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27 OCTOBER 2012

Kurt Kranz: programming of beauty

Kurt Kranz: Programming of beauty, Exhibition marking the 100th birthday of Kurt Kranz
19th November 2010 to 29th May 2011.

"Inspired by a lecture by László Moholy–Nagy, Kurt Kranz came to the Bauhaus Dessau in April 1930. In Walter Peterhans's photography class, Kranz began to experiment with photographic techniques and created some of the most striking abstract picture series to emerge from the Bauhaus. Alienated and abstracted faces and hands appear repeatedly in his dynamic picture series. These show Kranz's early affinity for film as, page for page, the abstract forms interact with one another. Kranz drafted his first concepts for abstract films at the Bauhaus, although he was first able to realise these decades later in 1972.

The exhibition to mark the artist's 100th birthday shows works from Kranz's Bauhaus years and his later work as an advertising graphic designer, and focuses on a selection of his large picture cycles. Strikingly diverse leporellos dating from the 1960s onwards take centre stage, as do the so–called 'Matrix– und Schiebebilder'."

(Bauhaus Dessau Foundation)

Fig.1 Kurt Kranz, Versinkende (Sinking one), 1931, Ingrid Kranz / Stiftung Bauhaus Dessau [http://artblart.com/2011/05/18/exhibition–kurt–kranz–programming–of–beauty–at–the–bauhaus–dessau/].

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TAGS

1931 • abstract films • abstract forms • abstract picture series • advertising graphic designer • Bauhaus DessauBauhaus Schoolcut-outdesign formalismface • Kurt Kranz • Laszlo Moholy-Nagy • leporello • photocollagephotographic experimentationphotographic image • photographic techniques • photographyphotomontage • picture cycles • picture series • sinking • visual communication • Walter Peterhans

CONTRIBUTOR

Simon Perkins
18 OCTOBER 2009

Experimental Victorian Photocollage

"Sixty years ahead of the avant–garde, aristocratic Victorian women were already experimenting with photocollage. The compositions they made with photographs and watercolors are whimsical and fantastical, combining human heads and animal bodies, placing people into imaginary landscapes, and morphing faces into common household objects. With sharp wit and dramatic shifts of scale akin to those Alice experienced in Wonderland, these images stand the rather serious conventions of photography in the 1860s and 1870s on their heads.

Such images, often made for albums, reveal the educated minds as well as accomplished hands of their makers, as they take on new theories of evolution, the changing role of photography, and the strict conventions of aristocratic society. Together they provide a fascinating window into the creative possibilities of photography in the Victorian era and enduring inspiration for photographic experimentation today."

(The Art Institute of Chicago, 2009)

Marie–Blanche–Hennelle Fournier, 1831–1906

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CONTRIBUTOR

Simon Perkins
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