Laszlo Moholy-Nagy

Moholy-Nagy and The New Vision

Published in 1990, this unique, and rather scarce, catalogue accompanied an exhibition of nearly 100 works by Lazlo Moholy-Nagy and other Bauhaus artists that was held at the Tokyo Metropolitan Museum of Photography, July 19-Aug. 28, 1990. Moholy-Nagy and his colleagues (such as Walter Gropius) were advocates of a movement called The New Vision (Neue Optik; Neues Sehen), who sought to move photography from its “landscape” models to an art that could offer new ways of seeing the objective world that was invisible to the human glance. New Vision advocates experimented with unconventional forms and techniques, using unusual angles, new uses of light and shadow, photomontage and collage, etc. This book collects and reproduces a wonderful selection of the works featured in the exhibition fromLaszlo Moholy-Nagy, Aenne Biermann, Paul Citoen, Franz Roh, T. Lux Feininger, Umbo, Walter Peterhans, Karl Straub, Franz Ehrlich, Heinz Loew, Walter Funkat, Herbert Bayer, Katt Both, Edmund Collein, Eugen Batz, Gertrud Arndt, Gyula Pap, Lotte Stam-Beese, Werner Mantz, Jaroslav Rossler.
Text in Japanese with captions in English and German.

Laszlo Moholy-Nagy, Aenne Biermann, Paul Citoen, Franz Roh, T. Lux Feininger, Umbo, Walter Peterhans, Karl Straub, Franz Ehrlich, Heinz Loew, Walter Funkat, Herbert Bayer, Katt Both, Edmund Collein, Eugen Batz, Gertrud Arndt, Gyula Pap, Lotte Stam-Beese, Werner Mantz, Jaroslav Rossler.

* Condition: Very Good-Fine – All care is taken to provide accurate condition details of used books, photos available on request.

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Z
Lagerkatalog 1970



“Z” is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller,  Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenberg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
* Condition: Very good (light wear only) – All care is taken to provide accurate condition details of used books, photos available on request.

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Z (1970)
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Information
edited by Sarah Cook


This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as “Information” at The Museum of Modern Art, New York, in 1970, and the equally influential “Les Immatériaux,” initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information’s significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries.

While information science draws distinctions between “information,” signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place.

Artists surveyed include
David Askevold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, László Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag

Writers include
James Bridle, Matthew Fuller, Francesca Gallo, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marielouise Kroker, Scott Lash, Alessandro Ludovico, Jean-François Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil

About the Editor
Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, “Database Imaginary.” She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee.

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Information (Documents of Contemporary Art)
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Apocalypse and Utopia
A View of Art in Germany 1910-1939

Fantastic little catalogue produced on the occasion of the exhibition “Apocalypse and Utopia” at Fischer Fine Art Limited, London, March – May 1977.
Features the work of Karl Arnold, Ernst Barlach, Willi Baumeister, Herbert Bayer, Max Backmann, Heinrich Campendonck, Otto Dix, Lyonel Feininger, Georg Grosz, Erich Heckel, Hannah Höch, Adolf Hölzel, Johannes Itten, Alexei Von Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Oskar Kokoschka, Georg Kolbe, Käthe Kollwitz, August Macke, Franz Marc, Ludwig Meidner, Laszlo Moholy-Nagy, Otto Müller, Emil Nolde, Max Hermann Pechstein, Christian Rohlfs, Oskar Schlemmer, Karl Schmidt0Rottluff, Kurt Schwitters, Arthur Segal, Hans Walter.

“The idea for this exhibition arose when we were fortunate enough to be offered the famous Hess Guest Book. Around this nucleus we have planned a view of art in Germany between 1910 and 1939. With the generous help of many collectors and galleries we have been able to illustrate the varied aspects of this complex and important period of German art.”
The Guest Book was a two volume book-set that spanned the years 1907-1956. They were the guest books of the home of Industrialist Alfred Hess and Thekla Hess, who were great lovers and collectors of art. Their home in Erfurt regularly gathered together leading figures of the art, music and literature worlds, and their guest books collected the inscriptions, autographs, drawings and watercolours of these times.
“The Guest Book is a remarkable, unique document of the most innovative period of 20th-century German art and forms a reference source of the greatest importance.”
With an introduction by professor and author Norbert Lynton, the first part of this catalogue reproduces works from The Guest Book, and the second full-colour and black and white reproductions of works in the exhibition of 1977. Includes a full catalogue of the works.

* Condition: Very Good – All care is taken to provide accurate condition details of used books, photos available on request.

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Apocalypse and Utopia
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