Journal articles: 'Moholy-Nagy'

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Miesbach, Thomas. "László Moholy-Nagy." NeuroTransmitter 21, no. 1 (January 2010): 62–63. http://dx.doi.org/10.1007/bf03363169.

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Jaffee, Barbara. "Moholy-Nagy: Future Present." Design Issues 33, no. 4 (October 2017): 92–95. http://dx.doi.org/10.1162/desi_r_00464.

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Botar, Oliver. "Moholy-Nagy: Film Architect." Maske und Kothurn 65, no. 1-2 (December 28, 2019): 60–65. http://dx.doi.org/10.7767/mako.2019.65.1-2.60.

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Charitonidou, Marianna. "László Moholy-Nagy and Alvar Aalto’s Connections." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (December 30, 2020): 28–46. http://dx.doi.org/10.17831/enq:arcc.v17i1.1080.

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Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models.

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Blanchon-Caillot, Bernadette. "Le pont transbordeur de Marseille, Moholy-Nagy (The Marseilles Transporter Bridge, Moholy-Nagy)." Journal of Landscape Architecture 8, no. 2 (July 3, 2013): 89. http://dx.doi.org/10.1080/18626033.2013.864137.

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Horak, Jan-Christopher. "The Films of Moholy-Nagy." Afterimage 13, no. 1-2 (1985): 20–23. http://dx.doi.org/10.1525/aft.1985.13.1-2.20.

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Horak, Jan-Christopher. "The Films of Moholy-Nagy." Afterimage 13, no. 1-2 (1985): 20–23. http://dx.doi.org/10.1525/aft.1985.13.1-2.20.

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Jelavich, Peter, and Louis Kaplan. "Laszlo Moholy-Nagy: Biographical Writings." American Historical Review 102, no. 1 (February 1997): 88. http://dx.doi.org/10.2307/2171272.

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Malherek, Joseph. "Moholy-Nagy and the Practical Side of Socialism." Disegno, no. 1-2 (2021): 144–53. http://dx.doi.org/10.21096/disegno_2021_1-2jm.

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For László Moholy-Nagy, socialism was about progress, and industrial design was a way to incorporate technological progress into the everyday lives of ordinary, working people in the interest of achieving “social coherence”, as he put it in his magnum opus, Vision in Motion. If the economic and social structures of capitalism presented obstacles to progress, they were to be opposed; however, if the competitive incentives of businessmen could be channeled in the interest of progress, the capitalistic framework presented not an obstacle but an opportunity. This pragmatic approach to political economy aligned with the applied-arts ethos of Walter Gropius’s Bauhaus, where Moholy-Nagy first established himself as an innovative teacher, but it contrasted with the starker ideological commitment of leftist artists with whom Moholy-Nagy would associate over the years, such as the Hungarian Activists and the circle around the Ma magazine and gallery. The idealistic elation of the immediate years after the Great War soon gave way to the rise of fascism and the geopolitics that would define Moholy-Nagy’s life as an émigré in Berlin, London, and Chicago. This migrant life of making do in frequently changing circumstances and foreign cultures made Moholy-Nagy more amenable to adjusting the shape of his politics according to the constraints and possibilities of wherever he was. This approach allowed him to thrive as a commercial designer in London, and as the leader of the New Bauhaus/School of Design despite the constant threats to that institution’s survival. Moholy-Nagy’s partnership and friendship with Walter Paepcke—an ardent capitalist if there ever was one—is in many ways emblematic of the ways in which Moholy-Nagy creatively found ways to keep to the ideals of social democracy within a world of industrial capitalism.

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Quiroga Fernández, Sofía. "Moholy-Nagy’s Light Prop for an Electric Stage. Design, Copies and Reproductions." Disegno, no. 1-2 (2021): 166–77. http://dx.doi.org/10.21096/disegno_2021_1-2sqf.

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László Moholy-Nagy worked on the prototype for Light Prop for an Electric Stage for eight years, from 1922 to 1930, developing several sketches and designs. The final drawings and model were made with the collaboration of the Hungarian architect Stefan Sebök (István Sebők). The device was built by the AEG company, and it was displayed for the first time in the Werkbund exhibition held in Paris in 1930, where it appeared as an autonomous aesthetic object. This was clearly captured in the film Light Play: Black-White-Gray, in which Moholy-Nagy recorded its kinetic quality in the spirit of the abstract films developed at that time. The film clearly shows the motion of the lighting device as a formal exercise of abstraction using double exposures, special effects and close-ups. The Light Prop underwent several alterations over time to keep it working in a variety of exhibitions around Europe and America. In 1956, after Moholy-Nagy passed away, his widow, Sibyl Moholy-Nagy, donated it to the Harvard Busch-Reisinger Museum, where it has remained ever since. After further damage caused by inappropriate restoration and its mechanical instability, the Light Prop was reconstructed in 1969 for the exhibition From Pigment to Light, celebrated at the Howard Wise Gallery in New York (Tsai et al. 2017). The idea of a copy emerged during the planning of this exhibition to preserve the legacy of Moholy-Nagy’s knowledge. Sibyl Moholy-Nagy finally approved this idea in 1970, allowing the production of two copies, one for the exhibition and the other for the 35th Venice Biennale (1970). Both reproductions were kept and sent to the Bauhaus Archive in Darmstadt and the Van Abbemuseum, where the original device had suffered repeated damage during the KunstLichtKunst exhibition (1966). The essay attempts to trace the timeline of modifications from the original device to the reproductions.

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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.

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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.

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Siegel, Elizabeth. "Recollections and Reflections on László Moholy-Nagy." Leonardo 50, no. 3 (June 2017): 325–29. http://dx.doi.org/10.1162/leon_a_01432.

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In 1937, artist László Moholy-Nagy directed a new school based on Bauhaus principles, The New Bauhaus: American School of Design, in Chicago. Although the school lasted only one year, Moholy-Nagy soon reorganized it as the School of Design in Chicago and then as the Institute of Design, which was later incorporated into the Illinois Institute of Technology. The author conducted numerous telephone and in-person interviews with teachers and students of the school to find insight into Moholy-Nagy’s teaching and working methods, the unusual pedagogy of the school across its iterations and the camaraderie and mutual support felt by the students at this exciting place and time.

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Juárez Chicote, Antonio. "L. MOHOLY-NAGY - Vision in Motion." ZARCH, no. 12 (May 15, 2019): 226. http://dx.doi.org/10.26754/ojs_zarch/zarch.2019123581.

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Leal Rodrigues, Sofia. "“Vision in motion”: László Moholy-Nagy and the Genesis of the Visual Book." Disegno, no. 1-2 (2021): 86–109. http://dx.doi.org/10.21096/disegno_2021_1-2slr.

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This essay aims to analyze the ways in which László Moholy-Nagy’s concepts of “new typography” and “typophoto” were essential to the creation of a new typology of publications: visual books, which have a strong image component, resulting from the popularization of photography and cinema. New typography was defined in 1923 by László Moholy-Nagy in a short text for the catalog of the Bauhaus exhibition Staatliches Bauhaus in Weimar 1919–1923. New typography resulted from a new graphical orientation by Bauhaus, influenced by the ideology of several avant-garde movements, such as De Stijl and Russian Constructivism, that celebrated simplification, geometrization and the advantages of modern technology to construct a visual language that could communicate clearly and in a universal manner. In Moholy-Nagy’s text, new typography called for an analysis of the relation between form and content through the collapsing of the “classic model” (the “old typography”) and the objective use of photography. In 1925, Moholy-Nagy introduced the notion of typophoto in Painting, Photography, Film to realize the “bioscopic book” of El Lissitzky, which is more visual than textual. In publications like the exhibition catalog Staatliches Bauhaus in Weimar 1919–1923 or the Bauhausbücher series, Moholy-Nagy puts both principles into practice, converting the book into a space of visual exploration, endowed with a cinematic dimension that comes close to his notion of “vision in motion”. Through the use of a qualitative research methodology, and based on a critical review of literature and the direct observation of case studies, this essay aims to show how Moholy-Nagy’s multidisciplinary legacy contributed to a paradigm shift in book design.

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Kokkori, Maria, and Alexander Bouras. "Metallic Factures: László Moholy-Nagy and Kazimir Malevich." Leonardo 50, no. 3 (June 2017): 287–91. http://dx.doi.org/10.1162/leon_a_01426.

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In László Moholy-Nagy’s work, the concept of facture fused the material and immaterial, challenging preconceptions about its meaning, practice, purpose, matter and use. Facture was explored by the artist, in a way quite in tune with his Suprematist contemporaries, as an idea, a formless phenomenon, as well as a technological or scientific development. Exploring the significance of facture in Moholy-Nagy’s work, this article focuses on the theoretical and practical affinities that Moholy-Nagy and Kazimir Malevich shared in the early 1920s, as expressed in their approaches toward the creative process, with particular focus on the artists’ explorations of metallic factures.

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Hester, Thomas R., and Harry J. Shafer. "Lithic Workshops Revisited: Comments on Moholy-Nagy." Latin American Antiquity 3, no. 3 (September 1992): 243–48. http://dx.doi.org/10.2307/971718.

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Moholy-Nagy (1990) has argued that concentrations of chipped-stone debitage from mesoamerican sites, including Colhá, Belize, represent dumps and not workshops as we have suggested (Shafer and Hester 1983, 1986). She emphasizes microdebitage as the most reliable indicator of workshop location. Her argument is supported by the use of ethnoarchaeological accounts of debitage deposition from stone- and glass-artifact manufacture. Our alternative view is that microdebitage is only one of several criteria for identifying the loci of intensive stone-tool making. The Colhá data are also used to demonstrate variability in behaviors related to the formation of debitage deposits and the visibility of workshop activity. We contend that identifying precise manufacturing loci is less important than assessing the overall scale of production at a site and that site"s role in regional settlement systems.

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Kokkori, Maria, Joyce Tsai, and Francesca Casadio. "Special Section: In Focus: László Moholy-Nagy." Leonardo 50, no. 3 (June 2017): 272–73. http://dx.doi.org/10.1162/leon_e_01424.

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Fernández-Serrano, Martino Peña, and José Calvo López. "Projecting Stars, Triangles and Concrete." Architectura 47, no. 1-2 (July 24, 2019): 92–114. http://dx.doi.org/10.1515/atc-2017-0006.

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AbstractSometimes scientific-technical objects can be given an extended meaning as cultural icons and be received in art and architecture. To this end, the object must be detached from its original context and viewed from different, new perspectives.In 1922 Walter Bauersfeld constructed one of the first geodesic domes for testing projection devices in Jena. Walter Gropius and Lázló Moholy-Nagy were among the first to visit the Jena Planetarium; Moholy-Nagy received the dome in his book ›Von Material zu Architektur‹. Richard Buckminster Fuller further developed Bauersfeld’s concept from the 1940s and patented the construction principle of a geodesic dome under the name ›Building Construction‹ in 1954. His patent bears resemblances to the Bauersfeld Planetarium in Jena, which can be demonstrated by manuscripts by Bauersfeld from the Zeiss Archive in Jena. Fuller, on the other hand, also used the geodesic dome to explain his theory as Synergetic. The article traces the transformation of the technical object conceived by Bauersfeld via Moholy-Nagy and Fuller into a cultural icon of the 20th century.

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Eliel, Carol S. "The Spirit of Experimentation: Barbara Kasten and László Moholy-Nagy." Leonardo 50, no. 3 (June 2017): 321–24. http://dx.doi.org/10.1162/leon_a_01431.

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This article discusses how László Moholy-Nagy’s practice has informed Barbara Kasten’s in the context of their shared interest in experimentation and in the interdisciplinary, explicating those terms in both modernist and contemporary contexts. It considers the various ways Moholy-Nagy has influenced (and continues to influence) Kasten over the course of her ongoing career.

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Puigarnau, Alfons, and Oriol Vaz-Romero Trueba. "Lucía Moholy-Nagy. Cartas cruzadas en el entorno del gatcpac." Ra. Revista de Arquitectura 14 (May 26, 2015): 29. http://dx.doi.org/10.15581/014.14.1914.

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El 11 de enero de 1933, Walter Gropius escribe una carta a Josep Lluís Sert en la que manifiesta que Lucia Schultz, ex-esposa de László Moholy-Nagy, necesita salir de Alemania. Desde 1931, la ciudad de Barcelona y el GATCPAC viven momentos dulces con el gobierno de la segunda República española. El 30 de enero de 1933, Hitler es nombrado Canciller de Alemania y la situación es crítica para muchos artistas e intelectuales judíos. Este artículo es una narración del perfil creativo de Lucia Moholy- Nagy en clave de un intenso triángulo epistolar en momentos en que Europa se desmorona y parece apagarse la llama del rupturismo de vanguardia.

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Csoboth, Attila. "Man with a Light Projector: László Moholy-Nagy’s Cinematographic Toolkit." Disegno, no. 1-2 (2021): 178–88. http://dx.doi.org/10.21096/disegno_2021_1-2acs.

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The Light Prop for an Electric Stage—also known as the Light–Space Modulator—is a major piece by László Moholy-Nagy, yet its intended use has remained subject to debates. Does its importance lie in being a stage lighting tool, a three-dimensional mobile sculpture, or conversely, a projector which shows its full glory in Light Play: Black–White–Grey, the film Moholy-Nagy created with and about it? As a cinematographer, I will argue in this essay that the Light Prop stages an elemental engagement with light by someone constantly tinkering with the kind of lighting props that are still very much in use in photography and filmmaking today.

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Almonacid Canseco, Rodrigo. "Internationale Architektur, un fotolibro pionero en la divulgación de la emergente arquitectura moderna." EGA Revista de Expresión Gráfica Arquitectónica 27, no. 44 (March 24, 2022): 86–97. http://dx.doi.org/10.4995/ega.2022.15365.

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Se plantea un análisis del pionero de los fotolibros de arquitectura, Internationale Architektur (1925), estudiando la convergencia entre enfoque ideológico de Gropius y el diseño editorial de Moholy-Nagy para construir un discurso sólido sobre la emergente arquitectura moderna. Mediante la comparación con fotolibros anteriormente diseñados por Moholy-Nagy, y considerando los significativos cambios introducidos por Gropius en su segunda edición (1927), se puede comprender mejor la importancia de la divulgación como fenómeno específicamente moderno; lo cual, hoy, nos permite poder interpretar al International Style como una etiqueta comercial óptima para la propaganda de la arquitectura moderna, iniciada con el lanzamiento del primer Bauhausbücher.

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Salvant, Johanna, Julie Barten, Francesca Casadio, Maria Kokkori, Federica Pozzi, Carol Stringari, Ken Sutherland, and Marc Walton. "László Moholy-Nagy’s Painting Materials: From Substance to Light." Leonardo 50, no. 3 (June 2017): 316–20. http://dx.doi.org/10.1162/leon_a_01430.

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This article presents results from an extensive scientific examination of the painting materials used by László Moholy-Nagy. The artist employed modern materials, such as metals and plastics, alongside more traditional artists’ oil paint and canvas, creatively manipulating these diverse media to generate a unique visual vocabulary. This study highlights the intimate link between the material properties and the expressive content of Moholy-Nagy’s painted works.

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Vancheri, Luc. "Terra incognita : le cinéma selon László Moholy-Nagy." Ligeia N° 97-100, no. 1 (2010): 74. http://dx.doi.org/10.3917/lige.097.0074.

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Miller, Barbara L. "Transdimensional Space: From Moholy-Nagy to Doctor Who." Leonardo 52, no. 2 (April 2019): 128–34. http://dx.doi.org/10.1162/leon_a_01403.

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More than ever, Moholy-Nagy’s influence circulates within contemporary art and visual media. In this essay, the author reconsiders his extended influence in regard to the complex scientific theories of space-time and molecular forces he invokes in Light-Space Modulator. To do so effectively and provocatively, the author brings on board a fictive resource: “Doctor Who.” Like the TARDIS, Moholy’s kinetic sculpture is conceptually a transdimensional apparatus that figuratively bores through time and space to connect past, present and future and resonates with today’s perception of space-time-light entanglement.

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Healan, Dan M. "A Comment on Moholy-Nagy’s "The Misidentification of Lithic Workshops"." Latin American Antiquity 3, no. 3 (September 1992): 240–42. http://dx.doi.org/10.2307/971717.

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Moholy-Nagy"s (1990) discussion of the confusion of lithic-reduction sites (workshops) and workshop refuse dumps included criticism of a statement by Healan et al. (1983) as an example of such confusion. In reality no confusion is implied in the statement. Instead, Moholy-Nagy's criticism and the manner in which she defines her basic units reflect an overly narrow and simplistic conception of workshop and workshop dump.

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Bourneuf, Annie. "Interfaces and Proxies: Placing László Moholy-Nagy’s Prints." Leonardo 50, no. 3 (June 2017): 297–302. http://dx.doi.org/10.1162/leon_a_01428.

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Although the making of relief prints hardly seems to fit with László Moholy-Nagy’s reputation as an innovator working with new media and industrialized production, Moholy-Nagy did in fact make a few dozen woodcuts and linocuts in the 1920s. In this article, the author seeks to understand Moholy-Nagy’s engagement with these techniques by focusing on the manual prints of the 1924 version of his “Dynamic of the Metropolis,” the text of which is devoted to photographic media. Examining the roles of photomechanical and manual prints in avantgarde magazines, the author argues that relief prints played a key role in the circulation of Moholy-Nagy’s work and served as a substitute for media that posed difficulties for small-scale production.

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Behrens, Roy R., Eleanor M. Hight, and Louis Kaplan. "Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany." Leonardo 31, no. 4 (1998): 329. http://dx.doi.org/10.2307/1576680.

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Wessely, Anna. "László Moholy-Nagy und die neue linie." Acta Historiae Artium 48, no. 1 (October 1, 2007): 191–202. http://dx.doi.org/10.1556/ahista.48.2007.1.4.

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Pénichon, Sylvie, Krista Lough, and Paul Messier. "An Objective Revaluation of Photograms by László Moholy-Nagy." Leonardo 50, no. 3 (June 2017): 292–95. http://dx.doi.org/10.1162/leon_a_01427.

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Throughout his career, László Moholy-Nagy (1895–1946) produced many photograms, a selection of which was examined in European and American collections. Sheet dimensions and thickness, base color, surface gloss and texture were recorded. The analysis of the data and the results of this investigation are presented in this article. The article also explores the effectiveness of paper characterization and how it can contribute to and enhance historical research when applied to a particular body of work by one artist.

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Garvey, Timothy J. "László Moholy-Nagy and Atomic Ambivalence in Postwar Chicago." American Art 14, no. 3 (October 2000): 23–39. http://dx.doi.org/10.1086/424367.

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Kim, Nam Hoon. "Study on the meaning of Typophoto by Lazlo Moholy-Nagy." Journal of the architectural institute of Korea planning & design 31, no. 1 (January 30, 2015): 105–12. http://dx.doi.org/10.5659/jaik_pd.2015.31.1.105.

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Editors. "Introduction." Disegno, no. 1-2 (2021): 6–7. http://dx.doi.org/10.21096/disegno_2021_1-2int.

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Intrigue still surrounds Moholy-Nagy and the issue is also an opportunity to address some of the more evasive and hidden aspects of his character. Though he is widely known and recognized as one of the most important Bauhaus-inspired thinkers—see, for example, Alysa Nahmias’ recent documentary The New Bauhaus —many details of his life and work still need to be discovered and made available to the wider public. It is also very telling in this respect that the definitive intellectual biography of László Moholy-Nagy is still to be written. Much of this might be due in part to his early death, which left several of his projects unfinished, and also to the difficult times he lived through, when—as some of the papers published in this issue will show—the shortage of materials, lack of socio-political stability, and unpredictability of funding undermined many of his plans.

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Davis, Lee, and Bori Fehér. "Design for Life: Moholy-Nagy’s Holistic Blueprint for Social Design Pedagogy and Practice." Disegno, no. 1-2 (2021): 44–67. http://dx.doi.org/10.21096/disegno_2021_1-2ld-bf.

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Design discourse is evolving in response to a confluence of global challenges: a pandemic; increasing economic disparities; systemic racism and social inequality; rising authoritarianism, nationalism and political division; and the urgency of the climate crisis. Designers are increasingly questioning their role and responsibility in the world and seeking opportunities to leverage their creative talents to address these intractable problems. At the center of this critique is also a fundamental reappraisal of the predominant design paradigm, the anthropocentric process of “human-centered design,” promulgated since the mid-1950s (Dreyfuss 1955). A growing body of literature has emerged, questioning the human-centric perspective in design (Benyus 1997; Norman 2005; IDEO 2014; Fulton 2019; Escobar 2018; Boradkar 2015; Weaver 2019; Hess 2020). Concomitantly, the concept of “life-centered design” is gaining attention among design educators, students and practitioners. But to refer to the concept of life-centered design as “new” would be disingenuous. László Moholy-Nagy advocated for such a revolution a hundred years ago. From the early 1920s he called for a holistic, organic, life-centered design pedagogy, practice, and mindset. Much has been written about Moholy-Nagy’s art, photography and teaching but relatively little attention has been given to his pioneering thinking, writing, and practice in “social design.” Moholy-Nagy was also a pioneer in articulating a role for designers in addressing the critical economic, social, and environmental challenges of the time. As the founding director of the New Bauhaus and the Institute of Design in Chicago, he believed designers would need to move beyond the consumerist view in favor of “a better understanding of those principles which control all life”—individual life, ocial life, and life in the natural world. Driven by his own humble beginnings and rural upbringing, his personal trauma in war, the rise of Fascism and the onset of a second world war, his itinerant life across diverse cultural, artistic, natural, and theoretical influences, Moholy-Nagy evolved a blueprint for a vision of life-centered design that is as salient today as it was a century ago.

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CLARKE, T. "The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy 1917 1946." Journal of Design History 11, no. 2 (January 1, 1998): 177–79. http://dx.doi.org/10.1093/jdh/11.2.177.

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Krems, David. "Ein Jahrhundert des Lichts – die Fotogramme des László Moholy-Nagy." Maske und Kothurn 65, no. 1-2 (December 28, 2019): 93–106. http://dx.doi.org/10.7767/mako.2019.65.1-2.93.

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Hester, Thomas R. "On the Misuse of Projectile Point Typology in Mesoamerica." American Antiquity 51, no. 2 (April 1986): 412–14. http://dx.doi.org/10.2307/279957.

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Comments are offered on the inappropriate use of Texas-derived projectile point typology at certain Mesoamerican sites. Moholy-Nagy et al. (1984) recently applied labels to point groups from the Maya site of Tikal that are misleading in terms of the original type descriptions. Similar misuse of the Texas typology in central Mexico and in the Tehuacan Valley is noted.

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Nelson, Andrea. "László Moholy-Nagy andPainting Photography Film: A guide to narrative montage." History of Photography 30, no. 3 (September 2006): 258–69. http://dx.doi.org/10.1080/03087298.2006.10443468.

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Kékesi Kun, Árpád. "Performing Agitation : László Moholy-Nagy and the 1924 Special Issue of MA (Today) on Music and Theater." Theatron 15, no. 4 (2021): 95–109. http://dx.doi.org/10.55502/the.2021.4.95.

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MA [Today] reflects the heterogeneity of theater after World War I and its 1924 special issue is a comprehensive document of the avant-garde ambition to renew mise-en-scène. Although MA was not a theater journal, it regularly published dramatic texts, performance reviews and manifesto-like essays on recent forms of staging. László Moholy-Nagy supported MA and its editor Lajos Kassák from Berlin, where he got involved in staging contemporary plays and operas. This paper addresses the question why the performing arts were especially important for Kassák’s circle and examines the relationship of MA to avant-garde theater movements. It also gives a brief survey of the Musik und Theaternummer with its introduction by Kassák before engaging with the theory and practice of experimental theater in Moholy-Nagy’s oeuvre.

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Somaini, Antonio. "Walter Benjamin's media theory and the tradition of the media diaphana." Zeitschrift für Medien- und Kulturforschung 7, no. 1 (2016): 9–26. http://dx.doi.org/10.28937/1000106452.

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"The article presents an in-depth analysis of Benjamin’s use of the German term Medium, in order to show how his entire media theory may be interpreted as centered on the interaction between the historically changing realm of the technical and material Apparate, and what he calls in the artwork essay the »Medium of perception«: the spatially extended environment, the atmosphere, the milieu, the Umwelt in which sensory experience occurs. This notion of »Medium of perception« is then located within the long, post-Aristotelian tradition of the media diaphana, whose traces can be found in the 1920s and 1930s in the writings of authors such as Béla Balázs, Fritz Heider, and László Moholy-Nagy. </br></br>Der Artikel präsentiert eine eingehende Analyse von Benjamins Gebrauch des deutschen Begriffs »Medium«, um zu zeigen, dass seine gesamte Medientheorie fokussiert ist auf die Interaktion zwischen dem historisch veränderlichen Bereich der technischen und materiellen Apparate einerseits und dem, was er in dem Kunstwerkaufsatz das »Medium der Wahrnehmung« nennt: die räumlich ausgedehnte Umgebung, die Atmosphäre, das Milieu, die Umwelt, in der sinnliche Wahrnehmung erfolgt. Dieser Begriff des »Mediums der Wahrnehmung« wird dann innerhalb der langen, nacharistotelischen Tradition der media diaphana verortet, deren Spuren in den 1920er und 1930er Jahren in den Schriften von Autoren wie Béla Balázs, Fritz Heider und László Moholy-Nagy zu finden sind."

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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.

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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)

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Stein, Emma. "László Moholy-Nagy and Chicago’s War Industry: Photographic Pedagogy at the New Bauhaus." History of Photography 38, no. 4 (October 2, 2014): 398–417. http://dx.doi.org/10.1080/03087298.2014.949487.

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Prümm, Karl. "Le travail de la caméra : une pratique intermédiale. La conception de l’image du caméraman Eugen Schüfftan (1886–1977)." Intermédialités, no. 6 (August 10, 2011): 65–78. http://dx.doi.org/10.7202/1005506ar.

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Cette étude vise à analyser le travail de la caméra, dans le cinéma narratif, en tant que pratique intermédiale, à partir de l’exemple d’un des plus grands opérateurs du XXe siècle, le caméraman Eugen Schüfftan. Après avoir offert un bref parcours de sa carrière artistique, l’analyse cherche à montrer la manière avec laquelle Schüfftan a développé une conception personnelle de l’image cinématographique, en s’appuyant sur les traditions de la peinture (Max Liebermann) et sur les expériences de la photographie contemporaine (László Moholy-Nagy, Otto Umbehr Umbo, Helmar Lerski).

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Temesi, Apol. "Raw Material-Centric Didactics : Multi-Sensory Material Knowledge in Design Education." Disegno 5, no. 1-2 (2021): 154–64. http://dx.doi.org/10.21096/disegno_2021_1-2at.

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The raw material-centric and holistic designer attitude has become a subject of design education in recent years. This approach is expanding and has adapted itself to the full scope of advanced capitalism, including consideration of the use of raw materials, market reception, and the environmental aspects. The pedagogic roots of the new perspective, such as the DIY approach and the origins of the expressive sensory atlas, can be traced back to the Bauhaus foundation courses. Tactility is today the starting point for examining consumer behavior related to the market success of raw material developments. The pilot courses, launched in collaboration with Italian and Dutch technical and art universities, are based on the methodologies of Itten and Moholy-Nagy and examine our relationship with raw materials and their unexplored possibilities. Moholy-Nagy’s approach of seeking solutions to life’s problems not in isolation but bearing the community’s interests in mind was revived by Victor Papanek in the 1970s and has recently been renewed in Alice Rawsthorn’s expression “attitudinal design.” The raw material-centric pilot courses of the previous years have now become permanent at European art universities. This article introduces the methodological approaches to raw material-centric design, that are built on my own experiences and innovative solutions. The holistic view of these approaches combines Moholy-Nagy’s “material-form-function” unity with the motivations behind consumption and the sensory properties of materials.

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Blaumann, Edit. "Bios, Lobsters, Penguins: Moholy-Nagy’s Vitalist Thinking from Francé to London Zoo." Disegno, no. 1-2 (2021): 68–84. http://dx.doi.org/10.21096/disegno_2021_1-2eb.

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In this essay I will examine how László Moholy-Nagy’s relationship to biology evolved and how the beginnings of ecological design underlying the Bauhaus’s modernity project were outlined in two movies shot during his London years. Two documentaries, the Lobsters and The New Architecture and the London Zoo directly address the relation between animals and humans. The narrative of the documentaries, their camera work and the contemporary reception of them reveals a lot about the reconfiguration of Bauhaus ideology as a blueprint of ecological design during the emigration to the United States. We can trace Moholy-Nagy’s approach to “design according to the laws of nature” back to the impact of Raoul Francé’s concepts of Biotechnik, the notion of Bios and his monist beliefs, which were already present in his worldview during the Weimar years of the 1920s. The difference between the English edition of his design method and pedagogy book New Vision (1938) and the original Von Material zu Architektur (1929) clearly demonstrates the shift towards biological functionalism. Aiming to establish harmony between human life and the biological forces of nature and he asserted that a well-functioning biotic community is the precondition for a well-functioning human society. Even if he only indirectly argued for ecological protection in that early stage of ecological awareness, Moholy-Nagy wrote his name in the history of ecological design.

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Troeller, Jordan. "Lucia Moholy's Idle Hands." October 172 (May 2020): 68–108. http://dx.doi.org/10.1162/octo_a_00393.

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At the time that she was affiliated with the Bauhaus, Lucia Moholy took a series of photographs at the nearby feminist commune of Schwarze Erde (also known as Schwarzerden), which was founded in 1923 by the poet Marie Buchhold and the pedagogue Elisabeth Vogler (and counted among its members Tilla Winz and Ilse Hoeborn). These photographs focus our attention on androgynous hands engaged in prosaic domestic tasks, as well as on the bodies of women and children involved in the commune's radical pedagogy of renewed bodily movement. The centrality of these images in Schwarzerden's publicity materials, along with their subsequent service as models for future photographs (most notably by Ruth Hallensleben), stands in contrast to the lack of appreciation Moholy received for performing similarly domestic labor for her male peers at the Bauhaus, including, above all, her husband, László Moholy-Nagy. By tracing the various ways in which idleness unfolds as a pictorial equivalent of housework, I argue that these images amount to a critique of an avant-garde photographic discourse that privileged “originality” and “production” over “documentation” and “reproduction.” Reading the photographs against the intention of their maker, who herself dismissed their “artistic value,” I propose that in mounting a challenge to artistic authorship, such images render visible the gendered contradictions of New Vision photography.

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Englund, Magnus. "Isokon Furniture — Modernist Dreams in Plywood." Louis I. Kahn – The Permanence, no. 58 (2018): 82–85. http://dx.doi.org/10.52200/58.a.ky5uaj0p.

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The Isokon Furniture Company was never commercially successful, yet its legacy has stubbornly refused to die and disappear. Even today, this radical collection of plywood furniture is manufactured and used. The main reason is of course the names associated with it: Jack Pritchard, Wells Coates, Marcel Breuer, Walter Gropius, László Moholy-Nagy and – more recently – Edward Barber & Jay Osgerby. The genius little Isokon Penguin Donkey, first designed by the Austrian émigré architect Egon Riss in 1939 and marketed by publisher Allen Lane’s then new imprint Penguin Books, is particularly popular with younger generations of design students.

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Bonduki, Inês Pereira Coelho. "Notations in passing - uma tese visual por Nathan Lyons." ARS (São Paulo) 16, no. 33 (August 27, 2018): 81–99. http://dx.doi.org/10.11606/issn.2178-0447.ars.2018.143636.

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Esse artigo parte da edição das fotografias do livro visual de autor Notations in Passing (1974), considerado a tese visual do fotógrafo e curador americano Nathan Lyons, para discutir o que ele compreende serem os cinco níveis de construção do discurso no livro visual: o contexto, a ordem, a justaposição, os símbolos e as características físicas. Apresentando brevemente a influência da idéia de ‘alfabetização visual’ de Moholy-Nagy na teoria de Lyons, discute-se em que medida o autor trabalhou a prática fotográfica enquanto ferramenta disparadora de questões teóricas ou as questões teóricas enquanto ferramentas disparadoras de fotografias.

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Sigman, Alexander. "Robot Opera: Bridging the Anthropocentric and the Mechanized Eccentric." Computer Music Journal 43, no. 1 (January 2020): 21–37. http://dx.doi.org/10.1162/comj_a_00498.

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The recent emergence of robot opera, in which robots and robotic entities have served polyvalent and at times ontologically ambiguous roles, has challenged the distinction made by Bauhaus artist László Moholy-Nagy between anthropocentric and mechanized eccentric theater, as is outlined in his 1924 essay “Theater, Circus, Variety.” When incorporated into the context of music theater, is the robot dimension intended to replace human activities and modes of expression; to augment, disembody or dislocate them; or rather to absorb them, such that the robot becomes an ersatz human presence in and of itself? If the latter, does the robot adequately emulate human attributes of musical expression, or does it establish its own artificial expressive mode and set of performance techniques? With Moholy-Nagy's criteria for a so-called Theater of Totality and these leading questions in the background, salient robot opera examples of the past several years will be discussed. Repertoire examples include Tod Machover's pioneering Death and the Powers (2010), the Komische Oper Berlin production My Square Lady (2015), Keiichiro Shibuya's Scary Beauty (2018), and works emerging from the University of Sussex Centre for Research in Opera and Music Theatre Robot Opera Mini Symposium, held in 2017.

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De Souza, Rodrigo Mendes. "Bauhaus e a puravisualidade." Revista Limiar 6, no. 12 (November 26, 2019): 156–95. http://dx.doi.org/10.34024/limiar.2019.v6.9586.

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O presente artigo percorre a extensão que a teoria da puravisualidade (Sichtbarkeit) adquire nos programas e na prática pedagógica da Bauhaus, como também as tensões e as distensões desta teoria com a objetividade (Sachlichkeit), representada pela produção do arquiteto e teórico Gottfried Semper. Para tanto, as referências são os textos de Konrad Fiedler, Adolf von Hildebrand, Alois Riegl, expoentes desta primeira corrente estética de matriz neokantiana. Assim, estas obras são contrastadas com os escritos do fundador da Bauhaus, Walter Gropius, e a produção dos alunos da escola durante o curso preliminar – Vorkurs –, fundado por Johannes Itten e, depois, legado a Laszlo Moholy-Nagy e Josef Albers.

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Journal articles on the topic 'Moholy-Nagy'

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