Bauhaus Magazine issue 4 – Photo
Bauhaus Dessau Foundation (Ed.)
The fourth issue is dedicated to photography at the Bauhaus and exclusively features twenty-six works from Thomas Walther’s collection that one day will expand the collection in Dessau. An interview with the collector Thomas Walther and an accompanying essay by Rolf Sachsse on the history of collecting Bauhaus photography open the issue. Wolfgang Thöner describes the Dessau masters’ home for László Moholy-Nagy and Lyonel Feininger as the nucleus of Bauhaus photography, and Torsten Blume devotes himself to the photo albums of students and teachers at the Bauhaus that have shaped its identity. Gottfried Jäger remembers Moholy-Nagy as the "Leonardo of the twentieth century," and Franziska Brons writes about the early days of aerial photography. Plus a magazine section: Fifty years of Gropiusstadt, gleanings from documenta from the perspective of the Bauhaus, and Marcel Breuer and eroticism.
2012, Spector Books, Leipzig
152 pp. with illustrations, paperback
The Theater of the Bauhaus
Spatial dance, gestural dance, rod dance, Triadic Ballet: Oskar Schlemmer developed his costumed, masked dancer into an “art figure” synthesizing dance, masquerade, and music. The fourth volume of the Bauhausbücher presents the main characteristics of the Bauhaus concept of the stage.
Picture Journal for the Age
In the 1920s, the announcements of the legendary series of “Bauhaus Books” always spoke of a “picture journal for the age”. László Moholy-Nagy toyed with the idea of a critical survey of contemporary magazine productions. This book now asks the question of how the planned “Bauhaus Book” might have argued its case.
The Non-objective World
Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925. Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless has a close connection to the ideas of the school in terms of content.