#photograms

Alice Lex-Nerlinger

scanned film photograms, gifted items, digital lyric collage

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1939

Fujicolor Crystal Archive print, 27.9 x 35.6cm

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1937-1946

Fujicolor Crystal Archive print, 27.9 x 35.6cm

László Moholy-Nagy (Hungarian, 1895-1946)

Untitled, 1936-46

Fujicolor Crystal Archive print, 27.9 x 35.6 cm

László Moholy-Nagy (Hungarian, 1895-1946)

Photogram with Eiffel Tower and Peg Top, 1928

Silver gelatin photograph, 38.7 x 29.9cm

László Moholy-Nagy (Hungarian, 1895-1946)

Photogram No. II, 1929

Silver gelatin photograph, 95.5 x 68.5cm

László Moholy-Nagy (Hungarian, 1895-1946)

LIS, 1922

Oil on canvas, 131 x 100cm

László Moholy-Nagy (Hungarian, 1895-1946)

K XVII, 1923

Oil on canvas, 95 x 75cm

László Moholy-Nagy (Hungarian, 1895-1946)

A 19, 1927

Oil on canvas, 80 x 96cm

László Moholy-Nagy (Hungarian, 1895-1946)

CH BEATA I, 1939

Oil on canvas, 119 x 120cm

László Moholy-Nagy (Hungarian, 1895-1946)

CH SPACE 6, 1941

Oil on canvas, 119 x 119cm

László Moholy-Nagy Retrospective exhibition at Schirn Kunsthalle, Frankfurt

8th October 2009 - 7th February 2010

Artworks © Hattula Moholy-Nagy for the Estate of László Moholy-Nagy © VG Bild-Kunst, Bonn 2009 / Artists Rights Society (ARS), New York

ART BLART_ ART AND CULTURAL MEMORY ARCHIVE

Curated blog and article by Dr. Marcus Bunyan:

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▪️YouTube silent video >> László Moholy-Nagy Ein Lichtspiel Schwarz Weiss Grau (Light Play: Black, White, Grey) [1930 / 6mins.+34secs.]:

Ein Lichtspiel Schwarz Weiss Grau (Light Play Black White Grey) is perhaps Lázló Moholy-Nagy's best-known film work. It features his Light-Space Modulator, also known as a lighting fixture for an electric stage.

Light-Space Modulator is a key work in the history of kinetic art and even new media art, and therefore one of the most important works of art of its time.

Initially conceived by Moholy-Nagy in the early 1920s and built between 1928 and 1930, its completion required the involvement of a number of collaborators.

It was intended to be the centrepiece of the Contemporary Room at the Provinzialmuseum in Hanover, planned (but never realised) by Moholy-Nagy and Alexander Corner, the museum's director.

Light-Space Modulator was exhibited in 1930 at an exhibition in Paris on the work of the German Werkbund. From the point of view of the object, it forms a complex and beautiful set of metal, plastic and glass elements, many of them movable by the action of an electric motor, surrounded by a series of coloured lights.

Moholy-Nagy used it to produce light shows that he then photographed or filmed, as in the case of the film shown here. Although in black and white, the film manages to capture the kinetic glow of the sculpture.

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▪️YouTube video >> László Moholy-Nagy: Proto-Conceptual Artist [2019 / 5mins.+36secs.]:

Coinciding with the Bauhaus centenary, Hattula Moholy-Nagy and Daniel Hug, the daughter and grandson of László Moholy-Nagy, consider the lasting impact of the artist’s work today. Hauser & Wirth’s exhibition in London dedicated to Moholy-Nagy examines his influence as a proto-conceptualist, whose work interrogated the role of the art object and the artist in society, anticipating questions posed by subsequent generations of artists.

László Moholy-Nagy is on view at Hauser & Wirth London from 22 May – 7 September 2019.

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▪️ YouTube video >> Moholy-Nagy: Future Present exhibition overview at the Guggenheim [2016 / 3mins+14secs.]:

Curator Karol P. B. Vail provides a brief introduction to Moholy-Nagy: Future Present, a comprehensive retrospective of the work of László Moholy-Nagy (1895–1946), on view at the Solomon R. Guggenheim Museum, New York, May 27–September 7, 2016. To learn more visit https://www.guggenheim.org/moholy.

“Untitled”, 1930s-40s, Osamu Shiihara, photogram

The Getty has gathered several innovative photo works made from the 1920s to the 1950s for Abstracted Light: Experimental Photography, part of their PST ART: Art & Science Collide series. The exhibition also includes several experimental films and a room dedicated to Thomas Wilfred’s  “Lumia Instruments” that produce colorful moving abstract forms.

From the museum-

Light abstraction emerged after the First World War as a preoccupation of photographers and filmmakers in international centers of art production. Many artists began seeing light as something that could be manipulated, then photographed and filmed, like any other physical material. This exhibition offers a selection of works, dating from the 1920s onward, that reveals these artists’ fascination with the formal qualities of light as well as their innovative methods of projecting, reflecting, and refracting its rays to liberate their media from traditional modes of representation. They emphasized the novelty of their varied approaches by inventing new terms-including “Rayograph” (Man Ray), “Light Drawing” (Barbara Morgan), “Luminogramm” (Otto Steinert), “Photogenics” (Lotte Jacobi), and “Lumia” (Thomas Wilfred) -to characterize their work. “More and more artists of our generation have begun to contemplate light with the eyes of a sculptor gazing upon a block of marble,” noted Wilfred, “seeing in light a new and basic medium of expression with unlimited possibilities.”

Below are a few selections.

Edward W. Quigley, “Untitled (Light Abstraction)” 1931-39, and “Vortex”, 1933, Gelatin silver prints

Nathan Lerner, “Car Light Study #7”, 1939, and Hy Hersh, “Untitled (Abstraction)”, About 1950, Chromogenic print

Man Ray, “Untitled (Sequins)”, 1930 and “Untitled (Corkscrew and Lampshade)”, 1927

Francis Bruguiére, “Untitled (Design in Abstract Forms of Light)”, About 1927