Raum der Gegenwart – Art Blart _ art and cultural memory archive

Exhibition: ‘Moholy-Nagy: Future Present’ at the Solomon R. Guggenheim Museum, New York

Exhibition dates: 27th May – 7th September 2016

Installation view of Moholy-Nagy: Future Present at the Solomon R. Guggenheim Museum, New York, May 27 – September 7, 2016 showing at left, B-10 Space Modulator (1942, below)
Photo: David Heald © Solomon R. Guggenheim Foundation

To understand the production of art at the end of tradition, which in our lifetime means art at the end of modernism, requires, as the postmodern debate has shown, a careful consideration of the idea of history and the notion of ending. Rather than just thinking ending as the arrival of the finality of a fixed chronological moment, it can also be thought as a slow and indecisive process of internal decomposition that leaves in place numerous deposits of us, in us and with us – all with a considerable and complex afterlife. In this context all figuration is prefigured. This is to say that the design element of the production of a work of art, the compositional, now exists prior to the management of form of, and on, the picture plane. Techniques of assemblage, like montage and collage – which not only juxtaposed different aesthetics but also different historical moments, were the precursors of what is now the general condition of production.

Fry, Tony. “Art Byting the Dust,” in Hayward, Phillip. Culture, Technology and Creativity in the Late Twentieth Century. London: John Libbey and Company, 1990, pp. 169-170.

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

In order to understand the present we must link it to the self transforming urges of the past. We must see it as an evolutionary urge toward a transformation of all traditional notions, as a gradual process of growth in which several earlier currents have penetrated one another and thus have changed their very essence.

László Moholy-Nagy

László Moholy-Nagy (Hungarian, 1895-1946)
B-10 Space Modulator
1942
Oil and incised lines on Plexiglas, in original frame
Plexiglas: 42.9 × 29.2cm
Frame: 82.9 × 67.6cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Room of the Present (Raum der Gegenwart)
Constructed in 2009 from plans and other documentation dated 1930
Van Abbemuseum, Eindhoven
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York
Photo: Peter Cox, courtesy Art Resource, New York

Installation view of Moholy-Nagy: Future Present at the Solomon R. Guggenheim Museum, New York, May 27 – September 7, 2016 showing at right, A II (Construction A II) (1924, below)
Photo: David Heald © Solomon R. Guggenheim Foundation

László Moholy-Nagy (Hungarian, 1895-1946)
A II (Construction A II)
1924
Oil and graphite on canvas
115.8 × 136.5cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

Installation views of Moholy-Nagy: Future Present at the Solomon R. Guggenheim Museum, New York, May 27 – September 7, 2016
Photo: David Heald © Solomon R. Guggenheim Foundation

László Moholy-Nagy (Hungarian, 1895-1946)
Dual Form with Chromium Rods (installation view)
1946
Plexiglas and chrome-plated brass
92.7 × 121.6 × 55.9cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Dual Form with Chromium Rods
1946
Plexiglas and chrome-plated brass
92.7 × 121.6 × 55.9cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York
Photo: Kristopher McKay © Solomon R. Guggenheim Foundation, New York

From May 27 to September 7, 2016, the Solomon R. Guggenheim Museum presents the first comprehensive retrospective in the United States in nearly fifty years of the work of pioneering artist and educator László Moholy-Nagy (1895-1946). Organised by the Solomon R. Guggenheim Foundation, the Art Institute of Chicago, and the Los Angeles County Museum of Art, Moholy-Nagy: Future Present examines the full career of the utopian modernist who believed in the potential of art as a vehicle for social transformation, working hand in hand with technology. Despite Moholy-Nagy’s prominence and the visibility of his work during his lifetime, few exhibitions have conveyed the experimental nature of his work, his enthusiasm for industrial materials, and his radical innovations with movement and light. This long overdue presentation, which encompasses his multidisciplinary methodology, brings together more than 300 works drawn from public and private collections across Europe and the United States, some of which have never before been shown publicly in this country. After its debut presentation in New York, the exhibition will travel to the Art Institute of Chicago (October 2, 2016 – January 3, 2017) and the Los Angeles County Museum of Art (February 12 – June 18, 2017).

Moholy-Nagy: Future Present provides an opportunity to examine the full career of this influential Bauhaus teacher, founder of Chicago’s Institute of Design, and versatile artist who paved the way for increasingly interdisciplinary and multimedia work and practice. Among his radical innovations were his experiments with cameraless photographs (which he dubbed “photograms”); use of industrial materials in painting and sculpture that was unconventional for his time; researching with light, transparency, and movement; his work at the forefront of abstraction; and his ability to move fluidly between the fine and applied arts. The exhibition is presented chronologically up the Guggenheim’s rotunda and features collages, drawings, ephemera, films, paintings, photograms, photographs, photomontages, and sculptures. The exception to the sequential order is Room of the Present (Raum der Gegenwart) in the High Gallery, a contemporary fabrication of a space originally conceived by Moholy-Nagy in 1930 but never realised in his lifetime. Constructed by designers Kai-Uwe Hemken and Jakob Gebert, the large-scale work contains photographic reproductions, films, slides, documents, and replicas of architecture, theater, and industrial design, including a 2006 replica of his kinetic Light Prop for an Electric Stage (Lichtrequisit einer elektrischen Bühne, 1930). Room of the Present illustrates the artist’s belief in the power of images and his approach to the various means with which to view them – a highly relevant paradigm in today’s constantly shifting and evolving technological world. Room of the Present will be on display at all three exhibition venues and for the first time in the United States. The Guggenheim installation is designed by Kelly Cullinan, Senior Exhibition Designer, and is inspired by Moholy-Nagy’s texts on space and his concept of a “spatial kaleidoscope” as applied to the experience of walking up the ramps.

Born in 1895 in Austria-Hungary (now southern Hungary), Moholy-Nagy moved to Vienna briefly and then to Berlin in 1920, where he encountered Dada artists, whose distinctive visual attributes of the urban industrial landscape had already entered his work. He was also influenced by the Constructivists, and exhibited work on several occasions at Berlin’s Der Sturm gallery. During this time, Moholy-Nagy experimented with metal constructions, photograms, and enamel paintings. At the same moment, in his ongoing quest to depict light and transparency, he painted abstract canvases composed of floating geometric shapes. While teaching at the Bauhaus in Weimar and then Dessau, he and Walter Gropius pioneered the Bauhaus Books series, which advanced Moholy-Nagy’s belief that arts education and administration went hand in hand with the practice of art making. Around this period, the artist became temporarily disenchanted with the limitations of traditional painting. Photography took on greater importance for him, and he described the photogram as “a bridge leading to new visual creation for which canvas, paint-brush and pigment cannot serve.” He fashioned photomontages by combining photographs (usually found) and newspaper images into absurd, satirical, or fantastical narratives. When he moved back to Berlin in 1928, he enjoyed success as a commercial artist, exhibition and stage designer, and typographer, examples of which will be on display in Moholy-Nagy: Future Present. Adolf Hitler’s rise to power made life increasingly difficult for the avant-garde in Germany; thus, in 1934 Moholy-Nagy moved with his family to the Netherlands and then to London. Once he moved to Chicago in 1937, he never returned to Europe.

Moholy-Nagy immigrated to Chicago to become founding director of the New Bauhaus, known today as the Institute of Design at the Illinois Institute of Technology. He also made some of his most original and experimental work during this time, pursuing his longtime fascination with light, shadow, transparency, and motion. He continued to make photograms, created his Space Modulators (hybrids of painting and sculpture made from Plexiglas), and pioneered 35 mm colour slide photography, shown as projections in the exhibition. He gave his full attention to American exhibition venues before his untimely death of leukaemia in 1946, showing nearly three dozen times across the United States – including in four solo shows.

Moholy-Nagy was a central figure in the history of the Guggenheim Museum. His work was included in the museum’s founding collection, and he held a special place at the Museum of Non-Objective Painting, the forerunner of the Guggenheim Museum. He was among the first artists director Hilla Rebay exhibited and collected in depth, and the museum presented a memorial exhibition shortly after his death. Moholy-Nagy: Future Present highlights the artist’s interdisciplinary and investigative approach, migrating from the school to the museum or gallery space, consistently pushing toward the Gesamtwerk, the total work, which he sought to achieve throughout his lifetime.

Press release from the Solomon R. Guggenheim Museum

László Moholy-Nagy (Hungarian, 1895-1946)
Nickel Sculpture with Spiral (installation view)
1921
Nickel-plated iron, welded
35.9 x 17.5 x 23.8cm
The Museum of Modern Art, New York, Gift of Mrs. Sibyl Moholy-Nagy 1956
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
A 19
1927
Oil and graphite on canvas
80 x 95.5cm
Hattula Moholy-Nagy, Ann Arbor, MI
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Photogram
1941
Gelatin silver photogram
28 x 36cm
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 (Hungarian, 1895-1946)
Space Modulator
1939-1945
Oil and incised lines on Plexiglas, in original frame
Plexiglas: 63.2 × 66.7cm
Frame: 88.6 × 93cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Papmac
1943
Oil and incised lines on Plexiglas, in original frame
Plexiglas: 58.4 × 70.5cm
Frame: 91.1 × 101.9cm
Private collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
CH BEATA I
1939
Oil and graphite on canvas
118.9 × 119.8cm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Construction AL6 (Konstruktion AL6)
1933-1934
Oil and incised lines on aluminium
60 × 50cm
IVAM, Institut Valencià d’Art Modern, Generalitat
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

László Moholy-Nagy (Hungarian, 1895-1946)
Photogram
1926
Gelatin silver photogram
23.8 x 17.8cm
Los Angeles County Museum of Art, Ralph M. Parsons Fund
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York
Photo: © Museum Associates/LACMA

László Moholy-Nagy (Hungarian, 1895-1946)
Cover and design for Vision in Motion (Paul Theobald, 1947)
Bound volume
28.6 × 22.9cm
The Hilla von Rebay Foundation Archive
© 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
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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
Oil on canvas
131 x 100cm
Courtesy Kunsthaus Zürich
© VG Bild-Kunst, Bonn 2009

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

László Moholy-Nagy (Hungarian, 1895-1946)
COMPOSITION A XXI
1925
Oil on canvas
96 x 77cm
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 (Hungarian, 1895-1946)
Bauhaus Balconies
1926
Silver gelatin photograph
49.5 x 39.3cm
Courtesy Collection of George Eastman House

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

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 no longer available online

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

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

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

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 (Hungarian, 1895-1946)
CH BEATA I
1939
Oil on canvas
119 x 120cm
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
Oil on canvas
118 x 119.5cm
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
Oil on canvas
119 x 119cm
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

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

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 (Hungarian, 1895-1946)
Untitled
1937-1946
Fujicolor Crystal Archive print
27.9 x 35.6cm
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
1939
Fujicolor Crystal Archive print
27.9 x 35.6cm
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
Fujicolor Crystal Archive print
27.9 x 35.6cm
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)
Self-portrait
c. 1926
Gelatin silver photograph
Courtesy Hattula Moholy-Nagy
© VG Bild-Kunst, Bonn 2009

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

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Wednesday – Thursday 10am – 10pm

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