Picturing modernism : Moholy-Nagy and photography in Weimar Germany
著者
書誌事項
Picturing modernism : Moholy-Nagy and photography in Weimar Germany
MIT Press, c1995
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注記
Bibliography: p. [236]-[249]
Includes index
内容説明・目次
内容説明
Although recognized today as a pioneer in constructivist art, kinetic sculpture, and graphic design, the Hungarian artist Laszlo Moholy-Nagy (1895-1946) made his most important contribution to 20th-century art in photography. This text is a comprehensive treatment of the photographs and theoretical writing of this pivotal figure in modernist photography. Eleanor Hight rejects the traditional approach to modernist photography in which Moholy is seen as merely applying formalist means to his subject matter. Instead, her study focuses on his intensive program to develop a visual language, which he called the "New Vision," to explore and image the modern world. She examines such issues as: the relationship between his theory and Russian formalist criticism; the impact of contemporary physics on his use of light in abstract photography; the new concepts of architectural space that informed his photographs of buildings; and his visual scrutiny of modern urban society. After several years as an exile in Berlin, Moholy was invited by the architect Walter Gropius to teach at the Bauhaus from 1923 to 1928, the most fertile period of Moholy's career.
His work from this period, Hight observes, represents the first attempt by an artist of the modern movement to develop a cohesive theory of photography and to propose a broad, innovative set of applications for photography, film, and light equipment.
目次
- Reading and misreading Moholy
- from Berlin to the Bauhaus
- production/reproduction
- light - medium and message
- camera vision as modernist metaphor
- the experience of modernity
- the Bauhaus books
- the new vision, language of modernism
- exile.
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