“To judge by the current state of research there is no other Bauhaus teacher whose life and works have been so thoroughly investigated as is the case with Laszlo Moholy-Nagy,” Gerhard Glüher writes in his introduction. And he continues: “This is not surprising in view of the fact that so many of his theoretical writings, unpublished at his death, are now available in print, and that so many of his works, including photographs, paintings and drawings, have survived in such abundance. If, in the present essay, an attempt is made to explain Moholy-Nagy’s approach to photography, it will be clear that this necessarily involves a selective procedure with regard to his total OEUVRE, since photography for him was only ever one medium among many. Even from his own point of view, his photographic work remained largely experimental, the starting-point in a line of development which, he believed, would be completed or perfected only in the generations after his death.”
This catalogue was published on the occasion of the exhibition Laszlo Moholy-Nagy. 34 Vintage Prints at Galerie Kicken Pauseback, Cologne (Aug. 18 - Sept. 2, 1989) and Galerie Octand, Paris, in 1989.