Moholy-Nagy and the new typography : A-Z / Petra Eisele, Isabel Naegele, Michael Lailach [eds.].
Publisher: [Dortmund, Germany] : Verlag Kettler, [2019?]Copyright date: ©2019Description: 247 pages : illustrations, facsimiles ; 31 cmContent type: text | still image Media type: unmediated Carrier type: volume001: 021994945ISBN: 9783862067541; 3862067548Contained works: Moholy-Nagy, László, 1895-1946. Works. SelectionsSubject(s): Moholy-Nagy, László, 1895-1946 -- Exhibitions | Moholy-Nagy, László, 1895-1946 | Bauhaus -- Exhibitions | Bauhaus | Graphic design (Typography) -- Exhibitions | Graphic design (Typography)Genre/Form: Exhibition catalogs.DDC classification: 745.4 LOC classification: N6822.5.M63 | A4 2019Summary: "In 1929, ten years after the Bauhaus was founded, 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."--bauhaus-movement.com (viewed October 2021).| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|---|
| Book | MAIN LIBRARY Book | 745.4 EIS (Browse shelf(Opens below)) | 1 | Available | 113723 |
Enhanced descriptions from Syndetics:
Features recently discovered, previously unpublished materials from the archives of the Kunstbibliothek in Berlin by Bauhaus professor and renowned avant-garde artist László Moholy-Nagy Includes work by Moholy-Nagy, Guillaume Apollinaire, F.T. Marinetti, Theo van Doesburg, Herbert Bayer, Walter Dexel, and El Lissitzky Published concurrently with an exhibition at the Staatliche Kunstbibliothek in Berlin The 1920s in Germany witnessed a revolution in visual communication, typography, and graphic design that still influences us today. In 1929, Hungarian avant-garde artist and Bauhaus professor László Moholy-Nagy was invited to design a room dedicated to the future of typography at the Martin-Gropius Bau in Berlin as part of a larger exhibition called New Typography ("Neue Typographie").
The exhibition was organized by the Ring of New Advertising Designers ("ring neue werbegestalter"), a group started by Kurt Schwitters in 1927 which consisted of 12 avant-garde designers and artists who explored a common vision of modernity in advertising and graphic design. In five years, the Ring put on over 20 shows in Germany, and invited guest artists to exhibit with them.
Moholy-Nagy's room in the New Typography show was called "Where is Typography Headed?". He created 78 freestanding panels with work by himself, other artists, and contemporary printed matter, which addressed the current trends and future direction of typography. The panels are reproduced together in this book for the first time, along with an Abcdarium of terms and concepts by a roster of noted typography and design historians.
Place of publication from publisher's website (viewed October 2020).
Exhibition: Kunstbibliothek, Staatliche Museen zu Berlin, Germany (29.08.-15.09.2019)
Includes bibliographical references.
"In 1929, ten years after the Bauhaus was founded, 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."--bauhaus-movement.com (viewed October 2021).
There are no comments on this title.