Published by Lars Müller Publishers. Edited by Lars Müller. Introduction by Astrid Bähr.
Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895–1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the Bauhausbücher series.
In addition to designing and editing the Bauhausbücher, Moholy-Nagy produced a title of his own: the legendary Painting, Photography, Film. In this book, Moholy-Nagy’s efforts to have photography and filmmaking recognized as art forms on the same level as painting are propounded and explained at length. The artist makes the case for a radical rethinking of the visual arts and the further development of photographic design to keep pace with a radically changing technological modernity.
Alongside theoretical and technical approaches and forays into the nature of the medium, Moholy-Nagy uses an extensive appendix of illustrations to provide a thorough survey of the numerous possibilities that photography and film could offer—from press photography and scientific imagery to Moholy-Nagy’s own abstract photograms and New Vision photographs.
This English translation of Painting, Photography, Film is based in content and design on the 1925 German first edition, making the latter available to an international readership for the first time. The publication includes a brief scholarly text providing crucial contextual information and reflecting on the history and legacy of Moholy-Nagy’s book.
Published by Errata Editions. Text by David Evans, Franz Roh.
László Moholy-Nagy (1895-1946) was among modernist photography's most vocal theorists and ideologues, and a tireless explorer of its outer limits. In 1930, he published 60 Fotos, an almost pedagogic visual treatise in which he performed virtuoso turns on all kinds of photographic possibilities, from camara-less pictures and photograms--for which he squirted oil into developer and squeezed oil between sheets of glass during exposure (among other techniques)--to photomontage, as well as more conventional photographs. 60 Fotos proposed photography as both a medium with intrinsic material properties to explore and as an instrument capable of surpassing the human eye in its recording of the world. This classic treatise features some of the Bauhaus teacher's finest examples of photograms, negative prints and photomontage; Errata's spread-by-spread reproduction of the volume also includes a contemporary essay by noted photo-historian David Evans.
The Errata Editions' Books on Books series is an ongoing publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. These are not reprints or facsimiles but complete studies of the original books. Each volume in the series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or expensive for most to experience. Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study of the creation and meanings of these great works of art. Each volume in the series contains illustrations of every page in the original photobook, a new essay by an established writer on photography, production notes about the creation of the original edition and biographical and bibliographical information about each artist.
BOOK FORMAT Clth, 7.25 x 9.75 in. / 92 pgs / 50 duotone.
PUBLISHING STATUS Pub Date 1/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 36
PRODUCT DETAILS ISBN 9781935004202SDNR60 List Price: $39.95 CDN $53.95
Published by La Fábrica. Edited by Hattula Moholy-Nagy. Text by Oliva María Rubio, Vicenzo Vitiello, Hubertus von Amenluxen, Hattula Moholy-Nagy, Frans Peterse, Oliver A.I. Botar, Jeanpaul Goergen.
An artist and thinker of astounding energy and ability, László Moholy-Nagy was a true world citizen of the early twentieth century, an ambassador-at-large for Constructivism, Suprematism, Dada and the Bauhaus. He brought the same Constructivist optimism to every medium he tackled, from plexiglass and light sculpture to typography to his photographic experiments in color to his Suprematist canvases, his influential pedagogy at the Bauhaus and at the Institute of Design in Chicago. Moholy-Nagy's concept of the arts as a totality, his pedagogy and his confidence in the new industrial culture that would level distinctions between art and craft led him into all fields of creative production. The ultimate modernist Renaissance man, Moholy-Nagy was prolific in so many realms that his detractors inevitably charged him with dilettantism. This accusation ignores his very real innovations in photography--for example his photograms--and light sculpture, as well as the fact that the artist's aims possessed a conceptual unity in their common aspiration to make an "art of light." László Moholy-Nagy: The Art of Light presents Moholy-Nagy's work in all of its glorious unity and diversity. Including more than 200 works, from painting, photography (black and white and color) and photograms to collages, films and graphic design, it emphasizes his greatest years of productivity, from 1922 to the end of his life. The Art of Light is the new definitive volume on this hero of modernism. László Moholy-Nagy (1895-1946) was born in Hungary, and moved to Berlin in 1920, where he taught at the Bauhaus for five years. After a spell in the U.K., he moved to America, founding the School of Design in Chicago, which became the Illinois Institute of Technology, in 1939. He died in 1946.
Published by Hatje Cantz. Edited by Hattula Moholy-Nagy, Renate Heyne, Floris M. Neusüss. Text by Herbert Molderings.
László Moholy-Nagy was one of the Bauhaus' most influential teachers; his photographic skills, as well as his writing on the subject, helped to secure the medium's integral place in modern art. One of Moholy-Nagy's most notable contributions was his extensive exploration--from 1922 through 1943--of the aesthetic possibilities of the photogram (he coined the term). These ghostly traces of objects placed on photographic paper during exposure are part of a prolific legacy that included painting, sculpture and stage design. Moholy-Nagy's photograms have become emblematic of the medium, though they have yet to be fully critically explored. This well-illustrated catalogue raisonné is the first to feature all of his known photograms--nearly 450--in chronological order. This exhaustive volume examines the artistic, technical and biographical circumstances under which the works were created, places them in relation to other parts of Moholy-Nagy's practice and analyzes selected pieces at length.
László Moholy-Nagy (1895-1946) taught at the Bauhaus for five years, founding The School of Design in Chicago, which became the Illinois Institute of Technology, in 1939.