Published on the 100th anniversary of the Bauhaus, Moholy Album offers a new perspective on the work of one of the movement’s central members, László Moholy-Nagy
László Moholy-Nagy had a profound influence on the trajectory of 20th-century photography. He experimented with the medium and wrote extensively on its function. Influenced by the art movements of Constructivism and Dadaism, the artist created photograms and photomontages characterised by their unusual perspectives and experimental compositions. He also made straight camera photographs, which were similarly avant-garde, and the focus of a new book, Moholy Album,that seeks to explore Moholy-Nagy’s photographic practice — from the mid-1920s, during which he taught at the Bauhaus, followed by the several years he spent moving across Europe, before immigrating to the US in 1937.
When Hattula Moholy-Nagy (hereinafter referred to as Hattula) inherited her father’s estate in 1971, she was surprised by how little documentation it contained of both László Moholy-Nagy at work, and of his work itself. “Many of Moholy-Nagy’s diaries and private files got lost during his emigration between Amsterdam, London and Chicago, but the majority were simply destroyed following his early death in 1946,” explains Jeannine Fiedler, the editor of Moholy Album.
Hattula, an archaeologist and a member of the board of directors of the Estate of László Moholy-Nagy (ELMN), discovered that the missing documentary materials had been discarded by her Mother during the family’s move from Chicago to San Francisco. Over the years, she slowly managed to salvage some of it, including a sheaf of 73 lightweight cardboard sheets, each with nine contact prints, approximately 6 x 9cm in size, pasted onto one side in portrait format. The sheaf was accompanied by additional contact prints and strips, negatives, enlargements, paper folders and envelopes from photoshops in Germany, Switzerland and England.
Although the material shed light on Moholy-Nagy’s filing system, and his working process during the period in which he was most engaged with black-and-white photography, it was fragmented and lacked context. But, when Fiedler observed the sheaf of cardboard sheets she was transfixed. “The cardboard sheets were the fundament of the project, which began in 2010, and concluded with the completion of the Moholy Album in June 2019,” she explains. Fiedler proceeded to undertake painstaking research, which involved travelling across Europe to identify the people and places depicted in the images. She also employed the contact prints as a starting point from which to explore the entirety of the Estate of László Moholy-Nagy — curating related images and material around the individual stills. “During my work … every so often an image came to mind: the image of a garland revolving around itself,” she reflects. “This is how I perceive the movement of Moholy-Nagy’s thoughts and work — as a kind of constant, self-heating commotion; a new idea, a new brainwave, as a daily drive for action.”
The resulting book, Moholy Album, hones in on Moholy-Nagy’s black and white camera photography and explores it in the context of his life during the interwar period. The publication looks beyond the images, exploring the processes and material objects that underpin them. “I was able to gather together about 1,000 images, which, together, showcase the wide scope of Moholy’s black-and-white photographs,” explains Fiedler, “from his attempts at employing camera photography as an artistic means in 1924-5, until his emigration to the United States in 1937, when the medium became less important to him”.
Below, Fiedler discusses the process of compiling the book and what it contributes to our understanding of Moholy-Nagy today.