bauhaus
imaginista
Edition 4

Still Undead

Kurt Schwerdtfeger, Reflektorische Farblichtspiele (Reflecting color-light plays, 1922
light performance, apparatus reconstructed 2016
Courtesy of Microscope Gallery and Kurt Schwerdtfeger Estate © 2016.

László Moholy-Nagy, The mechanics of the light prop, 1930
Watercolour, ink and pencil on circular paper, mounted on round hardboard, diameter: 52 cm
Bauhaus-Archiv Berlin, photo: Hermann Kiessling.

Ludwig Hirschfeld Mack, Colour Chord 21-stringed flat sound box, no date (c. mid-20th century)
Grainger Museum Collection, University of Melbourne.
Gift of Olive Hirschfeld, 1980. 01.0017.

György Kepes, Simulated effects of a proposed mile-long
programmed luminous wall, suggested for the Boston Harbor
Bicentennial, 1964–65, photo: Nishan Bichajian
Massachusetts Institute of Technology Program in
Art, Culture and Technology, © Juliet Stone.

Muriel Cooper, 1969, Promotional Poster for Bauhaus:
Weimar, Dessau, Berlin, Chicago, 
Image courtesy
Muriel R. Cooper Collection, Morton R. Godine Library, Archive
Massachusetts College of Art and Design, reprinted by
permission of the MIT Press.

Stan VanDerBeek, Movie-Drome, ca. 1963
Courtesy: Estate of Stan VanDerBeek, photo: Bob Hanson.

Richard Hamilton, Diab DS-101 Computer, 1985–89
Tate-Modern, © R. Hamilton. All Rights Reserved / VG Bild-Kunst, Bonn 2019,
photo: © Tate, London 2019.

Article on the Bauhaus punk band,
in: New Styles New Sounds, from October 1981, p. 29
© Kasper de Graaf (Editor) and Malcolm Garrett (Art Director).

●Edition Concept

The Bauhaus object for the chapter Still Undead is Kurt Schwerdtfeger’s Reflektorische Farblichtspiele (Reflecting Color-light-play) from 1922. Producing a combination of moving abstract shadows, light forms, and sound, it emerged as a creative development at the Bauhaus from outside of the curriculum.

As the starting point for this chapter, the Farblichtspiele open up numerous strands for consideration, including the Bauhaus parties, performances, experiments with light, the artist as engineer, as well as new media and commercial design. Schwerdtfeger’s apparatus and similar works that followed it at the Bauhaus have also been an important reference for expanded cinema, pointing to a future in which sound, experimental film and digital culture would all form part of the contemporary art scene.

Still Undead traces a chronology of artistic experiments with new technologies that have emerged from academic institutions, including the New Bauhaus in Chicago, the Centre for Advanced Visual Studies and Media Lab at MIT, as well as the sound and performance workshops at Leeds School of Art. This chapter explores how these innovations from within the context of academia led to collaborations with industry and commerce as well as spilling over into the fields of digital technology, art, popular and counter- culture. In this way, Still Undead shows how in the context of the postwar societies of the United States, Great Britain, and Germany, artistic experimentation transcended institutional structures on one hand, while on the other, were integrated into them.

Today, creative innovation and countercultural resistance all too easily are directed toward economic profit through the marketing of products and social environments. The blurring of the borders between experimentation, institutionalization, and commercialization, which was already characteristic of the Bauhaus, has now become the norm. This tendency to merge resistant experimental practices into the consumption, emphasizes the necessity for the re-politicization of art, technology, and popular culture today.

●Related Articles
●Interview
Interview with Filmmaker and Photographer Ronald Nameth — On filming Warhol’s Exploding Plastic Inevitable and the influence of the New Bauhaus

Ronald Nameth has been working with film, electronics, video, and digital media from the 1960s until today. In addition to Warhol, Nameth has collaborated with several key figures in the arts including musical innovators John Cage and Terry Riley, photographers Aaron Siskand and Art Sinsabauagh, as well as many other artists and performers. In this interview with bauhaus imaginista he recalls how the New Bauhaus method of teaching allowed him to explore the nature of various media to better understand the medium itself and its creative potentials. → more

●Article
Light as a Creative Medium in the Art of György Kepes

Design works employing light refraction, fixation, and reflection were already a feature of László Moholy-Nagy’s teaching at the Bauhaus. When in the summer of 1937 Moholy followed Walter Gropius’s advice and accepted Norma K. Stahle’s invitation to head the New Bauhaus in Chicago, he lay great store by György Kepes’s help in setting up the school in the New World. → more

●Article
Vision in Motion —> Information Landscapes — From Stage Props and Camouflage Techniques to Democratic Apparatus and Cybernetic Networks

The examination of approaches, models and strategies for a redefinition of visual culture, the control of images and the shaping of perception made former Bauhäuslers interesting to the American establishment. Their knowledge was incorporated in the development of democratization tools that aid in the fight against fascism and, later, were strategically used against Eastern Bloc countries during the Cold War. → more

●Article
Bedsit Art in the Leeds Experiment

In the 1970s the city of Leeds was noted as home of “the most influential art school in Europe since the Bauhaus,” and a thriving punk and post-punk music scene. Gavin Butt explores a small art school milieu in which avant-garde experiments in photography, performance, film and sound art gave shape to non-conformist presentations of the body and of sexual and gendered identity. → more

●Article
The Bauhaus Journey in Britain

The Bauhaus's teaching approach emphasised the idea of working as a community of creatives and producers rather than merely focusing on the traditional pupil-teacher relationship. In this essay the focus will be on the Bauhaus’s impetus to bring art and design into everyday life highlighting in Great Britain’s visual culture in the 1930s and between 1960s and 70s and how it influenced youth and popular culture during the swinging sixties in London. → more

●Article
Festive and Theatrical — The Mask Photos of Gertrud Arndt and Josef Albers as an Expression of Festival Culture

Costuming played a central role at the Bauhaus. Gertrud Arndt's mask photographs (a series of 43 self-portraits) derive directly from these Bauhaus festivals. As well as a series of nine color photographs taken in direct succession at Black Mountain College in 1940 by Josef Albers. → more

●Article
Latter-day Bauhaus? — Muriel Cooper and the Digital Imaginary

The Bauhaus is a monument—a book with the physical heft to match its scholarly ambition. Published in 1969 by the MIT Press, The Bauhaus: Weimar, Dessau, Berlin, Chicago stands fourteen inches tall, ten inches wide, and two and-a-half inches thick, weighing in at over ten pounds. It is the revised, expanded, and redesigned translation of editor Hans Wingler’s 1962 German tome Das Bauhaus, 1919–1933: Weimar, Dessau, Berlin. Muriel Cooper, the MIT Press’s first Design and Media Director, consistently rated the book as one of her proudest achievements among the nearly 500 she would design or oversee during her tenure. → more

●Article
Communitas … After Black Mountain College

In the wake of Black Mountain College’s dissolution in 1954, two former students Paul and Vera Williams, left North Carolina and founded Gate Hill Artists’ Cooperative about an hour’s drive outside of New York City. “The Land,” as the Coop was often called by the artists, composers, filmmakers, choreographers, poets, and potters who built their homes and studios in this rural setting, evinced many of the pedagogical lessons of the Bauhaus translated through the American educational experiment in combining art and life that was Black Mountain College. → more

●Audio
Bauhaus — Bela Lugosi’s Dead

The influential post-punk band, Bauhaus, helped invent the musical genre and sartorial style of goth-rock. Formed in 1979, their nineminute-long debut single Bela Lugosi’s Dead includes a refrain that has also inspired the title for the exhibition chapter Still Undead. → more

●Research Archive
Zwischen Formreihen und Phasenfilmen. Die Filmexperimente von Kurt Kranz
Christian Hiller

in: Maske & Kothurn. bauhaus & film (Thomas Tode), Band 57, Heft 1-2, 2013, S. 141–156.

DE Size: 1 MB
Capturing Modernity, Jazz, Film, and Moholy- Nagy’s Light Prop for an Electric Stage
Edit Tóth

from: Modernism/modernity, Vol. 22, No. 1, January 2015, pp. 23–55.

EN Size: 2 MB
Source:See a more detailed discussion of the Light Prop and other Bauhaus works' relationship to phenomenology in: Edit Tóth: Design and Visual Culture from the Bauhaus to Contemporary Art: Optical Deconstructions, Routledge, London 2018.
A “Schooling of the Senses”: Post-Dada Visual Experiments in the Bauhaus Photomontages of László Moholy-Nagy and Marianne Brandt
Elizabeth Otto

from: New German Critique, Vol. 36, No. 2, Summer 2009, pp. 89-131.

EN Size: 836 KB
Stroboscopic: Andy Warhol and the Exploding Plastic Inevitable
Homay King

from: Criticism, Vol. 56, No. 3, Fall 2014, pp. 457–479.

EN Size: 1 MB
Bauhaus
Kasper de Graaf, Malcolm Garrett

from: New Sounds New Styles, Oct. 1981.

EN Size: 2 MB
Case Studies of Modernist Refugees and Émigrés to Australia, 1930–1950. Light, Colour and Educational Studies under the Shadow of Fascism and War
Andrew McNamara, Ann Stephen, Isabel Wünsche

from: Cristina Pratas Cruzeiro, (Ed.) Migrations. Migration Processes and Artistic Practices in a Time of War: From the 20th Century to the Present. Belas-artes, Lisbon, pp. 271–289.

EN Size: 1 MB
●All Articles
Filter by Language:
  • EN
  • DE
Interview with Filmmaker and Photographer Ronald Nameth — On filming Warhol’s Exploding Plastic Inevitable and the influence of the New Bauhaus EN
Light as a Creative Medium in the Art of György Kepes EN
Vision in Motion —> Information Landscapes — From Stage Props and Camouflage Techniques to Democratic Apparatus and Cybernetic Networks EN
Sehen in Bewegung —> Information Landscapes — Von Theaterrequisiten und Camouflage-Techniken zu demokratischen Apparaten und kybernetischen Netzwerken DE
Bedsit Art in the Leeds Experiment EN
The Bauhaus Journey in Britain EN
Festive and Theatrical — The Mask Photos of Gertrud Arndt and Josef Albers as an Expression of Festival Culture EN
Festives und Theatralisches — Die Maskenfotos von Gertrud Arndt und Josef Albers als Ausdruck von Festkultur DE
Latter-day Bauhaus? — Muriel Cooper and the Digital Imaginary EN
Communitas … After Black Mountain College EN
Bauhaus — Bela Lugosi’s Dead EN
Bauhaus — Bela Lugosi’s Dead DE