László Moholy-Nagy

By Ellen Lupton Known for its bold sans-serif typefaces, crisp asymmetrical grids and clean use of negative space, the Bauhaus emerged as the forbearer of a new look—one that seized the tools of mass production in the creation of a radical new art. Today, just over 100 years after the Bauhaus’s opening in 1919, the school’s visual hallmarks have come to define modernity as it appears on the printed page.The official catalog for Letterform Archive’s inaugural gallery exhibition, Bauhaus Typography at 100 explores the school’s legacy in graphic and typographic design through artifacts of its own making—its books, magazines, course materials, product catalogs, stationery, promotional fliers and other ephemera. From the book’s beautifully designed pages, readers learn of typographic masters László Moholy-Nagy, Herbert Bayer and Joost Schmidt, who channeled Constructivism’s geometric forms and optimism for industry into printed vehicles for the school’s teachings. Here is where Bauhaus typography—its rejection of serifs and capitals, embrace of experimental alphabets, insistence on universal clarity, and innovation in layering and hierarchy—took its distinctive shape. The catalog also shines light on the Bauhaus’s lesser-known early forays into expressive lettering and illustration, also tracing the school’s immediate impact on seminal design movements such as the New Typography and, of course, on design practitioners working today. Lavishly illustrated, carefully researched and written, and accompanied by an in-depth introduction from noted Bauhaus expert, author and curator Ellen Lupton, Bauhaus Typography at 100 is a must-have for any fan of modern design.Hardcover280 pages | 500 imagesLetterform Archive Books, 20219.5 x 7.5 inchesISBN 9780998318097Typography, Bauhaus Design

Bauhaus Typography at 100

Edited by Walter Gropius and László Moholy-Nagy. A facsimile of the gorgeous Bauhaus edition of Malevich's classic treatise on Suprematism. Kasimir Malevich (1879–1935) debuted his new creative theory of basic geometric shapes with the publication of his Suprematist manifesto in 1915. He later published a follow-up entitled The Non-Objective World in 1927, which further elucidated his vision of an art that emphasized the “primacy of pure feeling.” With Suprematism, Malevich strove to move his artistic focus away from representation, choosing instead to evoke emotion through a fundamental grammar system of squares, circles and other basic shapes. Though he was not an official member of the Bauhaus, Malevich’s emphasis on simplified forms provided an important link between the school of design and the Suprematist movement.As part of the publisher’s ongoing Bauhausbücher series, Lars Müller’s facsimile edition of Malevich’s text is translated into English with the original design and typography. Hardcover102 pages | 92 black-and-white illustrations7 x 9 inchesLars Müller Publishers, 2021ISBN 9783037786642Bauhaus, Facsimile

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

By Hans-Michael KoetzleLászló Moholy-Nagy (1895–1946) was a painter, photographer, Bauhaus teacher, and founder of the New Bauhaus and the School of Design in Chicago—one of the most important artistic figures of the twentieth century. As one of the first artists to work across such a wide range of media—including painting, sculpture, photography, film, and design—Moholy-Nagy set standards that remain potent today, particularly in photography, which had hitherto not been regarded as art. And his influence extended far beyond his actual work: as a teacher, first at the Bauhaus in Weimar and Dessau, then, after fleeing the Nazis, in Chicago, Moholy-Nagy shared his revolutionary vision of uniting art and life in order to permit artistic activities to overflow into everyday life.This volume in the Great Masters of Art series offers an accessible, insightful account of Moholy-Nagy’s life and work, one that puts him in context of his times and assesses his ongoing influence and legacy.Hardcover80 pages | 58 illustrations Hirmer Publishers, 20205.5 x 8 x 0.5 inchesISBN 9783777434032Artist Monographs, Bauhaus

László Moholy-Nagy (Great Masters in Art)

Edited by Walter Gropius, László Moholy-NagyThe foundational curriculum of the Bauhaus as outlined by one of its foremost theoristsHungarian painter and photographer László Moholy-Nagy (1895–1946) was one of the Bauhaus’ most esteemed faculty members as coteacher of the school’s foundational course and the director of the metalworking studio. This 1929 text explores the educational ethos that informed Moholy-Nagy’s personal teaching approach as well as the Bauhaus school on the whole: “Jedermann ist begabt” (everyone is talented). This publication focuses on the foundational course developed by Moholy-Nagy, a curriculum built on structure, texture and organization, with observational exercises for students that emphasize tactility. It also touches upon Moholy-Nagy’s interest in photographic technology and its effects on human perception.As the final volume in the publisher’s Bauhausbücher series, Lars Müller has released a facsimile edition of Moholy-Nagy’s text translated into English with the original design and typography.Hardcover244 pagesLARS MÜLLER PUBLISHERS, 20217 x 9 inchesISBN 9783037786673 Bauhaus, Architecture, Education

László Moholy-Nagy: From Material to Architecture (Bauhausbücher 14)

Edited by Petra Eisele, Isabel Naegele, and Michael Lailach In 1929, Berlin’s Martin-Gropius-Bau launched the exhibition “New Typography.” László Moholy-Nagy, who had left Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists. He designed a room—entitled “Wohin geht die typografische Entwicklung?” (“Where is typography headed?”)—where he presented 78 wall charts illustrating the development of the “New Typography” since the turn of the century and extrapolating its possible future. To create these charts, he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus. The functional graphic design, initiated by the “New Typography” movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art. For the first time, this comprehensive publication showcases Moholy-Nagy’s wall charts which have recently been rediscovered in Berlin’s Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with “A” for “Asymmetry” and ending with “Z” for “Zukunftsvision” (“vision of the future”). By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life. Hardcover247 pagesVerlag Kettler, 20199.6 x 1 x 11.9 inchesISBN 9783862067541Artist Monograph, Graphic Design, Typography

Moholy-Nagy and the New Typography A-Z

By Oliver Botar Life in the digital economy of information and images enriches us but often induces a sense of being overwhelmed. Sensing the Future: Moholy-Nagy, Media and the Arts considers the impact of technology by exploring ways it was addressed in the practice of the Hungarian polymath artist László Moholy-Nagy (1895-1946), a prominent professor at the Bauhaus and a key figure in the history of Modernism. Moholy-Nagy felt that people needed guidance to cope with the onslaught of sensory input in an increasingly technologized, mediatized, hyper-stimulating environment. His ideas informed media theorists such as Walter Benjamin, John Cage, Sigfried Giedion, and Marshall McLuhan, who anticipated digital culture as it emerged. Should we then regard Moholy-Nagy as a pioneer of the digital? His aesthetic engagement with the technology/body problematic broached the notions of immersion, interactivity and bodily participation, innately offering a critique of today’s disembodiment. Was he then both a pioneer and a proto-critic of the digital? This book is intended to introduce this seminal figure of post-medial practices to younger generations and, by including responses to his work by contemporary artists, to reflect on the ways in which his work is relevant to artistic practice now. Having been highly praised by experts, this classic receives a second and slightly revised edition. Hardcover192 pages | 420 illustrationsLars Müller, 20238.25 x 11.75 inchesISBN 9783037787465 Design

Sensing the Future: Moholy-Nagy, Media and the Arts

Edited by Lars Müller "The handsome hardcover reprint is most valuable as a historical artifact."—A Daily Dose of Architecture Books When the Bauhaus moved to Dessau in 1924, it was finally possible to publish the first of the Bauhausbücher that Walter Gropius (1883–1969) and László Moholy-Nagy (1895–1946) had first conceived of in Weimar. The series was intended to give insight into the teachings of the Bauhaus and the possibilities it offered for incorporating modern design into everyday aspects of an ever-more-modern world. First in the series was Gropius’ International Architecture, an overview of the modern architecture of the mid-1920s and an early attempt to articulate what would come to be known as International Style architecture. In a brief preface, Gropius summarized the guiding principles he identified uniting the avant-garde around the world. But the real thrust of the book is visual, with an extensive illustrated section showing buildings in Europe and the Americas. According to Gropius, these illustrations show the “development of a consistent worldview” that dispensed with the prior decorative role of architecture and expressed itself in a new language of exactitude, functionality and geometry. Published for the first time in English, this new edition of the first of the Bauhausbücher is accompanied by a brief scholarly commentary. Presented in a design true to Moholy-Nagy’s original, International Architecture offers readers the opportunity to explore the Bauhaus’ aesthetic and its place in the world as Gropius himself was trying to define them. Hardcover108 pagesLARS MÜLLER PUBLISHERS, 20197 x 9 inchesISBN 9783037785843Bauhaus, Architecture

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László Moholy-Nagy

Bauhaus Typography at 100

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

László Moholy-Nagy (Great Masters in Art)

László Moholy-Nagy: From Material to Architecture (Bauhausbücher 14)

Moholy-Nagy and the New Typography A-Z

Sensing the Future: Moholy-Nagy, Media and the Arts

Walter Gropius: International Architecture (Bauhausbücher 1)

Shop at Neue László Moholy-Nagy

Bauhaus Typography at 100

Kasimir Malevich: The Non-Objective World (Bauhausbücher 11)

László Moholy-Nagy (Great Masters in Art)

László Moholy-Nagy: From Material to Architecture (Bauhausbücher 14)

Moholy-Nagy and the New Typography A-Z

Sensing the Future: Moholy-Nagy, Media and the Arts

Walter Gropius: International Architecture (Bauhausbücher 1)

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László Moholy-Nagy