© Lucia Moholy, 1926, Untitled [Southern View of Newly Completed Bauhaus, Dessau]

Walter Gropius, director of the Bauhaus from 1919 to 1928, changed the face of art education with his philosophy of integrating art, craft, and technology with everyday life at the Bauhaus. When Gropius’s newly designed building in Dessau was completed in December 1926, its innovative structure did more than house the various components of the school; it became an integral aspect of life at the Bauhaus and a stage for its myriad activities, from studies and leisurely pursuits to theatrical performances. From the beginning, the camera recorded the architecture as the most convincing statement of Gropius’ philosophy as well as the fervor with which the students embraced it.
Masters and students alike at the Bauhaus took up the camera as a tool with which to record not only the architecture and daily life of the Bauhaus, but also one another. Although photography was not part of the original curriculum, it found active advocates in the figures of László Moholy-Nagy and his first wife Lucia Moholy. With his innovative approach and her technical expertise, the Moholy-Nagys provided inspiration for others to use the camera as a means of both documentation and creative expression.(read more here and here)
Above photo is shown at Photography at the Bauhaus (a part of the exhibition Lyonel Feininger Photographs, 1928-1939).
Exhibition dates:25th October 2011 – 11th March 2012 at the The J. Paul Getty Museum, Los Angeles.
» find more exhibitions here «

© Lucia Moholy, 1926, Untitled [Southern View of Newly Completed Bauhaus, Dessau]

Walter Gropius, director of the Bauhaus from 1919 to 1928, changed the face of art education with his philosophy of integrating art, craft, and technology with everyday life at the Bauhaus. When Gropius’s newly designed building in Dessau was completed in December 1926, its innovative structure did more than house the various components of the school; it became an integral aspect of life at the Bauhaus and a stage for its myriad activities, from studies and leisurely pursuits to theatrical performances. From the beginning, the camera recorded the architecture as the most convincing statement of Gropius’ philosophy as well as the fervor with which the students embraced it.

Masters and students alike at the Bauhaus took up the camera as a tool with which to record not only the architecture and daily life of the Bauhaus, but also one another. Although photography was not part of the original curriculum, it found active advocates in the figures of László Moholy-Nagy and his first wife Lucia Moholy. With his innovative approach and her technical expertise, the Moholy-Nagys provided inspiration for others to use the camera as a means of both documentation and creative expression.
(read more here and here)

Above photo is shown at Photography at the Bauhaus (a part of the exhibition Lyonel Feininger Photographs, 1928-1939).

Exhibition dates:
25th October 2011 – 11th March 2012 
at the The J. Paul Getty Museum, Los Angeles.

» find more exhibitions here «