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LáSZLó MOHOLY-NAGY/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0132 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
The camera has offered us amazing possibilities, which we are only just beginning to exploit. The visual image has been expanded and even the modern lens is no longer tied to the narrow limits of our eye; no manual means of representation (pencil, brush, etc.,) is capable of arresting fragments of the world seen like this; it is equally impossible for manual means of creation to fix the quintessence of a movement, nor should we regard the ability of the lens to distort – the view from below, from above, the oblique view – as in any sense merely negative, for it provides an impartial approach, such as our eyes, tied as they are to the laws of association, do not give; and from any other point of view: the delicacy of the grey effects produces a sublimated value, the differentiation of which can transcend its own sphere of influence and even benefit colour composition. But when we have enumerated these uses we are still far from having exhausted the possibilities in this field. We are only beginning to exploit them; for although photography is already over a hundred years old it is only in recent years that the course of development has allowed us to see beyond the specific instance and recognize the creative consequences. - Laszlo Moholy-Nagy - wrote this in 1925 for his book "Painting, Photography, Film"
-www.photoquotes.com/showquotes.aspx?id=590&name=Moholy-Nagy,Laszlo
László Moholy-Nagy -
László Moholy-Nagy (Hungarian pronunciation: [ˈlaːsloː ˈmoholiˌnɒɟ]), July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.
At the Bauhaus:
In 1923, Moholy-Nagy replaced Johannes Itten as the instructor of the preliminary course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was on photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching was summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlaid on top of it, called photogram. While at the Bauhaus, Moholy's teaching in diverse media — including painting, sculpture, photography, photomontage and metal — had a profound influence on a number of his students, including Marianne Brandt.
Bibliography:
* Borchardt-Hume, Achim. Albers and Moholy-Nagy: From the Bauhaus to the New World. New Haven: Yale University Press, 2006.
* Hight, Eleanor. Picturing Modernity: Moholy-Nagy and Photography in Weimar Germany. Cambridge, Mass.: MIT Press, 1995.
* Lusk, Irene-Charlotte. Montagen ins Blaue: Laszlo Moholy-Nagy, Fotomontagen und -collagen 1922-1943. Gießen: Anabas, 1980.
* Margolin, Victor. The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946. Chicago: University of Chicago Press, 1997.
* Moholy-Nagy, Lázló. Painting Photography Film. 1925. Trans. Janet Seligman. Cambridge, Mass.: MIT Press, 1973.
* Passuth, Krisztina. Moholy-Nagy. Trans. London: Thames and Hudson, 1985.
-en.wikipedia.org/wiki/L%C3%A1szl%C3%B3_Moholy-Nagy
László Moholy-Nagy's preliminary course 1923-1928
When Johannes Itten left the Bauhaus, the preliminary course was divided into two: Moholy-Nagy assumed the more theoretical aspects, and Josef Albers took over the practical perspective.
Moholy-Nagy's preliminary course was based on three major focuses. At first, the student was to learn to combine elements in such a manner that they corresponded to a preconceived idea. These thoughts were manifested on so-called tactile boards meant to educate tactile perception. The combination of materials on these boards was organized according to closely defined criteria. In addition, values of perception, from sensitive feeling to basic recording, were to be fitted into a "tactile diagram" conceived as a general visualization of personal experience.
The second focus was on exercises distinguishing composition from construction. Moholy-Nagy understood composition as being the creation of a balance between clearly defined parts through the modification of an overall composition by, for instance, the introduction of further elements. In contrast to this, the balance in the precise combination of forces of ideal constructions based on entirely preconceived technical and spiritual relations would be destroyed by the slightest change.
The most well-known part of Moholy-Nagy's course was taken up by three-dimensional studies designed to sharpen the sense for volume and lead to the elaboration of constructive solutions. Here, studies in balance were of particular importance: simple elements and materials were used to construct objects in both visual and real balance. This condition was often quite precarious and the objects therefore exceedingly fragile. This is why most of them are known only as photographs. These exercises were designed to provide the students with the basics of visual aesthetics, such as measure and proportion, statics and dynamics. In addition, they were to be familiarized with qualities such as weight, elasticity, and density of the different materials.
Despite Moholy-Nagy's systematization, his teachings were not uniquely based on rational thought. He himself repeatedly drew attention to the role of intuition in the creative process and underlined that it was indispensable to combine conscious analysis with the powers of dynamic intuition. Formulae alone could never be the sole basis for creation.
-www.bauhaus.de/english/bauhaus1919/unterricht/unterricht_moholy.htm
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