Excavating surface: On the repair and revision of laszlo moholy-nagy’s z vii (1926)

Bauhaus Construct: Fashioning Identity, Discourse and Modernism

Volumn , Issue , 2013, Pages 142-162

  Tsai, Joyce ^a  

^a NATIONAL GALLERY OF ART   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84893053460     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203868676     Document Type: Chapter

References (30)

1. Galerie der Sturm, Moholy-Nagy, Hugo Scheiber, Gewebe aus Alt-Peru, Sturm- Gesamtschau (Berlin: Der Sturm, 1924).
2. Krisztina Passuth, Moholy-Nagy (London: Thames and Hudson, 1985), plate 236.
3. Adolf Behne, “Snob und Anti-Snob” Die Weltbuhne 20 (1924): 235-6.
4. “Bemerkungen” Das Kunstblatt 7, no. 3 (1924): 96.
5. El Lissitzky and Hans Arp, “Now the production of works of art is judiciously so facilitated and simplified that nobody can do better than order his works by telephone from his bed, by a common painter”, Die Kunstismen; Les Ismes de lArt; The Isms of Art (Munich and Leipzig: Eugen Rentsch Verlag, 1925), ix-x.
6. Laszlo Moholy-Nagy, “Abstract of an Artist” in The New Vision, 1928 and Abstract of an Artist, trans. Daphne Hoffmann, 4th rev. edn (New York: Wittenborn, Schultz, 1947), 79.
7. Oskar Schlemmer, Diaries and Correspondences, ed. Tut Schlemmer, trans. Krishna Winston (Middletown, CT: Wesleyan University Press, 1972), 183-4.
8. Ise Gropius, Diary, 6 November 1925, 93, Bauhaus Archiv, Berlin.
9. Laszlo Moholy-Nagy, Malerei, Photographie, Film (Munich: Albert Langen, 1925), 5, 37.
10. Christopher Phillips, ed., Photography in the Modern Era: European Documents and Critical Writings, 1913-1940 (New York: Metropolitan Museum of Art, 1989), 94.
11. Moholy-Nagy, “Diskussion uber Ernst Kallai’s Artikel ‘Malerei und Fotografie,” “ i.10 1, no. 6 (1927): 233-4.
12. “Response by Laszlo Moholy- Nagy,” trans. Harvey L. Mendelsohn, in Photography in the Modern Era, 102.
13. Laszlo Moholy-Nagy, Z VII (1926), gift of Richard Zeisler, National Gallery of Art, Washington, DC.
14. Eleanor M. Hight, Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany (Cambridge, MA: MIT Press, 1995), 212-13.
15. Andreas Haus, Moholy Nagy: Photographs and Photograms, trans. Frederic Samson (New York: Pantheon Books, 1980), 8.
16. Willi Wolfradt, “Berliner Austellungen” Der Cicerone, 16 no. 4 (1924): 191-2.
17. “Wertheim Gallery,” The Times, 2 January 1937: section 2, 8.
18. Jerrold Lanes, “Exhibition at Guggenheim Museum” Artforum 8 (1970): 81.
19. Roberta Smith, “On the Paths of Two Giants, Voyagers in Modernism” New York Times, 3 November 2006: section E.2, 30.
20. Fr. Kalivoda, “Postscript” trans. F D. Klingender, Telehor 1, no. 1-2 (1936): 45.
21. Laszlo Moholy-Nagy, “Lichtrequisit einer elektrischen Buhne” Die Form: Zeitschrift fur gestaltende Arbeit 5, no. 11/12 (1930): 297-9.
22. Laszlo Moholy-Nagy, “Az uj tartalom es az uj forma problemajarol” Akasztott Ember no. 3-4 (1922): 3, translation from Passuth, Moholy- Nagy, 286-8.
23. L. Moholy-Nagy, “Dear Kalivoda” trans. F D. Klingender, Telehor 1 no. 1-2 (1936): 30.
24. Kalivoda, “Postscript” 46.
25. Moholy-Nagy, “Dear Kalivoda” 30.
26. Laszlo Moholy-Nagy. Light Prop for an Electric Stage (Light-Space Modulator), Busch-Reisinger Museum, Cambridge, MA.
27. Sibyl Moholy-Nagy, Experiment in Totality, 1st edn (New York: Harper, 1950), 67.
28. Kalivoda, “Postscript” 46.
29. Sibyl Moholy-Nagy, Experiments in Totality, 2nd edn (Cambridge, MA: MIT Press, 1969), 135.
30. Jeannine Fiedler, “Moholy-Nagy’s Color Camera Works, a Pioneer of Color Photography” in Color in Transparency: Photographic Experiments in Color, 1934-1946, ed. Jeannine Fiedler and Hattula Moholy-Nagy (Gottingen: Steidl, 2006), 20.