Laszlo
Moholy-Nagy

Moholy-Nagy's concept of the ‘Neues Sehen’ (‘New Vision’) revolutionised photography in the 1920s and 1930s. He advocated for unconventional perspectives, such as bird's-eye views and extreme close-ups, to emphasise ways of seeing the world that are accessible through photography. His book Painting, Photography, Film (1925) outlined these ideas, encouraging photographers to embrace the unique qualities of the medium rather than imitating painting.

Moholy-Nagy made profound contributions to typography and graphic design, merging his Constructivist principles with innovative design techniques. He advocated for the use of sans-serif typefaces, which he saw as more modern, efficient, and clear. His approach rejected traditional symmetrical layouts in favour of asymmetrical designs that allowed for greater flexibility. This shift was evident in his typographic work for Bauhaus publications, where he emphasised clarity, ensuring that form followed function. Notably, his designs for the Bauhausbücher series showcased this approach. Moholy-Nagy’s work created new modes of visual communication that aligned with the industrial age's technological advancements. His use of photomontage and experimental layouts paved the way for Modernist typography.

Through his leadership at the New Bauhaus in Chicago, Moholy-Nagy helped transplant Bauhaus principles to the United States, adapting them for the American context. Invited in 1937 by industrialist Walter Paepcke, Moholy-Nagy's educational philosophy at the New Bauhaus remained true to the original school’s mission, integrating art, science, and technology for modern industrial design. Though the school initially struggled financially, it evolved into the Institute of Design at Illinois Tech. His hands-on, experimental approach profoundly influenced American design education, fostering a new generation of Modernist designers.