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23 Aug Moholy-Nagy und die Neue Typografie
Also available in English 1929, zehn Jahre nach Gründung des Bauhauses, zeigte der Berliner Martin-Gropius-Bau die Ausstellung „Neue Typografie“, zu der auch László Moholy-Nagy eingeladen wurde, der im Jahr zuvor Dessau verlassen und sich in Berlin einen Namen als Gestalter gemacht hatte. [expand title="more"]Für seinen Raum „Wohin geht die typografische Entwicklung?“ entwarf er 78 Schautafeln zur Zukunft und Entwicklung der „Neuen Typografie“ seit der Jahrhundertwende. Für seine Tafeln verwendete Moholy-Nagy sowohl eigene Entwürfe als auch Werbedrucksachen von Kollegen aus dem Bauhaus-Umfeld. Mit dem funktionalen Grafikdesign der „Neuen Typografie“ hatte sich in den 1920er-Jahren eine künstlerische Reklamegestaltung durchgesetzt, die mit der bisherigen Tradition brach. Ziel war eine zeitgemäße Gestaltung mit standardisierten Schrifttypen, industriellen DIN-Normen und Idealen wie Lesbarkeit, Klarheit und Direktheit entsprechend den Prinzipien der konstruktivistischen Kunst. Die umfangreiche Publikation vereint erstmals die vor kurzem in der Berliner Kunstbibliothek wiederentdeckten Ausstellungstafeln von Moholy-Nagy, die anhand eines „Abcdariums“ mit charakteristischen Stichworten von namhaften Autor*innen beleuchtet werden – von A wie Asymmetrie bis Z wie Zukunftsvision. Durch assoziierendes Querlesen wird so der typografische Ideenkosmos der Avantgarde der 1920er-Jahre wieder erfahrbar.[/expand]
28 Jun Bauhausbücher 14
Find more of the Bauhausbücher here. Published in 1929, From Material to Architecture contains the main features of László Moholy-Nagy’s teaching program at the Bauhaus. With its focus on the preliminary course, [expand title="more"]this last book of the 14-volumes series explains how students “develop towards practice from day to day.” The educational principle behind it, Jedermann ist begabt (everyone is talented), was central to teaching at the Bauhaus from 1919 to its conclusion in 1933. Moholy-Nagy’s second contribution within the series (he also wrote Painting, Photography, Film, volume 8) searches “for the closest connection between art, science and technology by aiming for the training of finer sensory perception.”[/expand]
28 Jun Bauhausbücher 13
Find more of the Bauhausbücher here. The French painter and writer Albert Gleizes is considered an important representative of Cubism and described himself as the founder of this art movement. [expand title="more"]Although he was never an official member of the Bauhaus, Gleizes nevertheless dedicated his influential essay on Cubism to the art school. In 1928, the editors László Moholy-Nagy and Walter Gropius included this essay as volume 13 in the Bauhaus book series. In addition to his own works, Albert Gleizes also shows artworks by Georges Braque, Robert Delaunay, Fernand Léger, and Pablo Picasso as reference examples and places the Bauhaus and its book series in an international context that impressively captures the interaction of the numerous art movements of the time.[/expand]
14 Apr Bauhausbücher 4
Find more of the Bauhausbücher here. Spatial dance, gestural dance, rod dance, Triadic Ballet: Oskar Schlemmer developed his costumed, masked dancer into an “art figure” synthesizing dance, masquerade, and music. [expand title="more"]The fourth volume of the Bauhausbücher presents the main characteristics of the Bauhaus concept of the stage. The Bauhaus stage is that of the Weimar period, essentially shaped by Oskar Schlemmer, who had taken over the stage department in 1923. László Moholy-Nagy, who was appointed to the Bauhaus the same year, took an interest in abstract kinetic and luminary phenomena which he examines in his essay "Theatre, Circus, Variété." Farkas Molnár focused for his part on stage architecture, which he discusses in detail in this volume.[/expa
02 Dez Pictures
Today, in our daily lives, photographs can be seen almost anywhere; PICTURES shows that photographs can also be almost anything. PICTURES gathers abstract and non-representational photography, [expand title="more"]focusing on a current generation of photographers popular in fashion and fine art, who are challenging traditional definitions of the photographic image. Embracing the early potential of photography’s discovery as a ‘new’ medium in the 19th century, they are experimenting with the camera, printing, even sunlight to create wildly colorful images that look nothing like what we have generally come to think of as a photograph. In so doing, they reflect the longstanding interaction between photography and fine art, where innovations in photography have often influenced contemporary artists. Instead of looking at the subject a photograph captures, PICTURES suggests that we look at what a photograph actually is. PICTURES includes 200+ large photographs from nearly 50 artists. Introductory section includes works by legends of photography such as Man Ray and Imogen Cunningham, plus cult artists Guy Bourdin and Saul Leiter. Main section includes large portfolios by contemporary artists and fashion photographers.The book also comes with a folded poster by photographer Harley Weir. Wolfgang Tillmans / Hiroshi Sugimoto / Guy Bourdin / Saul Leiter / Barbara Kasten / Man Ray / Matthew Stone / John Divola / Imogen Cunningham / David Benjamin Sherry / Sam Falls / Catherine Opie / Daisuke Yokota / Sara VanDerBeek / Thomas Ruff / Uta Barth / Tauba Auerbach / Marcelo Gomes / Mariah Robertson / Leslie Hewitt / Walead Beshty / László Moholy-Nagy / Taisuke Koyama / Jim Mangan / Harry Callahan / Lea Colombo / (more.)[/expand]
26 Feb Aenne Biermann
Aenne Biermann (1898–1933) zählt zu den festen Grössen der Fotografie der 1920er- und 1930er-Jahre. Im Gegensatz zu Fotografenkolleginnen wie Florence Henri, Germaine Krull oder Lucia Moholy erfuhr sie weder eine künstlerische Ausbildung noch verkehrte sie in den Avantgardekreisen der Grossstadtzentren – [expand title="more"]und obwohl sie nur wenige Jahre fotografierte, entwickelte Biermann einen eigenen, signifikant modernen Bildstil, der sie innerhalb kürzester Zeit als Vertreterin der zeitgenössischen Avantgardefotografie etablierte. Sie richtete ihre Kamera auf Pflanzen, Dinge, Menschen und Alltagssituationen. Mittels klarer Strukturen, präziser Kompositionen mit Licht und Kontrast sowie enger Bildausschnitte entlockte sie den Motiven ihres persönlichen Umfelds eine besondere Poesie und vermittelte, wie sie 1930 schrieb, eine 'Vertrautheit mit den Dingen'.Die Monografie präsentiert das Werk Aenne Biermanns als ein Beispiel für Moderneströmungen jenseits der Zentren der Avantgarde und thematisiert die Verflechtungen von Laienkunst und Avantgardefotografie in den 1920er-Jahren wie auch das Selbstverständnis bürgerlicher Frauen in Bezug auf künstlerische Produktion und individuelle Entwicklungen.[/expand]
10 Okt original bauhaus – workbook
Take a class at the Bauhaus school with this introduction that lets you experience what it was like to study at the influential school and presents original instructions from the famous Foundation Course.[expand title="more"]Between 1919 and 1933 the Bauhaus thrived as a school of ideas that encouraged students to experiment with material, color, and drawing techniques and learn basic skills to become artists, architects, or designers. One hundred years later, its educational methods are still relevant. This book introduces the famous Foundation course and its major instructors: Joseph Albers, Johannes Itten, and László Moholy-Nagy. It offers for the first time a series of more than fifty exercises from the Foundation Course. The book presents a collection of exercises gathered from historical material, mainly from the Bauhaus-Archiv such as drawings, photographs, original notes, and later recollections of the tasks given by the famous Bauhaus artists. The exercises are accompanied by comments by teachers, artists, and experts with different professional backgrounds. These teachings illustrate not only the methods and philosophy of the Bauhaus school, but also provide budding artists with a foundation for developing their own practice, whether it be in drawing, architecture, design, or typography.[/expand]
29 Mrz bauhaus imaginista
Bauhaus Imaginista marks the centennial anniversary of this fascinating and popular school of art, which championed the idea of artists working together as a community. The Bauhaus reconnected art with everyday life and was active in the fields of architecture, performance, design, and visual art. [expand title="more"]Founded by Walter Gropius, its faculty included such luminaries as Paul Klee, Wassily Kandinsky, Laészloé Moholy-Nagy, and Josef Albers. Placing emphasis on the international dissemination and reception of the Bauhaus, this book expresses the Bauhaus’ influence, philosophy, and history beyond Germany. Rethinking the school from an international perspective, it sets its entanglements against a century of geopolitical change, as many of its artists fled World War II Germany. Bauhaus Imaginista takes readers on a global visual tour of Bauhaus influence from art and design museums to campus galleries and art institutes in India, Japan, China, Russia, Brazil, Berlin, and the United States.[/expand] read Review
01 Mrz Bauhausbücher 1
When the Bauhaus moved to Dessau in 1924, it was finally possible to publish the first of the Bauhausbücher that Walter Gropius (1883-1969) and Làszlò Moholy-Nagy (1895-1946) had first conceived of in Weimar.[expand title="more"]The series was intended to give insight into the teachings of the Bauhaus and the possibilities it offered for incorporating modern design into everyday aspects of an ever-more-modern world. First in the series was Gropius? International Architecture, an overview of the modern architecture of the mid-1920s and an early attempt to articulate what would come to be known as International Style architecture. In a brief preface, Gropius summarized the guiding principles he identified uniting the avant-garde around the world. But the real thrust of the book is visual, with an extensive illustrated section showing buildings in Europe and the Americas. According to Gropius, these illustrations show the "development of a consistent worldview" that dispensed with the prior decorative role of architecture and expressed itself in a new language of exactitude, functionality and geometry. Published for the first time in English, this new edition of the first of the Bauhausbücher is accompanied by a brief scholarly commentary. Presented in a design true to Moholy-Nagy's original, International Architecture offers readers the opportunity to explore the Bauhaus' aesthetic and its place in the world as Gropius himself was trying to define them.[/expand]- 1
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