 23rd July – 17th November 2014

 

Way to go… Abstract Expressionists eat your heart out!

Marcus

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

 

“This exhibition explores the question of art’s relevance in a scientific age through the work of Hungarian-born American artist, designer, and visual theorist Gyorgy Kepes (1906-2001). Forty-five panels depict what Kepes, associated with Germany’s Bauhaus and Chicago’s New Bauhaus, called the “new landscape” of scientific imagery – microscopic minerals, cellular patterns, and tissue fibers – as well as Kepes’s own experiments with camera-less photographic techniques. The exhibition is one of the first projects resulting from a $500,000 grant awarded to the Cantor and the Department of Art & Art History from the Andrew W. Mellon Foundation to facilitate research conducted by Stanford Ph.D. candidates on the Cantor’s collection.”

Text from the Cantor Arts Center website

 

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Lichtenberg figures: A. R. von Hippel' 1951

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Lichtenberg figures: A. R. von Hippel
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Lichtenberg figures: A. R. von Hippel' 1951

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Lichtenberg figures: A. R. von Hippel
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Untitled' Date unknown

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Untitled
Date unknown
Photographic enlargement on particleboard, date unknown
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Untitled' Date unknown

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Untitled
Date unknown
Photographic enlargement on particleboard, date unknown
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Gate, Photogenic' 1948

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Gate, Photogenic
1948
Photographic enlargement on particleboard, date unknown
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Photogenic Painting, Photogenic' 1942

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Photogenic Painting, Photogenic
1942
Photographic enlargement on particleboard, date unknown
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Light Graphic, Photogenic' 1945

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Light Graphic, Photogenic
1945
Photographic enlargement on particleboard, date unknown
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Camel's tongue: 10X' 1951

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Camel’s tongue: 10X
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Transverse section of Osmanthus wood: 50X' 1951

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Transverse section of Osmanthus wood: 50X
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001) 'Transverse section of wood: 250X' 1951

 

Gyorgy Kepes (U.S.A., b. Hungary 1906-2001)
Transverse section of wood: 250X
1951
Photographic enlargement on particleboard
Lent by Department of Special Collections, Stanford University Libraries

 

 

Cantor Arts Center at Stanford University
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
T: 650-723-4177

Opening hours:
Wednesday – Sunday 11 am – 5 pm
Thursday 11 am – 8 pm
Closed Monday and Tuesday

Cantor Arts Center at Stanford University website

LIKE ART BLART ON FACEBOOK

Back to top

15
Sep
14

Exhibition: ‘Kati Horna’ at Jeu de Paume, Paris

Exhibition dates: 3rd June – 21st September 2014

 

I really love the work of artists such as Kati Horna and Florence Henri “with the production of collages and photomontages inspired by the avant-garde movements of the 1930s (the Bauhaus, Surrealism, German Neue Sachlichkeit, Russian Constructivism).”

Horna’s photographs have more of a political edge than that of Florence Henri, with her unique photographic reportage of the Spanish Civil War between 1937-39 and her Hitler series both having a strong social critique. Here is another politically aware artist who stood up for the cause, who recorded the “everyday life for the civilian population through a vision that was in empathy with the environment and the people.” Again, here is another who was lucky to survive the maelstrom of the Second World War, who would have certainly ended up dead if she and her Andalusian artist husband José Horna had not fled Paris in 1939 for their adopted country Mexico.

Marcus

PS I spent hours cleaning up the press images, there were in a really poor state, but the work was so worthwhile… they really sing now!

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

This summer, the Jeu de Paume, which is celebrating 10 years devoted to the image, will be inviting the public to discover Kati Horna (1912-2000), an avant-garde, humanist photographer, who was born in Hungary and exiled in Mexico, where she documented the local art scene.

 

 

Robert Capa (attributed to) 'Kati Horna in the Studio of József Pécsi' Budapest, 1933

 

 

Robert Capa (attributed to)
Kati Horna in the Studio of József Pécsi
Budapest, 1933
Gelatin silver print
10.5 x 7.5 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

 

“In collaboration with the Museo Amparo in Puebla (Mexico), the Jeu de Paume is presenting the first retrospective of the work of photographer Kati Horna (Szilasbalhási, Hungary, 1912-Mexico, 2000), showing more than six decades of work in Hungary, France, Spain and Mexico. Kati Horna, a photographer whose adopted homeland was Mexico, was one of a generation of Hungarian photographers (including André Kertész, Robert Capa, Eva Besnyö, László Moholy-Nagy, Nicolás Muller, Brassaï, Rogi André, Ergy Landau and Martin Munkácsi) forced to flee their country due to the conflicts and social upheaval of the 1930s.

Cosmopolitan and avant-garde, Kati Horna was known above all for her images of the Spanish Civil War, produced at the request of the Spanish Republican government between 1937 and 1939. Her work is characterised by both its adherence to the principles of Surrealist photography and her very personal approach to photographic reportage.

This major retrospective helps to bring international recognition to this versatile, socially committed, humanist photographer, highlighting her unusual artistic creativity and her contribution to photojournalism. It offers a comprehensive overview of the work of this artist, who started out as a photographer in Hungary at the age of 21, in the context of the European avant-garde movements of the 1930s: Russian Constructivism, the Bauhaus school, Surrealism and German Neue Sachlichkeit. Her vast output, produced both in Europe and Mexico, her adopted country, is reflected in a selection of over 150 works – most of them vintage prints, the vast majority of them unpublished or little known.

In Mexico, Kati Horna formed a new family with the émigré artists Remedios Varo, Benjamin Péret, Emerico ‘Chiki’ Weisz, Edward James and, later on, Leonora Carrington. In parallel with her reportages, she took different series of photographs of visual stories, extraordinary creations featuring masks and dolls, motifs that began to appear in her work in the 1930s.

Kati Horna also became the great portraitist of the Mexican literary and artistic avant-garde; her visionary photographs captured the leading artists in Mexico during the 1960s, such as Alfonso Reyes, Germán Cueto, Remedios Varo, Pedro Friedeberg, Alejandro Jodorowsky, Mathias Goeritz and Leonora Carrington.

The exhibition is divided into five periods: her beginnings in Budapest, Berlin and Paris between 1933 and 1937; Spain and the Civil War from 1937 to 1939; Paris again in 1939; then Mexico. The exhibition also presents a number of documents, in particular the periodicals that she contributed to during her travels between Hungary, France, Spain and Mexico. The works come from the Archivo Privado de Fotografía y Gráfica Kati y José Horna, the Centro Documental de la Memoria Histórica de España, Salamanca, the Museo Amparo, Puebla, as well as private collections.”

Press release from the Jeu de Paume website

 

Kati Horna. 'Invierno en el patio' [Winter in the Courtyard] Paris, 1939

 

Kati Horna
Invierno en el patio [Winter in the Courtyard]
Paris, 1939
Gelatin silver print
18.8 x 18.3 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

 

Beginnings: Budapest, Berlin And Paris

.
Afterwards I returned to Paris, and do you know why I didn’t die of hunger in Paris? Before I left, everyone 
mocked me, “there’s the photographer”, I was the photographer of eggs. I had this idea of being the first one to do things, not with figurines, but little stories with eggs, and it was that wonderful draughtsman who subsequently committed suicide who did the faces for me… The first was the romantic story of a carrot and a potato. The carrot declared its love to the potato. He always did the faces and I staged the scenes. I took the photos with my big camera with 4 x 5 negatives.

.
Kati Horna

 

Born in Hungary to a family of bankers of Jewish origin during a period of political and social instability, Kati Horna would always be deeply marked by the violence, injustice and danger around her. This situation helped to forge her ideological commitment, her perpetual search for freedom, her particular way of denouncing injustice, as well as her compassionate and human vision, like that of Lee Miller and her pictures of the Second World War. As was the case for her great childhood friend Robert Capa, to whom she would remain close throughout her life, photography became a fundamental means of expression.

At the age of 19 she left Budapest to live in Germany for a year, where she joined the Bertolt Brecht collective. She frequented photographer friends and compatriots Robert Capa and ‘Chiki’ Weisz, as well as other major figures in Hungarian photography, such as László Moholy-Nagy – who at the time was a teacher at the Bauhaus school – and Simon Guttman, founder of the Dephot agency (Deutscher Photodienst). On her return from Budapest, she enrolled in the studio of József Pécsi – the famous Hungarian photographer (1889-1956) – before leaving her birth country again, in 1933, to settle in Paris.

It was during this period of apprenticeship that her own aesthetic took shape, which marked her entire career, with the production of collages and photomontages inspired by the avant-garde movements of the 1930s (the Bauhaus, Surrealism, German Neue Sachlichkeit, Russian Constructivism). Paris was a cosmopolitan capital and Surrealism was at its height at the time. This movement heavily influenced Kati Horna’s style, both through its themes and its techniques, be it the narrative collage, superimposition or photomontage. Her photography was closely linked to the arts of the image, used as an illustrative technique and as a support for a poetics of the object. Her taste for stories and staged images are clearly evident. From 1933 she worked for the Lutetia-Press agency, for whom she did her first photo stories: Mercado de pulgas [Flea Market] (1933), which would not be published until 1986 in the Mexican periodical Foto Zoom, and Cafés de París (1934).

 

Kati Horna. 'Untitled' Paris, 1939

 

Kati Horna
Untitled
Paris, 1939
From the Muñecas del miedo series [Dolls of Fear],
Gelatin silver print
15.3 x 22.8 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Robert Capa in the Studio of József Pécsi' Budapest, 1933

 

Kati Horna
Robert Capa in the Studio of József Pécsi
Budapest, 1933
Gelatin silver print
25.3 x 20.1 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Untitled' Paris, 1937

 

Kati Horna
Untitled
Paris, 1937
From the Hitlerei series [Hitler series]
in collaboration with Wolfgang Burger
Gelatin silver print
16.8 x 12 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

 

Spain And The Civil War

.
Photography, with its various possibilities, enables one to show, liberate and develop one’s own sensibility 
which can be expressed in graphic images.

And at the moment of pressing the shutter you had to keep the image, let your emotion, discovery and visual surprise flow, the moment had to be kept in your head. That’s what I call developing one’s visual memory.

.
Kati Horna

 

Between 1937 and 1939, Kati Horna covered the Spanish Civil War with great sensitivity. The Spanish Republican government asked her to produce images on the Civil War. Thus, between 1937 and 1939 she photographed the places where the major events of the war took place, in the Aragon province, in the country’s cities (Valencia, Madrid, Barcelona and Lerida), as well as a number of strategic villages in Republican Spain.

A collection of more than 270 negatives has survived from this period, today conserved in the Centro Documental de la Memoria Histórica de España, Salamanca. They bear witness to the reality of the conflict at the front as well as, and above all, everyday life for the civilian population through a vision that was in empathy with the environment and the people. Committed to the anarchist cause, she became the editor of the periodical Umbral, where she would meet her future husband, the Andalusian anarchist José Horna – and worked on the cultural periodical of the National Confederation of Labour, Libre-Studio. She also collaborated on the periodicals Tierra y Libertad, Tiempos Nuevos and Mujeres Libres, publications that are being exhibited for the first time. At the time, her work was distinguished by its photomontages, which have both a symbolic and metaphorical character.

 

Kati Horna. 'Untitled, Vélez Rubio, Almeria province, Andalusia, Spanish Civil War' 1937

 

Kati Horna
Untitled, Vélez Rubio, Almeria province, Andalusia, Spanish Civil War
1937
Gelatin silver print
25.5 x 20.5 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Subida a la catedral [Ascending to the Cathedral], Spanish Civil War' Barcelona 1938

 

Kati Horna
Subida a la catedral [Ascending to the Cathedral], Spanish Civil War
Barcelona, 1938
Gelatin silver print (photomontage)
22.2 x 16.6 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Los Paraguas, mitin de la CNT' [Umbrellas, Meeting of the CNT], Spanish Civil War Barcelona, 1937

 

Kati Horna
Los Paraguas, mitin de la CNT [Umbrellas, Meeting of the CNT], Spanish Civil War
Barcelona, 1937
Gelatin silver print
24.2 x 19.2 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

 

Mexico

.
I am in an existential crisis. Today everyone is running, today everyone is driving. My pictures? They were the 
product of a creative love, linked to my experiences and the way they were taken. I was never in a hurry.

S.nob was a joy… I don’t know why I enjoyed myself so much, but the facility that Salvador [Elizondo] and the team, and Juan [García Ponce] gave me, a great creativity came out of me.

.
Kati Horna

 

Kati Horna returned to Paris in 1939. Her husband, the Andalusian artist José Horna, enlisted in the Ebra division that covered the retreat of the Spanish civilians to France. In October, as soon as he reached Prats-de-Mollo, in the French Pyrenees, he was incarcerated in a camp for Spanish refugees. Kati Horna succeeded in getting him freed. They left for Paris where they were again harassed, obliging them to flee France for Mexico. Mexico would become her final homeland.

During her everyday life she came into contact with some of the extraordinary figures of Surrealism (Leonora Carrington, Remedios Varo, Benjamin Péret and Edward James) and the Panic movement (Alejandro Jodorowsky), as well as avant-garde Mexican artists, writers and architects (Mathias Goeritz, Germán Cueto, Pedro Friedeberg, Salvador Elizondo, Alfonso Reyes and Ricardo Legorreta).

Kati Horna established herself as a chronicler of the period, leaving for posterity a unique corpus. In Mexico, she worked as a reporter for periodicals such as Todo (1939), Nosotros (1944-1946), Mujeres (1958-1968), Mexico this Month (1958-1965), S.nob (1962) and Diseño (1968-1970). During the last 20 years of her life, she also taught photography at the Universidad Iberoamericana and the San Carlos Academy (Univesidad Nacional Autónoma de México), where she trained an entire generation of contemporary photographers.

Horna’s quotes come from the catalogue, co-published by the Jeu de Paume and the Museo Amparo

 

Cover of the magazine S.nob No. 2 (27 June 1962)

 

Cover of the magazine S.nob No. 2 (27 June 1962)
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Untitled, La Castañeda psychiatric hospital, Mixcoac' Mexico, 1944

 

Kati Horna
Untitled, La Castañeda psychiatric hospital, Mixcoac
Mexico, 1944
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Untitled, Carnaval de Huejotzingo, Puebla' 1941

 

Kati Horna
Untitled, Carnaval de Huejotzingo, Puebla
1941
Gelatin silver print
19.5 x 21.5 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Untitled, Oda a la necrofília series [Ode to Necrophilia]' Mexico 1962

 

Kati Horna
Untitled
Mexico, 1962
From the Oda a la necrofília series [Ode to Necrophilia]
Gelatin silver print
25.4 x 20.8 cm
Museo Amparo Collection
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'El botellón' [The Bottle] Mexico, 1962

 

Kati Horna
El botellón [The Bottle]
Mexico, 1962
From the Paraísos artificiales series [Artificial Paradises]
Gelatin silver print
24.4 x 18.9 cm
Collection Museo Amparo
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Remedios Varo' Mexico, 1957

 

Kati Horna
Remedios Varo
Mexico, 1957
Gelatin silver print
25.3 x 20.3 cm
Private collection
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Antonio Souza y su esposa Piti Saldivar' [Antonio Souza and his Wife Piti Saldivar] Mexico, 1959

 

Kati Horna
Antonio Souza y su esposa Piti Saldivar [Antonio Souza and his Wife Piti Saldivar]
Mexico, 1959
Gelatin silver print
25 x 20.3 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'José Horna elaborando la maqueta de la casa de Edward James' [José Horna Working on the Maquette for Edward James's House] Mexico, 1960

 

Kati Horna
José Horna elaborando la maqueta de la casa de Edward James [José Horna Working on the Maquette for Edward James’s House]
Mexico, 1960
Gelatin silver print
25.3 x 20.3 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

Kati Horna. 'Mujer y máscara' [Woman with Mask] Mexico, 1963

 

Kati Horna
Mujer y máscara [Woman with Mask]
Mexico, 1963
Gelatin silver print
25 x 19.7 cm
Archivo Privado de Fotografía y Gráfica Kati y José Horna
© 2005 Ana María Norah Horna y Fernández

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
T: 01 47 03 12 50

Opening hours:
Tuesday: 12.00 – 21.00
Wednesday – Friday: 12.00 – 19.00
Saturday and Sunday: 10.00 – 19.00
Closed Monday

Jeu de Paume website

LIKE ART BLART ON FACEBOOK

Back to top

11
Mar
14

Exhibition: ‘See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 27th October 2013 – 23rd March 2014

.

It is a real joy to bring these beautiful images to you!

Frederick H. Evans A Sea Of Steps – Wells Cathedral (England, 1903, below) is one of my favourite photographs of all time, up there in my top 20 or so. But you wouldn’t knock back any of these for your collection, especially Imogen Cunningham’s Magnolia Blossom (1925, below) and Edward Steichen’s Three Pears & An Apple (1921, below).

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.

.

.

William Henry Fox Talbot (England, 1800-1877) 'Articles of China' c. 1844

.

William Henry Fox Talbot (England, 1800-1877)
Articles of China
c. 1844
Calotype
5 3/8 x 7 1/8 in. (13.65 x 18.1 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

.

Linnaeus Tripe (England, 1822-1902) 'The Elliot Marbles, Central Museum, Madras' India, 1858

.

Linnaeus Tripe (England, 1822-1902)
The Elliot Marbles, Central Museum, Madras
India, 1858
Albumen photograph
10 1/2 × 13 in. (26.67 × 33.02 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

.

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944) 'Still Life' c. 1905

.

Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944)
Still Life
c. 1905
Bromoil print
8 1/4 × 11 1/2 in. (20.96 × 29.21 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Estate of Heinrich Kühn

.

Imogen Cunningham (United States, 1883-1976) 'Magnolia Blossom' 1925

.

Imogen Cunningham (United States, 1883-1976)
Magnolia Blossom
1925
Gelatin silver print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© 1925, 2013 Imogen Cunningham Trust

.

Charles Harbutt (United States, New Jersey, Camden, born 1935) 'Triptych' 1978, printed 1978

.

Charles Harbutt (United States, New Jersey, Camden, born 1935)
Triptych
1978, printed 1978
Gelatin silver prints
8 x 12
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Charles Harbutt. All rights reserved, Courtesy Peter Fetterman Gallery

.

.

“The Los Angeles County Museum of Art (LACMA) presents See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection, an exhibition celebrating an extraordinary collection and exploring parallels between photography and the science of vision. Since the invention of photography in the late 1830s, the medium has evolved in relation to theories about vision, perception, and cognition. The exhibition takes a historical perspective, identifying correlations between photography and the science of vision during four chronological periods. See the Light is comprised of 220 works by more than 150 artists, including Ansel Adams, Julia Margaret Cameron, Imogen Cunningham, William Henry Fox Talbot, Edward Steichen, Edward Weston, Minor White, and many more.

The exhibition draws entirely from the Marjorie and Leonard Vernon Collection, a key collection within LACMA’s Wallis Annenberg Photography Department. Acquired in 2008, the collection represents the diversity of photographic processes from the medium’s invention in 1839 to the 21st century. See the Light is accompanied by a free mobile-phone multimedia tour featured on mobile.lacma.org with commentary by the Vernons’ daughter, Carol Vernon; curator Britt Salvesen; artist James Welling; expert in computational vision Pietro Perona; and others. A 208-page catalogue, published by LACMA and DelMonico Books/Prestel, includes an essay by Britt Salvesen with contributions from Todd Cronan, Antonio Damasio, Alan Gilchrist, Pietro Perona, Barbara Maria Stafford, and James Welling. A new web page features excerpts from LACMA’s Vernon Oral History Project, an ongoing series of interviews with prominent artists, curators, dealers, and scholars who worked closely with the Vernons.

“Photography is often approached from either the artistic or the technological point of view, but these two aspects of the medium have been intertwined since its invention,” said Britt Salvesen, Department Head and Curator of the Wallis Annenberg Photography Department. “As a scientific instrument, the camera operates as an infallible eye, augmenting physiological vision, and as an artist’s tool, it channels the imagination, recording creative vision. The Marjorie and Leonard Vernon Collection offers unparalleled scope to the spirit of both science and art.”

.
The Marjorie and Leonard Vernon Collection

Through a groundbreaking gift from Wallis Annenberg and the Annenberg Foundation, and with the support of Carol Vernon and Robert Turbin, LACMA acquired the Marjorie and Leonard Vernon Collection in 2008. Comprising of more than 3,600 prints by almost 700 artists, the Marjorie and Leonard Vernon Collection at LACMA constitutes one of the finest collections of photography spanning the 19th and 20th centuries. LACMA’s acquisition of this collection makes it possible for the museum to represent photography’s breadth in the context of its encyclopedic collections.

Marjorie and Leonard Vernon were avid collectors in the Los Angeles and Southern California communities. The Vernons built their collection beginning around 1975, cultivating a group of works with global significance, with a special emphasis on West Coast photography of the early and mid-20th century. The collection grew over the years to include works by international photographers, with the earliest photographs dating from the 1840s and the latest to 2001.

.
Exhibition organization

See the Light is organized thematically and traces the trajectory of advanced research on cognition and perception in relation to the art of photography. Four approaches within photography are identified: descriptive naturalism, subjective naturalism, experimental modernism, and romantic modernism.

Descriptive naturalism: Early advocates of photography (from the 1840s through around 1880) were eager to recruit the authority of science without sacrificing the romance of art. The notion that the camera could make a pure transcription of nature, undistorted by human error, took hold at precisely the moment with research in physiological optics revealed the complexities of the human visual system. The depiction of far-off landscapes was one of photography’s key functions in its descriptive naturalist phase, as in Carleton Watkins’s commanding views of the American West, which recorded the natural splendor of the landscape and its settlement.

Subjective naturalism: In the late 19th century, experimental psychology, a newly defined scientific discipline, addressed the progression of sensation into interpretation. At the same time, champions of artistic photography introduced the possibilities of expression, ambiguous form, and abstraction into a medium previously valued for its descriptive functions. Heinrich Kühn’s mastery of painterly techniques, for example, led to the creation of photographs on par with paintings or charcoal drawings. Ultimately Kühn’s photographs depict dreams or memories as much as physical reality.

Experimental Modernism: After World War I, photography became a key tool for avant-garde artists determined to deploy technology in a positive rather than destructive manner, thus restoring balance within the individual psyche and within society at large. The abstract works of György Kepes, influenced by Gestalt psychology, represent a European version of this tendency, which he and other emigrés brought to the United States. A later heir to this tradition is Barbara Kasten, who uses photography to explore key interests including transparency, color, light, and structure.

Romantic Modernism: Inspired by nature, romantic modernism isolated moments of direct personal contact with the world, and explored the specific capabilities of photography. Despite an apparent divergence of art and science following World War II, photography was a site of connection. Ansel Adams believed in the artist’s unique vision, while also advocating technical precision to realize it. Concurrently, scientists were focusing on contrast perception, the neurological mechanisms by which we distinguish objects and make sense of spatial arrangements. Scientists and photographers alike had to understand the visual system and its responses to black and white.”

Press release from the LACMA website

.

Edward Steichen (Luxembourg, active United States, 1879-1973) 'Three Pears & An Apple' 1921, printed 1921

.

Edward Steichen (Luxembourg, active United States, 1879-1973)
Three Pears & An Apple
1921, printed 1921
Gelatin silver print
9 5/8 × 7 1/2 in. (24.45 × 19.05 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin
© The Estate of Edward Steichen

.

William Henry Fox Talbot (England, 1800-1877) 'Lace' 1841

.

William Henry Fox Talbot (England, 1800-1877)
Lace
1841
Calotype
7 1/2 × 9 1/4 in. (19.05 × 23.5 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

.

Andrew Young (England, active 1870-1879) 'Plane at Aberdour, in Old Avenue' Scotland, late 1870s

.

Andrew Young (England, active 1870-1879)
Plane at Aberdour, in Old Avenue
Scotland, late 1870s
Woodbury type
9 1/8 × 7 3/8 in. (23.18 × 18.73 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

.

Frederick H. Evans (England, 1853-1943) 'A Sea Of Steps - Wells Cathedral' England, 1903

.

Frederick H. Evans (England, 1853-1943)
A Sea Of Steps – Wells Cathedral
England, 1903
Platinum print
9 x 7 1/4 in. (22.86 x 18.44 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and Carol Vernon and Robert Turbin
© Frederick H. Evans, courtesy Janet B. Stenner

.

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990) 'Still Life with Small Bowl' Czechoslovakia (now Czech Republic), 1923

.

Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990)
Still Life with Small Bowl
Czechoslovakia (now Czech Republic), 1923
Gelatin silver print
8 7/8 × 9 3/8 in. (22.54 × 23.81 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

.

György Kepes (Hungary, active United States, 1906-2001) 'Balance' 1942, printed 1942

.

György Kepes (Hungary, active United States, 1906-2001)
Balance
1942, printed 1942
Gelatin Silver Print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© The György Kepes Estate

.

.

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: noon – 8 pm
Friday: noon – 9 pm
Saturday, Sunday: 11am – 8 pm
Closed Wednesday

LACMA website

LIKE ART BLART ON FACEBOOK

Back to top

28
Jan
10

Exhibition: ‘László Moholy-Nagy 
Retrospective’ at Schirn Kunsthalle, Frankfurt

Exhibition dates: 8th October 2009 – 7th February 2010

 

All images are featured in the exhibition. Many thankx to the Schirn Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Marcus

 

 

László Moholy-Nagy (Hungarian, 1895-1946) 'LIS' 1922

 

László Moholy-Nagy (Hungarian, 1895-1946)
LIS
1922
Oil on canvas
131 x 100 cm
Courtesy Kunsthaus Zürich
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'K XVII' 1923

 

László Moholy-Nagy (Hungarian, 1895-1946)
K XVII
1923
Oil on canvas
95 x 75 cm
Courtesy Kunsthalle Bielefeld
Photo: Axel Struwe, Fotodesign BFF, Bielefeld
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy (Hungarian, 1895-1946) 'COMPOSITION A XXI' 1925

 

László Moholy-Nagy (Hungarian, 1895-1946)
COMPOSITION A XXI
1925
Oil on canvas
96 x 77 cm
Courtesy LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster
Photo: LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster/Rudolf Wakonigg
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'Bauhaus Balconies' 1926

 

László Moholy-Nagy (Hungarian, 1895-1946)
Bauhaus Balconies
1926
Silver gelatin photograph
49.5 x 39.3 cm
Courtesy Collection of George Eastman House

 

Exhibition view, Schirn Kunsthalle Frankfurt 2009

 

László Moholy-Nagy Retrospective exhibition view, Schirn Kunsthalle Frankfurt 2009 showing at right Bauhaus Balconies (1926) and second right K XVII (1923)
Schirn Kunsthalle Frankfurt
© Photograph: Norbert Miguletz
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'A 19' 1927

 

László Moholy-Nagy (Hungarian, 1895-1946)
A 19
1927
Oil on canvas
80 x 96 cm
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy Retrospective exhibition view

 

László Moholy-Nagy Retrospective exhibition view, Schirn Kunsthalle Frankfurt 2009 showing at centre, A 19 (1927)
Schirn Kunsthalle Frankfurt
© Photograph: Norbert Miguletz
© VG Bild-Kunst, Bonn 2009

 

 

 

The Hungarian artist László Moholy-Nagy (1895-1946) became known in Germany through his seminal work as a teacher at the Staatliches Bauhaus in Weimar and Dessau (1923-1928). His pioneering theories on art as a testing ground for new forms of expression and their application to all spheres of modern life are still of influence today. Presenting about 170 works – paintings, photographs and photograms, sculptures and films, as well as stage set designs and typographical projects – the retrospective encompasses all phases of his oeuvre. On the occasion of the ninetieth anniversary of the foundation of the Bauhaus, it offers a survey of the enormous range of Moholy-Nagy’s creative output to the public for the first time since the last major exhibition of his work in Kassel in 1991. Never having been built before 2009, the artist’s spatial design Raum der Gegenwart (Room of Today), which brings together many of his theories, will be realised in the context of the exhibition.

No other teacher at the Bauhaus in Weimar and Dessau, nor nearly any other artist of the 1920s in Germany, an epoch rich in utopian designs, developed such a wide range of ideas and activities as László Moholy-Nagy, who was born in Bácsborsód in Southern Hungary in 1895. His oeuvre bears evidence to the fact that he considered painting and film, photography and sculpture, stage set design, drawing, and the photogram to be of equal importance. He continually fell back upon these means of expression, using them alternately, varying them, and taking them up again as parts of a universal concept whose pivot was the alert, curious, and unrestrained experimental mind of the “multimedia” artist himself. Long before people began to talk about “media design” and professional “marketing,” Moholy-Nagy worked in these fields, too – as a guiding intellectual force in terms of new technical, design and educational instruments. “All design areas of life are closely interlinked,” he wrote about 1925 and was, despite his motto insisting on “the unity of art and technology,” no uncritical admirer of the machine age, but rather a humanist who was open-minded about technology. His basic attitude as an artist, which exemplifies the idealistic and utopian thinking of an entire era, may be summed up as aimed at improving the quality of life, avoiding specialisation, and employing science and technology for the enrichment and heightening of human experience.

After having graduated from high school, Moholy-Nagy began to study law in Budapest in 1913, but was drafted in 1915. During the war, he made his first drawings on forces mail cards and began dedicating himself exclusively to art after having been discharged from the army in 1918. Moholy-Nagy moved to Vienna in 1919 and to Berlin the following year, kept in close contact with Kurt Schwitters, Raul Hausmann, Theo van Doesburg, and El Lissitzky, and immersed himself in Merzkunst, De Stijl, and Constructivism. He achieved successes as an artist with his solo presentation in the Berlin gallery “Der Sturm” (1922), for example. In spring 1923, he was offered the post of a Bauhaus master in Weimar by Walter Gropius. Taking responsibility for the preliminary course and the metal workshop, he decisively informed the Constructivist and social reorientation of the Bauhaus. Interlinking art, life, and technology and underscoring the visual and the material aspects in design were key issues of his work and resulted in a modern, technology-oriented language of forms. His didactic approaches as a Bauhaus teacher still present themselves as up-to-date as his work as an artist. For him, education had to be primarily aimed at bringing up people to become artistically political and creative beings: “Every healthy person has a deep capacity for bringing to development the creative energies found in his/her nature … and can give form to his/her emotions in any material (which is not synonymous with ‘art’),” he wrote in 1929.

In spite of his manifold activities and inventions in the sphere of so-called applied art, Moholy-Nagy by no means advocated abolishing free art. Before, during, and long after his years at the Bauhaus, he produced numerous paintings, drawings, collages, woodcuts, and linocuts, as well as photographs and films as autonomous works of art. Like his design solutions, his works in the classical arts, in painting and sculpture, also reveal his aesthetically and conceptually radical approach. His Telephone Pictures, whose execution he controlled by telephone, exemplify this dimension: using a special graph paper and a colour chart, he worked out the composition and colours of the pictures and had them realised according to his telephonic instructions by technical assistants. He also pursued new paths with his famous Light-Space Modulator of 1930, conceiving his gesamtkunstwerk [“total work of art”] composed of colour, light, and movement as an “apparatus for the demonstration of the effects of light and movement.” It was equally new territory he conquered in the fields of photography and film: considering his cameraless photography, his photograms, and his abstract films such as Light Play Black, White, Gray (1930), Moholy-Nagy must still be regarded as one of the most important twentieth-century photographers and key figures for today’s media theories.

Thanks to his experiments with photography and the photogram, László Moholy Nagy was one of the first typographers of the 1920s to recognise the new possibilities offered by the combination of typeface, surface design, and pictorial signs with recent photographic techniques. As a Bauhaus teacher for typography, he designed almost all of the 14 Bauhaus books published between 1925 and 1929 and – besides co-editing them with Walter Gropius – took care of the entire presentation of the books’ contents and the organisation of their production. With its dynamic cycles and bars and concentration on a few, clear colours, their design resembled the Constructivist artists’ paintings and drawings. While Moholy-Nagy’s early typographic works are frequently still characterised by hand-drawn typefaces, he later strove for a “mechanized graphic design” also suited for commercial advertising through their systematisation and standardisation. After he had left the Bauhaus in 1928, he founded his own office in Berlin, where he, among other things, developed advertising solutions for Wilhelm Wagenfeld’s designs for the Jena Glassworks. Faced with the Nazis’ seizure of power, Moholy-Nagy emigrated to the United States via Amsterdam and Great Britain and founded the New Bauhaus in Chicago in 1937 and, after it had been closed, the Chicago School (and later Institute) of Design in 1939, where he continued to champion an integration of art, science, and technology. László Moholy-Nagy died of leukaemia in Chicago on 24 November 1946.

The exhibition at the Schirn also presents the Raum der Gegenwart (Room of Today), which offers a concise summary of Moholy-Nagy’s work. The sketches for this environment, which assembles many of his theories, date back as far as 1930. Not having been built before 2009, the Raum der Gegenwart (Room of Today) is now realised in the Schirn on the occasion of the Bauhaus anniversary 2009.

Press release from the Schirn Kunsthalle website [Online] Cited 20/01/2010

 

 

László Moholy-Nagy (Hungarian, 1895-1946)
Light Play Black, White, Gray
1930

 

 

The sculpture Light-Space Modulator is a key work in the history of kinetic art and even the art of new media and, therefore, one of the most important works of art of its time. Conceived initially by Moholy-Nagy at the beginning of the twenties of the last century and built between 1928 and 1930…

Light-Space Modulator was exhibited in 1930 in a show organised in Paris on the work of the German Werkbund. From the point of view of the object, it forms a complex as well as beautiful set of elements of metal, plastic and glass, many of them mobile by the action of an electric motor, surrounded by a series of coloured lights.

Moholy-Nagy used it to produce light shows that he photographed or filmed, as in the case of the film shown here. Although in black and white, the film manages to capture the kinetic brightness of the sculpture.

 

László Moholy-Nagy Retrospective exhibition view

 

László Moholy-Nagy Retrospective exhibition view showing Room of Today (reconstruction 2009) with at centre, Light-Space Modulator 1930 (replica)
Schirn Kunsthalle Frankfurt
© Photograph: Norbert Miguletz
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'Fotogram with Eiffel Tower and Peg Top' c.1928

 

László Moholy-Nagy (Hungarian, 1895-1946)
Fotogram with Eiffel Tower and Peg Top
c. 1928
Silver gelatin photograph
38.7 x 29.9 cm
Courtesy Galerie Berinson, Berlin
Photo: Friedhelm Hoffmann, Berlin
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy Retrospective exhibition view

 

László Moholy-Nagy Retrospective exhibition view showing at left, Photogramm No.II (1929)
Schirn Kunsthalle Frankfurt
© Photograph: Norbert Miguletz
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'Photogramm No.11' Enlargement before 1929

 

László Moholy-Nagy (Hungarian, 1895-1946)
Photogramm No.II
1929
Silver gelatin photograph
95.5 x 68.5 cm
Courtesy Galerie Berinson, Berlin
Photo: Friedhelm Hoffmann, Berlin

 

László Moholy-Nagy. 'Marseille, Port View' 1929

 

László Moholy-Nagy (Hungarian, 1895-1946)
Marseille, Port View
1929
Silver gelatin photograph
48.7 x 37.9 cm
Courtesy Collection of George Eastman House

 

László Moholy-Nagy (Hungarian, 1895-1946) 'SPACE CH 4' 1938

 

László Moholy-Nagy (Hungarian, 1895-1946)
SPACE CH 4
1938
Oil on canvas
68.5 x 89 cm
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'CH BEATA I' 1939

 

László Moholy-Nagy (1895-1946)
CH BEATA I
1939
Oil on canvas
119 x 120 cm
Solomon R. Guggenheim Museum, New York
Solomon R. Guggenheim Founding Collection
Photograph by David Heald
© The Solomon R. Guggenheim Foundation, New York

 

László Moholy-Nagy (Hungarian, 1895-1946) 'CH XIV' 1939

 

László Moholy-Nagy (Hungarian, 1895-1946)
CH XIV
1939
Oil on canvas
118 x 119.5 cm
Courtesy of Museu Colecção Berardo
Photo: Museu Colecção Berardo/Paulo Raimundo
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy (Hungarian, 1895-1946) 'CH SPACE 6' 1941

 

László Moholy-Nagy (Hungarian, 1895-1946)
CH SPACE 6
1941
Oil on canvas
119 x 119 cm
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy (Hungarian, 1895-1946) 'Dual forms with Chromium Rods' 1946

 

László Moholy-Nagy (Hungarian, 1895-1946)
Dual forms with Chromium Rods
1946
Plexiglas and chrome-plated brass rods
93 x 121 x 56 cm
Exhibition View, Schirn Kunsthalle 2009
© Photograph: Norbert Miguletz
Courtesy The Solomon R. Guggenheim Foundation, New York

 

László Moholy-Nagy. 'Untitled' 1936-46

 

László Moholy-Nagy (Hungarian, 1895-1946)
Untitled
1936-46
Fujicolor Crystal Archive print
27.9 x 35.6 cm
Courtesy Andrea Rosen Gallery, New York
© Hattula Moholy-Nagy for the Estate of László Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'Untitled' 1937-46

 

László Moholy-Nagy (Hungarian, 1895-1946)
Untitled
1937-46
Fujicolor Crystal Archive print
27.9 x 35.6 cm
Courtesy Andrea Rosen Gallery, New York
© Hattula Moholy-Nagy for the Estate of László Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy. 'Untitled' 1939

 

László Moholy-Nagy (Hungarian, 1895-1946)
Untitled
1939
Fujicolor Crystal Archive print
27.9 x 35.6 cm
Courtesy Andrea Rosen Gallery, New York
© Hattula Moholy-Nagy for the Estate of László Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

László Moholy-Nagy (Hungarian, 1895-1946) 'Untitled/Night-Time Traffic (Pink and Red Traffic Stream with White Sparks)' 1937-1946

 

László Moholy-Nagy (Hungarian, 1895-1946)
Untitled/Night-Time Traffic (Pink and Red Traffic Stream with White Sparks)
1937-1946
Fujicolor Crystal Archive print
27.9 x 35.6 cm
Courtesy Andrea Rosen Gallery, New York
© Hattula Moholy-Nagy for the Estate of László Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

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

 

László Moholy-Nagy (Hungarian, 1895-1946)
Self-portrait
c. 1926
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

 

 

Schirn Kunsthalle Frankfurt
Römerberg
D-60311 Frankfurt
Phone: +49.69.29 98 82-0

Opening hours:
Tuesday, Friday – Sunday 10 am – 7 pm
Wednesday – Thursday 10 am – 10 pm

Schirn Kunsthalle website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,563 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

December 2019
M T W T F S S
« Nov    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories