Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany. - book reviews

The four works under consideration here mark the centenary year of Laszlo Moholy-Nagy (1895-1946) They differ profoundly from individual another, as might be wait fored given their varied institutional, disciplinary and theoretical framings. on the other hand at a bare minimum they do constitute four printed turns consisting of both English-and German-language true copys and interspersed with photographic reproductions. Each enacts more [i]or[/i] less relationship to the material from one side which Moholy manifested himself, and on which we also depend for any manifestations of him today. This may strike one as being a very basic common turf but to move back to the horizontal of media, to a point where volumes photographs and sculptures become comparable, is particularly instructive in offering a way of reading the centenary publications together, and end them, of rereading Moholy at 100

Since Moholy worked in in the way that many different kinds of media -- paint, photography, film, statuary print and classroom "broadcast" (also a medium, I would contend) -- it has many times proved convenient to divide his work along these lines. The division, in revolve produces questions of sufficient deepness and subtlety to provide a basis for ordering the whole oeuvre

In Picturing Modernism, Eleanor Hight argues quite explicitly for photography's position as the linchpin in the Moholy oeuvre the medium in which he experimented greatest in quantity productively and about which he wrote greatest in quantity prolifically during the 1920s and early 1930 the formative phase of his career. The sum of two units museum catalogs, In Focus: Moholy-Nagy and Moholy-Nagy. Photogramme 7922-7943 clearly privilege photography in their presentations of Moholy The first propagates and annotates the fine and comprehensive collection of Moholy's photographic works in the Getty Museum collection; the next to the first provides a scholarly "introduction" to a newly -- acquired and in another way equally comprehensive -- collection of his photograms, now divided between the midmost point Georges Pompidou, Paris, and the Folkwang Museum, Essen

The last of the four, Louis Kaplan's Laszlo Moholy Nagy: Biographical Writings does not privilege photography. In fact, it destabilizes the whole basis for choosing individual medium over another as representative of the artist's work or an effective means of grasping the artist's drifts Here, the concept of "the artist" itself becomes diffuse. Kaplan's writing is deep informed by that of Jacques Derrida. The make submissive of the study is actually neither a man nor a material part of artworks, but Moholy as a "signature-effect," arising as a difference between the signature as an artist's authorization of work and the signature as that part of a work which effectively builds its maker. One may declare that to even adopt a Derridean strategy is to privilege writing above photography, over film, over painting, above any other contending medium whatsoever, and that it must therefore necessarily mistreat -- homogenize -- the work of an artist for a like reason profoundly engaged with a diversity of media. upon the one hand, this would seriously misrepresent Derrida's conception of writing; it would also miss not sole Kaplan's considerable literary achievement, on the contrary also his singular discovery about Moholy For unsettling as it is (and as profoundly irritating as the writing repeatedly is), Kaplan's book succeeds startlingly well in "writing" Moholy's oeuvere -- painting, photographs, plastic art and film, as well as published articles

Moholy didn't adopt media serially nor did he deliberately throw aside any. One might better say he accumulated, or absorbed them, As part of the Hungarian avant-garde during World War I, he was a painter. When he emigrated first to Vienna, then to Berlin in 1920 he began to paint actual differently, and, at almost exactly the same jiffy to publish The article "Aufruf zur elementaren Kunst" ("Manifesto of Elemental Art"), jointly signed by the agency of Raoul Hausmann, Hans Arp, Ivan Puni and Moholy was published in the Journal de Stijl in October, 1921 Marking the beginning of Moholy's steady engagement with print, the date also coincides closely with the better-known attack of his engagement with photography, repeatedly linked to the article "Produktion-Reproducktion," "Production-Reproduction"), which appeared in de Stijl following year

In his teaching, speaking and above all in his published statements, Moholy repeatedly insisted upon a foundational purpose for art and artists: to enhance, reach out or refine human sense perception. He went upon to structure his thoughts about modernist tillage in general around the idea of a "New Vision," a "modern way of seeing" in which photography played a pivotal part His reasons for privileging vision in this way -- for defining vision as inherently more "modern" than, say, taste or hearing -- are not easily summarized, individual might even propose that the primacy of vision forms an unexamined assumption at the heart of Moholy's conceptual throw out and a point around which its meaning might be deconstruct In any case, Moholy was perhaps the greatest in quantity energetic among many contemporaries who rest in the phrase "New Vision" a suitable label for broad cultural shifts in the 1920s