Happy Birthday Bauhaus!

& UMBO 1952

EXHIBITION Jul 21 — Dec 19, 2009

HELENE HÜTTICH and SUSANNE OEMLER

Gobelin von Martha Erps-Breuer für das Wohnzimmer im Versuchshaus Muche, Weimar Am Horn, 1923

gelatin silver print, printed ca. 1923

15,9 x 15,6 cm

© The Artist's Estate / Courtesy Kicken Berlin

HANNES MEYER (1889–1954)

Untitled (Co-op show case by Hannes Meyer, Freidorf, Basel), 1924

gelatin silver print, printed ca. 1924

10 x 7,7 cm

© The Estate of Hannes Meyer / Courtesy Kicken Berlin

HANNES MEYER (1889–1954)

Vitrine Co-op, 1924

gelatin silver print, printed ca. 1924

7,5 x 10,2 cm

© The Estate of Hannes Meyer / Courtesy Kicken Berlin

GRIT KALLIN-FISCHER (1897–1973)

Untitled (Geometrical Drawing), 1920s

pencil and colored crayon on paper

30,4 x 22,5 cm

© Estate of the Artist / Courtesy Kicken Berlin

HANS FINSLER (1891–1972)

Untitled (Wall covering fabric by Benita Koch-Otte), ca. 1930

gelatin silver print, printed ca. 1930

13,6 x 9,1 cm

© Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt / Courtesy Kicken Berlin

EDMUND COLLEIN (1906–1992)

Untitled (Material study. Cutted metal sheet, Josef Albers' preliminary course, Bauhaus Dessau), ca. 1927-30

gelatin silver print, printed ca. 1927-30

9,1 x 7,1 cm

© Ursula Kirsten-Collein, Berlin / Courtesy Kicken Berlin

GERTRUD ARNDT (1903–2000)

Untitled (Masked self portrait, Dessau), 1930

gelatin silver print, printed ca. 1930

21,7 x 13,7 cm

© VG Bild-Kunst, Bonn / Courtesy Kicken Berlin

GRIT KALLIN-FISCHER (1897–1973)

Untitled (Eduard L. Fischer, member of Oskar Schlemmer's theater workshop, Bauhaus Dessau), ca. 1928

gelatin silver print, printed ca. 1928

23,7 x 17,8 cm

© Estate of the Artist / Courtesy Kicken Berlin

BAUHAUS/ ANONYMOUS

Bauhaus Dessau (Heinz Loew), 1930

gelatin silver print, printed ca. 1930

11,6 x 8 cm

© Public Domain / Courtesy Kicken Berlin

BAUHAUS/ ANONYMOUS

Untitled (Lis Beyer-Volger im Kostüm aus Papier. Weißes Fest), 1926

gelatin silver print, printed ca. 1926

10,6 x 8 cm

© Public Domain / Courtesy Kicken Berlin

KATT BOTH (1905-1985)

Untitled (Katt Both at the Wasserkuppe mountain, Rhön region), 1932

gelatin silver print, printed ca. 1932

9 x 8,1 cm

© Wolfgang Both, Rotenburg a.d. Fulda / Courtesy Kicken Berlin

BAUHAUS/ ANONYMOUS

Untitled (Hermann Bunzel), 1927-1931

gelatin silver print, printed c. 1927-1931

10,9 x 8,9 cm

© Public Domain / Courtesy Kicken Berlin

HANS VOLGER (1904–1973)

Bengt von Rosen, Bauhaus Weimar, 1924

gelatin silver print, printed ca. 1924

10,1 x 7 cm

© Estate of the Artist / Courtesy Kicken Berlin

GRIT KALLIN-FISCHER (1897–1973)

Portrait Edward L. Fischer, c. 1928-1933

gelatin silver print, printed c. 1928-1933

12 x 8,9 cm

© Estate of the Artist / Courtesy Kicken Berlin

WALTER PETERHANS (1897–1960)

Untitled (Stilleben im Sand), ca. 1929/30

gelatin silver print, printed ca. 1929/30

22,5 x 16,8 cm

© Fotografische Sammlung, Museum Folkwang, Essen / Courtesy Kicken Berlin

UMBO (1902–1980)

Spielhof, 1928

gelatin silver print, printed ca. 1928

26 x 21,3 cm

© Phyllis Umbehr / Galerie Kicken Berlin / VG Bild-Kunst, Bonn

GRIT KALLIN-FISCHER (1897–1973)

Untitled (Student at the dining hall terrace, Bauhaus building Dessau), ca. 1926-28

gelatin silver print, printed ca. 1926-28

18 x 17,4 cm

© Estate of the Artist / Courtesy Kicken Berlin

GERD BALZER (1909–1986)

Untitled (Blick vom Balkon auf die Terasse der Bauhauskantine mit Bauhäuslern, Dessau), ca. 1929-31

gelatin silver print, printed c. 1929-31

8,3 x 5,4 cm

© Public Domain / Courtesy Kicken Berlin

HEINZ LOEW (1903-1981)

Untitled (Studies for illumination advertisement by Franz Ehrlich and Heinz Loew from Joost Schmidt's sculpture workshop, Bauhaus Dessau, 1928

gelatin silver print, printed ca. 1928

8,8 x 11,8 cm

© Estate of the Artist / Courtesy Kicken Berlin

UMBO (1902–1980)

Der rasende Reporter / The Raging Reporter, 1926

gelatin silver print, printed later

30 x 20,9 cm

© Phyllis Umbehr / Galerie Kicken Berlin / VG Bild-Kunst, Bonn

HEINZ LOEW (1903–1981)

Untitled (Studies for illumination advertisement by Franz Ehrlich and Heinz Loew from Joost Schmidt's sculpture workshop, Bauhaus Dessau), 1928

gelatin silver print, printed ca. 1928

12 x 17,1 cm

© Estate of the Artist / Courtesy Kicken Berlin

LOUIS HELD (1851–1927)

Untitled (Bauhausfest im 'Ilmschlößchen' bei Weimar, Juni), 1924

gelatin silver print, printed ca. 1924

14,7 x 21 cm

© Public Domain / Courtesy Kicken Berlin

HANS VOLGER (1904–1973)

'Großer Schweinemarkt' in Volgers Atelier im Bauhaus, vor Abfahrt Volgers nach Kapstadt, 1928

gelatin silver print, printed ca. 1928

10,9 x 7,9 cm

© Public Domain / Courtesy Kicken Berlin

HANS VOLGER (1904–1973)

Die Mitglieder der 'Bauabteilung des Bauhauses', ca. 1928

gelatin silver print, printed ca. 1928

8,1 x 16,8 cm

© Public Domain / Courtesy Kicken Berlin

WALTER PETERHANS (1897–1960)

Untitled (Good Friday magic), 1929

gelatin silver print, printed ca. 1929

17,9 x 28,5 cm

© Fotografische Sammlung, Museum Folkwang, Essen / Courtesy Kicken Berlin

T. LUX FEININGER (attributed to) (1910–2011)

Untitled (Hinrich Bredendieck: suspended construction. Glass tubes fastened together with thin wire, from Moholy-Nagy preliminary course, Bauhaus Dessau), 1928

gelatin silver print, printed ca. 1928

14,7 x 11,1 cm

Bauhaus-Archiv Berlin, Nachlass Feininger / Courtesy Kicken Berlin

LÁSZLÓ MOHOLY-NAGY (1895–1946)

Fotogramm, ca. 1925

gelatin silver print, enlargement after 1925

39,8 x 30 cm

© Hattula Moholy-Nagy / VG Bild-Kunst, Bonn / Courtesy Kicken Berlin

BAUHAUS/ ANONYMOUS

Untitled (Construction study, from Moholy-Nagy preliminary course), 1923-1928

gelatin silver print, printed c. 1923-1928

9,7 x 6,7 cm

© Public Domain / Courtesy Kicken Berlin

EDMUND COLLEIN (1906-1992)

Untitled (Material study, Josef Albers' preliminary course, Bauhaus Dessau), ca. 1927-30

gelatin silver print, printed ca. 1927-30

10,5 x 7,6 cm

© Ursula Kirsten-Collein, Berlin / Courtesy Kicken Berlin

WALTER PETERHANS (ATTRIBUTED TO) (1897–1960)

Untitled (Distel), mid 1920s–late 1930s

gelatin silver print, printed mid 1920s-late 1930s

17,9 x 12,9 cm

© Fotografische Sammlung, Museum Folkwang, Essen / Courtesy Kicken Berlin

BAUHAUS/ ANONYMOUS

Untitled (Lis Beyer at her room in the studio wing, Bauhaus building, Dessau), 1928/29

gelatin silver print, printed ca. 1928/29

8,8 x 11,5 cm

© Public Domain / Courtesy Kicken Berlin

IRENE HOFFMANN (1903–1971)

Funkturm Berlin, Ausstellungshallen, 1933

gelatin silver print, printed ca. 1933

21,8 x 16,8 cm

© Estate of the Artist / Courtesy Kicken Berlin

IWAO YAMAWAKI (1898–1987)

Bauhaus Dessau, 1930-1932

gelatin silver print, printed c. 1930-1932

c. 15,2 x 11,1 cm

© Estate of Iwao Yamawaki / Courtesy Kicken Berlin

IWAO YAMAWAKI (1898–1987)

Bauhaus Dessau, Western Side of Atelier, 1930-1932

gelatin silver print, printed c. 1930-1932

11,2 x 15,9 cm

© Estate of Iwao Yamawaki / Courtesy Kicken Berlin

GRETE STERN (1904–1999)

Vaso con Hoja Negra / Papier im Wasserglas, 1927

gelatin silver print, printed ca. 1927, mounted on masonite

38,3 x 29,5 cm

© Estate of the Artist / Courtesy Kicken Berlin

LUCIA MOHOLY (1894–1989)

Wohnhaus Gropius in der Bauhausmeistersiedlung, von Westen, 1925/26

gelatin silver print on postcard stock, printed c. 1926

8,4 x 11,6 cm

© VG Bild-Kunst, Bonn / Courtesy Kicken Berlin

HANS HAFFENRICHTER (1897–1981)

Untitled (Geometrical forms), 1930s

gelatin silver print, printed 1930s

14,4 x 9,9 cm

© Estate of the Artist / Courtesy Kicken Berlin

HEINZ LOEW (1903–1981)

Untitled (Entwurf für "Damen Moden 27", Fotogramm, Bauhaus Dessau), 1927

gelatin silver print, printed ca. 1927

23,9 x 18 cm

© Estate of the Artist / Courtesy Kicken Berlin

T. LUX FEININGER (1910–2011)

Untitled ('The Building Problem' from the 'Building set games' by Oskar Schlemmer with members of the theater workshop, Bauhaus Dessau), 1929

gelatin silver print, printed ca. 1929

8,1 x 11 cm

Bauhaus-Archiv Berlin, Nachlass Feininger / Courtesy Kicken Berlin

IWAO YAMAWAKI (1898–1987)

Bauhaus interior, 1930-1932

gelatin silver print, mounted, printed c. 1930-1932

8 x 10,6 cm

© Estate of Iwao Yamawaki / Courtesy Kicken Berlin

UMBO (1902–1980)

Bar, 1952

gelatin silver print, printed ca. 1952

ca. 45 x 60 cm

© Phyllis Umbehr / Galerie Kicken Berlin / VG Bild-Kunst, Bonn

UMBO (1902–1980)

Untitled (Menschen auf der Straße), 1952

gelatin silver print, printed c. 1952

ca. 45 x 60 cm

© Phyllis Umbehr / Galerie Kicken Berlin / VG Bild-Kunst, Bonn

UMBO (1902–1980)

Golden Gate Bridge, San Francisco, 1952

gelatin silver print, printed c. 1952

ca. 45 x 60 cm

© Phyllis Umbehr / Galerie Kicken Berlin / VG Bild-Kunst, Bonn

The exhibition is devoted to this year's 90th Anniversary of the Founding of the Bauhaus. With Happy Birthday Bauhaus!, the gallery celebrates photography at the path-breaking art school while at the same time looking at its legacy. The comprehensive presentation brings together works by László Moholy-Nagy, Walter Peterhans, Gertrud Arndt, and Umbo, among others. It coincides with Modell Bauhaus, the official retrospective on view at the Martin Gropius Bau organized by the Bauhaus Archive Berlin, the Bauhaus Foundation Dessau, and the Foundation of Weimar Classics, in cooperation with the Museum of Modern Art in New York. Photography played an integrative role at the Bauhaus from the very beginning. With numerous examples – many of them unpublished - of this extraordinarily diverse photographic praxis, the exhibition sheds light on the quintessential aspects of Bauhaus teachings as well as on life at the Bauhaus. KICKEN BERLIN shows the medium of photography on par with other creative design media in expressing the modern way of seeing. A significant innovative stimulus to the creative development of photography at the Bauhaus stemmed from László Moholy-Nagy's premise that photography was an experimental means of "shaping light," drawing on the medium's mechanical qualities. Until 1928 Moholy-Nagy and Josef Albers taught the preliminary course, the most important components of which were the three-dimensional studies of various materials such as glass and paper. Most often these objects are known to us only through photographs. Walter Peterhans's photo course, added to the curriculum in 1929, led to material studies of a completely different nature. As his own still lifes and photographs of objects show, Peterhans understood how to handle lighting and composition as brilliantly as he did developing and enlargement. Fragmented, montage-like still lifes like Karfreitagszauber (Good Friday Magic) convey, in addition to maximum objectivity, a fascination with surreal imagery. Hannes Meyer, Bauhaus director from 1928 to 1930, was already exploring the relationship between objects in space and the "essence of standardized things" in his 1924 Vitrine Co-op, which presented packages of goods as if they were architectural models. The display of merchandise touches on another central field of activity within the Bauhaus curriculum and production: advertising and typography. These were not only documented photographically but also drew on experimental techniques like the photogram in their designs – as, for example, in Heinz Loew's advertising and magazine designs. In 1926 Lucia Moholy took over the visual documentation of Walter Gropius's iconic Dessau Bauhaus building. Her congenial interior and exterior views of the workshops and studio groupings as well as of the masters' houses are emblematic of the public perception of the institution. The famous school building also provided Iwao Yamawaki with a source of inspiration, in two senses. Here the Japanese architect and student perfected his understanding of architecture and photography, working with Walter Peterhans. The "Bauhäusler" also used the camera as an instrument for investigating themselves, as for example in Gertrud Arndt's Self Portrait with Mask (1930). Arndt's work points beyond her own era toward modes of self representation practiced by contemporary artists like Cindy Sherman. The preliminary course's construction exercises were echoed in ephemeral decorations and costumes created for the legendary carnival parties, for example Lis Beyer- Volger's paper dress for the White Party in 1926. Far beyond the influence of its courses, the Bauhaus's impact spread deeply into the life of the Weimar Republic. Umbo acknowledged that his pictures would have been unthinkable without his training with Johannes Itten at the Weimar Bauhaus. The collages he created for Walter Ruttmann's film Berlin: Sinfonie einer Großstadt (Symphony of a Great City) – and particularly its central image of the Rasende Reporter (The Raging Reporter) of 1926 – provide an important connection within his work. His photographs from a trip to the US in 1952, on view at KICKEN II, attest to how Umbo carried the Bauhaus legacy into the postwar period.