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The photographs of : a selection from the collection of the Josef Albers Foundation An exhibition organized by the American Federation of Arts

Author Albers, Josef

Date 1987

Publisher The American Federation of Arts

ISBN 0917418832

Exhibition URL www.moma.org/calendar/exhibitions/2158

The Museum of 's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The ' The Photographs of josef Albers

A SELECTIONFROM THE COLLECTION OF THEJOSEF ALBERS FOUNDATION

The Photographs of JosefAlbers HA I^Tt This catalogue has been published in conjunction with the exhibition The Photographs of Josef Albers, which was organized by the American Federation of Arts. The exhibition and publication have been made possible by a generous grant from the National Endowment for the Arts. The book has been supported by The J.M. Kaplan Fund, the DeWitt Wallace Fund, and The Henry Luce Foundation through the AFA's Revolving Fund for Publications.

Exhibitionitinerary at dateof publication TheAmerican Federation ofArts is a nationalnon-profit, educational organization, founded TheMary and Leigh Block Gallery TheMuseum of Modern Art in 1909to broadenthe knowledgeand appreciation of the artspast and present. Its NorthwesternUniversity NewYork, primaryactivities are the organization of exhibitions and film programswhich travel Evanston, TheDenver Art Museum throughoutthe United States and abroad, and the fosteringof a betterunderstanding DesMoines Art Center Denver, amongnations by theinternational exchange of art. DesMoines, TheMontreal Museum of Fine Arts Montreal,Canada AllenMemorial Art Museum © 1987The American Federation of Arts OberlinCollege MilwaukeeArt Museum Publishedby TheAmerican Federation of Arts Oberlin, Milwaukee, 41East 65th Street, New York, New York 10021 LCC:87-070556 ISBN: 0-917418-83-2 AFAExhibition 87-6

Designand Typography by BettyBinns Graphics/David Skolkin Compositionby Trufont Typographers Printedby VirginiaLithograph Photographyby Richard Goodbody

The Museam o' Modern Art Library The Photographs of JosefAlbers A SELECTIONFROM THE COLLECTIONOF THEJOSEF ALBERS FOUNDATION

(An exhibitionorganized by the AmericanFederation of Arts

Contents

Acknowledgments WILDERGREEN Preface 9 NICHOLASFOXWEBER Introduction 11 JOHNSZARKOWSKI Catalogue 17 8

Sandra Gilbert, Public Information Director. For their Luce Foundation for their support of the project through varied skills and support, we thank Mary Ann Monet, the AFA's Revolving Fund for Publications. Jennifer Dalsimer, and Ruth Jacobson. Finally, we are deeply grateful to and We also wish to thank Betty Binns and David Skolkin Nicholas Weber for agreeing to lend the works in this of Betty Binns Graphics for the handsome catalogue exhibition for the international tour, and to the museum design; Richard Goodbody for the photography; and curators and directors who in arranging presentations Beth Kent and the production staff of of the exhibition in their institutions have demonstrated Lithograph for their commitment to the quality of this their commitment to the photographic arts and to this publication. important American artist. The AFA wishes to express its appreciation to the National Endowment for the Arts for its generous grant WILDERGREEN to the exhibition and publication as well as to The J.M. Director Kaplan Fund, the DeWitt Wallace Fund, and the Henry TheAmerican Federation of Arts Acknowledgments

s A both an artist and a teacher, Josef Albers has been Foundation, for bringing this material to our attention. a major international influence on modern art. Best The AFA also wishes to thank the guest curator John known for his paintings and graphics, Albers was a Szarkowski, Director of the Department of Photography disciplined thinker for whom the infinite possibilities of at the Museum of Modern Art, for encouraging us to and relationships among , light, and proportion pursue the project from the beginning, selecting the were a lifelong interest. His series Homage to the Square photographs in the exhibition, writing the catalogue is thought to best exemplify these explorations. essay, and arranging for a presentation of the exhibition Less well known are the hundreds of photographs at his institution. We would also like to acknowledge that Albers produced. These were taken in the 1920s and Catherine Evans, Joyce Carp, Sarah McNear, and , first while he was studying and working at the Catherine Bowdren for assisting Mr. Szarkowski, and and later while teaching at Black Mountain Kelly Feeney for assisting Mr. Weber. College. In photographs of nature and architecture, as At the American Federation of Arts we wish to express well as in portraits — some of which are of close friends our appreciation to Jeffery J. Pavelka, Director of the and associates such as Klee, Ozenfant, and Kandinsky — Exhibition Program, and Amy V. McEwen, Exhibition the artist experimented with a variety of techniques. Coordinator, for overseeing the organizational and ad The AFA is particularly pleased to have organized this ministrative aspects of the project. Other AFA staff to exhibition because it marks the first occasion for mu whom we are indebted include Jane S. Tai, Associate seum audiences and scholars to view a little-known Director; Laura Nierenberg, Assistant Scheduler; Dag- aspect of this important artist's work. We are especially mar Huguenin, Exhibition Assistant; Albina De Meio, grateful to Nicholas Fox Weber, Director of the Albers Registrar; Guillermo Alonso, Associate Registrar; and 10

greatest possible richness from deceptive simplicity. Shortly after finding the treasure trove of photo They have both the spareness and the vast formal com graphs, I informed John Szarkowski of what we had. plexity that mark all of his art. Baited by the idea of portraits of Klee and Kandinsky, as During the same time that Albers was working most well as by the studies of breaking waves and trees in seriously as a photographer — the late 1920s and early winter and other such work, Mr. Szarkowski made the 1930s— he was also making, both in glass and in journey to New Haven. It took little time for his scholarly gouache, a large series called the Treble Clefs. Like his demeanor to be softened by a broad smile. "These are photographic portrait collages— and like the Kinetic not just a painter's photographs," he explained. "They and Variant and Homage to the Square series that were are the works of a first-rate photographer." It was to come later on— the Treble Clefsalso show his interest occasion for a martini at lunch, "to celebrate a major in investigating a single visual issue in several ways. achievement and a great body of work." Here too we see the extraordinary degree of movement To have a man as knowing as John Szarkowski curate that can be achieved through the proper juxtapositions this exhibition is indeed a pleasure for those of us at the of carefully resolved tones of black, white, and gray. And Josef Albers Foundation. And to have the American here is the typical Albers attitude — quiet, graceful; Federation of Arts put its diligent and ever helpful staff never startling or aggressive, but, rather, pensive. They to the task of organizing and making arrangements for are oddly playful and serious at the same time. While the show has been a source of great pleasure. We are many of his contemporaries — the Brucke artists and very happy to see, after all these years, the photographs other Expressionists in Germany, and, later, the Ab of an artist as diverse, and visually acute, as Albers, at stract Expressionists in New York — made art that vir last get their due. And we are thrilled to have this work tually accosted its viewers, Albers created objects that brought forth by such a splendid team. elicit a calmer response, and then, quietly, demand a complex interaction as the looker is taken in by all of the subtle complexities. Resultant of careful contemplation and planning, yet seemingly light-hearted, the photo NICHOLASFOXWEBER graphs are consistent with the rest of Josef Albers's ExecutiveDirector achievement. TheJosef Albers Foundation Preface

mong A the last art works that Josef Albers created graphs, most taken when he was at the Bauhaus. He had toward the end of his life were the two screenprint been a student there from 1920 to 1925 and then a series Gray Instrumentation I and II. In the Homage to master (he was one of the first students to be so ele the Square format that he had been exploring for a vated) until 1933, when the pioneering institution closed quarter of a century, he now made twenty-four new under pressure from the Gestapo. examples, all in the black-white-gray spectrum. Here A handful of Albers's photographs were known during were stunning juxtapositions of warm brown grays his lifetime. A dozen or so had been lent to the Museum against cooler, steely tones, of rich coal-like blacks of Modern Art, a slightly larger number given to the against paler versions of themselves. The possibilities Busch-Reisinger Museum in Cambridge. But the size and that he found in this allegedly limited arena and the lush richness of the collection in Albers's estate — both of relationships that he could extract from those pos individual photographs and of photo-collages — was sibilities were apparently limitless, and profoundly extraordinary. effective. In their discipline and in their embrace of visual nu It was not totally surprising, therefore, shortly after ance, the photographs are similar to the rest of Albers's Albers's death in 1976— a couple of years after he had work. In addition to their exploration of the chromatic created the Gray Instrumentation prints — to find that possibilities of black, white, and gray, they reveal his fifty years earlier he had been exploring black, white, lifelong preoccupation with taking different approaches and gray in a totally different medium. In a storage to the same problem. In them we see some of Albers's room where the artist had kept the miscellany of a long characteristic visual gamesmanship, his exaltation in and productive lifetime, there were hundreds of photo the play of parallel lines, and his desire to extract the 12

did not again take up the camera as a tool of serious painters, the spirit of community was sometimes artistic endeavor, nor did he seem to have made any strained. Albers is known to have had limited admira concerted effort to publish or exhibit the work consid tion for the work of Moholy-Nagy who, although a ered here, which was rediscovered in a storage room in painter, sometimes gave the impression that painting New Haven by Katherine and Nicholas Fox Weber could be done better with colored light and whose term 3 shortly after Albers's death in I976. "pigment painting" — for easel painting — suggested a Albers's career at the Bauhaus, as student, teacher, clearly pre-industrial mode of expression. Moholy-Nagy and Master, spanned all but one of that institution's was also the prototypical Bauhaus photographer; he fifteen years— in , , and Berlin. Almost all was, in fact, one of the central figures of twentieth- of his significant work as a photographer was done century photography. It is conceivably more than coin during a relatively brief period within these years, and it cidence that Albers's serious interest in photography would seem logical to consider the work within the begins at the point when Moholy-Nagy left the Bauhaus. context of Bauhaus photography. The Bauhaus, how Gropius's original prospectus did not include any ever, was not a self-contained world, but rather one mention of photography, and it was not until 1928, element in an international ferment that was attempt during the short-lived directorship of Hannes Meyer, ing both to redefine the substance of art and to con that Walter Peterhans was retained to found the new struct a new pedagogical system that would produce department of photography. In keeping with the general new artists, new patrons, and a new audience. The thrust of Meyer's priorities, Peterhans taught photogra international character of the enterprise is illustrated phy as a practical craft, rather than a method of free by Albers's own photographs, which include portraits of artistic exploration, and his influence is difficult to de El Lissitzky, whose teaching responsibilities at Moscow's tect in the work from the school's latter years, except Vkhutemas (The Higher State Art Studios) were similar perhaps in the clean, dry documentation of the furniture to those of Albers at the Bauhaus, and of Amedee Ozen- and other objects that the workshops were then produc fant, the French Purist who had just decorated Eric ing in marketable quantities. What is now thought of as Mendelsohn's music room. Bauhaus photography relates to the example of Moholy- The Bauhaus was not an independent whole, nor was Nagy and his collaborator and wife, Lucia, who without it a completely coherent element of the international reference to the formalities of the curriculum had made movement, except in its official pronouncements. Wal photography an essential part of the consciousness of ter Gropius, in his bold and stirring (if slightly arrogant) the school. prospectus for the original Weimar Bauhaus, projected What was new in photography in the twenties might not a school but a community of artists/designers/crafts be divided into two parts, with each part seen as the men who together served, according to their talents, a expression of a distinct intuition into photography's unified field theory of art that Gropius chose to call basic nature. One of these intuitions focused on subject- architecture. It was a splendid vision, but one that matter and tested the camera's ability to record and occasionally seemed threatening to Feininger, Klee, intensify its most subtle, unexpected, or ephemeral as Kandinsky, and the other Bauhaus painters who had pects. August Sander in Germany, the aging Atget in already formed their own agendas. Even among the France, and and Charles Sheeler in Amer ica exemplified this conception. The alternative intui 3 Conversation with Nicholas Weber, Executive Director of The Josef Albers Foundation, April 1987. Mr. Weber also pointed out that Albers had given thirty- tion, new since the First World War, defined the prob one photographs to the Busch-Reisinger Museum in the 1950s. lem in functionalist terms and hoped that an answer The Photographs of JosefAlbers

osef J Albers was thirty-two when he entered the until now virtually unknown) contribution to a Bauhaus as a student in 1920, the second year of the period of extraordinarily rich experiment in the history school's fifteen-year existence. He was thus the same of photography. age as , the head of the basic course of Although Albers continued to make photographs ca study, and only five years younger than , sually and sporadically during the rest of his life, the the school's director. Albers had studied in three other later work seldom seems motivated by serious artistic art schools and been certified as a teacher since he was ambition. The investigations of Angela Tau Bailey sug twenty. He had worked extensively in painting, gest that Albers's experiments in photography may , and , and during his Bauhaus have come to a point of resolution by 1932,2 when he years— he joined the faculty in 1923 and remained with mounted that part of his photographic work that he the school until its dissolution in 1933— he was also wished preserved and established the final form of the active in furniture and product design and in typogra collages reproduced here. In the same year political phy. By 1928,' when he seems first to have considered pressures caused the closing of the Dessau Bauhaus, and the creative potentials of photography, he was a mature after a brief and tumultuous final year in Berlin the artist with unusually broad resources. school closed for good. Josef and Anni Albers were the Albers's active interest in photography appears to first of the Bauhaus artists to move to the United States, have lasted for about five years, from 1928 until 1932. and by November of 1933 they were at Black Mountain He produced a body of work that deserves attention College, in . It would appear that Albers because of its intrinsic quality, and as an original (and 2 Ibid. Bailey does not claim that her evidence conclusively fixes 1932 as the ' Angela Tau Bailey. "Josef Albers as Photographer", unpublished paper on file date when the selected work was mounted, but her arguments for this date are in the Department of Photography, The Museum of Modern Art, N.Y. persuasive. 14

Albers, whose related work has apparently remained unknown till now. Albers's collages have had no influence on the subse quent history of photography. It would seem that he did not share them with his colleagues or offer them for exhibition or publication, perhaps because they did not quite satisfy him or because he did not care to confuse the public's of him as a painter. If these pictures have had no progeny, what was their ancestry? We distrust with good reason the notion of a FigureI AncestorWorship. wholly original idea. If confronted by one, how would we Toquerville,. 1953 know it to be an idea? The Albers photo-collages do seem DorotheaLange to represent an intuitive leap of some magnitude, but it 1953 TheMuseum of Modern Art 13

might come through the investigation of the basic made the apparently compulsory pictures of dolls and nature of cameras and photographic materials. Alvin shop window mannequins, of the effects of cast shadows Coburn, Man Ray, and Christian Schad explored this on three-dimensional forms, of street patterns from route, but none of them with the intelligence and single- above and heads from below (or lighted from below), of mindedness of Moholy-Nagy. The first of these ap the shapes of laundry hanging against the sky. He ap proaches was implicitly interpretive, and dependent on parently did not attempt several of the other standard intuition. The second sought objectivity, and claimed exercises of the time. He did not make (or save) pho- kinship with science. It was during the twenties a par tograms, double exposures in the camera, prints made ticularly attractive stance in Germany and Russia, from more than one negative, or collages in which pho where individualism had earned an especially bad name, tographs are combined with drawing or found images. and where historical necessity and collective truths He did, however, produce two or three score of col seemed more useful standards than ineffable visions. lages of a fundamentally different nature than those of Most published Bauhaus photographs, excepting Moholy-Nagy, El Lissitzky, Max Ernst, etc., and for which those of the Moholy-Nagys, describe Bauhaus products I can find no clear precedent. These collages assemble or Bauhaus parties. The remainder are remarkably con two, several, or many individual photographs on a sin stant in their obedience to functional principles; they gle mount and derive their meaning from the interaction describe, repeatedly, several ways in which cameras and of discrete images, rather than from their visual inte photosensitive materials can be used. These exercises gration. Albers's strategy might seem the simplest and emphasized the exploration of the unfamiliar vantage most fundamental method of extending and enriching point, radical framing or cropping, chemical or optical the meaning of a single photograph, but in fact the idea distortion, camera-less photography (the photogram), has been rarely pursued, even in the half century since and several varieties of montage, especially the double Albers experimented with its possibilities. Dorothea exposure. The basic typology of Bauhaus photography Lange, in the latter years of her life, sometimes mounted does not include social documentation, after August her pictures in pairs and was deeply interested in the Sander; or activist propaganda, after John Heartfield or "third effect" that was produced by the juxtaposition of Hannah Hoch; or private lyricism, after Andre Kertesz; two independent images. The two halves of her pairs or reportage, after Muncaesi or Erich Salomon. It would sometimes described different aspects of the same sub be difficult to deduce from the collected product of ject matter and sometimes different subject matter that Bauhaus photography any knowledge of Weimar, Des related to the same conceptual idea (Fig. I). In the early sau, or Berlin, of the countryside that surrounded these sixties Ray Metzker began to explore related problems, cities, of the people that lived in or around them, or of emphasizing the formal rather than the allusive pos what they did for a living or for fun. sibilities of combination (Fig. 2). At about the same time The larger part of Albers's work as a photographer Paul Vanderbilt began his series of long, linear collages will not come as a surprise to those familiar with the made from his own photographs and from reproduc new photography that arose in Europe during the twen tions cut from magazines; these have been concerned ties — a photography that had become the common less with pictorial than with symbolic connections. In property of advanced photographers by the time of the more recent years the diptych and its extensions have Stuttgart Film und Foto exhibition of 1929. Albers's interested a number of photographers of note, including photographs review with understanding and style a Eve Sonneman, Robert Cumming, William Wegman, and number of the shared preoccupations of the time: he John Divola. Surely none of these was influenced by 16

ZWOLF GESICHTERIN EINEM gischen Institut das Gesetzmaflige im Antlitz des einzelnen Menschen festzuhalten Durch dos „Querschni»»sportroit" versucht Professor Katz vom Rostocker Psychoid

Figure3 TwelveFaces in One; 12ten-year old vegetarians, 12ten-year old meat-eaters, that could help us better understand the sources and 10good students, 10poor students. motives of these remarkable pictures. They deserve and ArtistUnknown will doubtless receive further study; material in the Muenchnerlllustrierte Presse archives of the Josef Albers Foundation may in time help 1932,no. 42 clarify their historical status. In the meantime, the pic tures themselves are now finally available to the com munity of artists, who might decide that even at this late date these pictures can bear progeny.

JOHNSZARKOWSKI Director, Department of Photography The Museum of Modern Art IS

is reasonable to assume that they were not wholly without precedent. If asked what photographic work before Albers pre sents on a single sheet two or more pictures in service to one idea, one might think first of Eadweard Muybridge. But his composites are serial and illustrate a temporal plot that can be read logically only in one direction. The same is true of F. Holland Day's serial self-portraits as the crucified Christ, and of Duane Michals's dream se quences, and the early photo-stories of Life magazine. The individual pictures in such sequences do not inter act, like prize fighters or dancers, but succeed each other, like marchers in a parade. The universal, omnipresent diptych during the years of Albers's childhood was of course the stereograph. Stereo cards existed in houses of even modest preten sion. As held in the hand, the two halves of these cards were seen to describe almost, but not quite, the same facts. This documentary proof that the truth had more than one aspect surely fascinated millions of children and may have persuaded a few to explore — in various ways— the relativity of vision. A more immediate source of Albers's intuition might have been the new popular picture magazines, which were especially vigorous and inventive in Germany. The L__— — designers of these magazines combined photographs on their double-page spreads in ways that utilized se Figure2 quence, repetition, contrast, and symbolic juxtaposi Untitled RayK. Metzker tion. The example reproduced here (Fig. 3) illustrates in c. 1969 a particularly literal way the idea that a collection of TheMuseum of Modern Art photographs might reveal a cumulative truth. Here pho tographs of individual children are superimposed to produce generalized types and what was perhaps as sumed to be a deeper truth. Within the journalistic venture the camera was often a useful servant of psue- doscience and psuedohistory. Nevertheless, the visual syntax that the magazines developed proposed pos sibilities that independent artists could turn to their own purposes. I do not know what supporting documents may exist

Catalogue 2 Susanne, Biarritz(I). 1929 I Seatedwoman 4 Klee,Dessau. 1929 3 Susanne, Biarritz(II). 1929

8 El Lissitzky. 1930 7 AnjaSchawinsky on thebeach at Ascona.1930 10 MarliHeimann, all duringan hour.1931 9 El Lissitzky, Dessau.1930 12 LakeStossen. Summer1929 II Lilli Sachsenberg.1930 AnnemarieHennings. 1929 14 Kandinsky. 1929/30 13 Hanne,sailing. 1930 16 PaulKlee. 17 Surprise. 15 Ozenfant. Summer1931

18 Womanwith veil. 21 Silentgesture 20 Mannequins. I

24 Hangingclothes (I). 23 Mannequin with sweater.

i,£

*, i'< fc»iy ' v, ®' < E '- 27 Biarritz.1929 25 Hangingclothes (II). 26 Hangingclothes (III). fsl,

I

31 PortoRonco, LakeMaggiore. 1930 (top) Veryearly. 1930 (bottom) 30 SanSebastian. Summer 1930 33 Roadin Paznauntal.1930 32 At home.1928/29 35 Hotelstaircase, Geneva.1929 p

34 In frontof mywindow. 1931/32 37 Tidewater, Biarritz.1929 36 Endof winter, Dessau.1931 w.&- TheAmericanFederation of Arts

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KAPLAN FUND MR. & MRS. ARTHUR D. EMIL ARTHUR D. EMIL MRS. LAWRENCE M. C. SMITH SAMUEL H. KRESSFOUNDATION MADELEINE FEHER TOM L. FREUDENHEIM MR. & MRS. DAVID M. SOLINGER KNIGHT FOUNDATION MR. & MRS. DAVID FOGELSON JOHN H. HAUBERG MR, & MRS. MOISE S. STEEG, JR. ANNAN FOUNDATION MR. LEO S. GUTHMAN LEE HILLS ANN C. STEPHENS THE HENRY LUCE FOUNDATION MR. & MRS. JOHN H. HAUBERG ROBERT K. HOFFMAN MR. & MRS. JAMES G. STEVENS LUFTHANSA GERMAN AIRLINES EUNICE W. JOHNSON MRS. WELLINGTON S. HENDERSON MR. & MRS. W. T. C. STEVENS MANUFACTURERS HANOVER TRUST MR. & MRS. A. BARRY HIRSCHFELD JANET KARDON MR. DAVID A. STICKELBER MERCEDES BENZ OF NORTH AMERICA PETER KIMMELMAN MR. & MRS. THEODORE S. HOCHSTIM MR. & MRS. JOHN W. STRAUS METROPOLITAN LIFE FOUNDATION RONNA & ERIC HOFFMAN GILBERT H. KINNEY MRS. NORMAN TISHMAN THE MITSUI GROUP WILLIAM J. HOKIN RICHARD KOSHALEK MRS. GEORGE W ULLMAN MOBIL FOUNDATION, INC. JAN & JAMES L. HOLLAND HILVA LANDSMAN MR. & MRS. MICHAEL J. WALDMAN THE MABEL PEW MYRIN TRUST MRS. EUNICE W. JOHNSON RICHARD S. LANE MR. & MRS. ROBERT C. WARREN NEW YORK TELEPHONE COMPANY MRS. SAMUEL K. KETCHAM DR. THOMAS W. LEAVITT MR. & MRS. JOHN R. WATSON COMPANY MR. & MRS. PETER KIMMELMAN WILLIAM S. LIEBERMAN MRS. PAUL L. WATTIS J.C. PENNEY COMPANY MR. & MRS. GILBERT H. KINNEY MRS. ROBERT E. LINTON MRS. NANCY BROWN WELLIN PHILIP MORRIS INC. MR. & MRS. C. CALVERT KNUDSEN PETER C. MARZIO DR. & MRS. WILLIAM T. WEYERHAEUSER REPUBLIC NATIONAL BANK OF NEW YORK MR. & MRS. ROBERT P KOGOD MRS. FREDERICK R. MAYER MR. & MRS. DAVE H. WILLIAMS REYNOLDS METALS COMPANY MR. & MRS. OSCAR KOLIN N. RICHARD MILLER ENID SILVER WINSLOW THE ROUSE COMPANY MR. & MRS. ANTHONY M. LAMPORT BARBARA BABCOCK MILLHOUSE MR. & MRS. HOWARD WOLF SALOMON, INC. MR. & MRS. A. R. LANDSMAN ELINOR BUNIN MUNROE MR. & MRS. BAGLEY WRIGHT SHERMAN FAIRCHILD FOUNDATION MR. & MRS. RICHARD S. LANE MRS. PETER ROUSSEL NORMAN MR. & MRS. HOWARD S. WRIGHT THE SOROS FOUNDATION NATALIE ANN LANSBURGH MRS. JOHN W. O'BOYLE MR. & MRS. T EVANS WYCKOFF RICHARD E. OLDENBURG TANDY CORPORATION/RADIO SHACK MR. & MRS. LEONARD A. LAUDER TIME INC. HARRY S. PARKER. Ill MR. & MRS. EDWARD H. LEEDE EARL A. POWELL, III TIMES MIRROR COMPANY MR. & MRS. ALBERT LEVINSON MRS. JOSEPH PULITZER, JR. UNITED TECHNOLOGIES MR. & MRS. IRVIN L. LEVY MRS. JUDITH ROTHSCHILD ELLEN LIMAN MRS. RUDOLPH B. SCHULHOF National Patrons MR. & MRS. JOSEPH LINHART ALAN SHESTACK MR. & MRS, ROBERT E. LINTON MR. & MRS. JAMES W. ALSDORF DAVID M. SOLINGER MR. & MRS. DAVID B. MAGEE MRS. SHARON BENDER MRS. GEORGE W ULLMAN MR. & MRS. JAMES H. MANGES MR. & MRS. WINSLOW W. BENNETT MR. & MRS. MELVIN MARK, JR. JAMES M. WALTON MRS. EDWIN A. BERGMAN MR. & MRS. IRVING MATHEWS MRS. ROBERT C. WARREN MRS. GEORGE F BERLINGER MRS. PAUL L. WATTIS MR. & MRS. ALLAN M. MAY MR. & MRS. CHARLES M. BEST JAMES N. WOOD MR. & MRS. FREDERICK R. MAYER MR. & MRS. VAN-LEAR BLACK III MRS. ROBERT B. MAYER MRS. BAGLEY WRIGHT MRS. BROOKE BLAKE MRS. WALTER MAYNARD, JR. Checklist for the exhibition Catalogue

All prints are gelatin silver developing-outprints and are believedto be approximatelycontempo raneouswith the negative.Photographs not datedare believedto havebeen made between 1928 and 1932.

1 Seatedwoman. 10 Marli Heimann,all during an hour. 1931 19 Dolls. 31 PortoRonco, Lake Maggiore. 1930 (top) 8% x 5% in. Marli Heimann lll-IV: 31 Alle wahrend 95/8 X 6% in. (image) Veryearly. 1930(bottom) I stunde Porto Ronco,Logo maggiore VIII 30 (top) 2 Susanne,Biarritz (I). 1929 20 Mannequins. Collage photograph, 1931 Ganz fruh, VIII 30 (bottom) SusanneBiarritz 29 ErdmannsdorferPuppen ll'/6 x I6Z16in. (mount) Collage photograph, 1930 Collage photograph, 1929 Collage photograph 9/6 l6 x I P/6 in. (mount) I6/2 X IP/6 in. (mount) 11 Lilli Sachsenberg.1930 I6Z16 x I P/6 in. (mount) AnnemarieHennings. 1929 32 At home.1928/29 3 Susanne,Biarritz (II). 1929 21 Silentgesture. Lilli SachsenbergSommer 30 Annemarie Bei Haus 2 28/29 SusanneBiarritz 29 Hennings Sommer 29 Stille Geste (on reverse) Collage photograph, 1928/1929 Collage photograph, 1929 Collage photograph, 1929/1930 9 X 6/6 in. 5/8 l6 x I P/6 in. (mount) I6/2 X I P/6 in. (mount) IP/6 x 16/16 in. (mount) 22 NewNike. 33 Roadin Paznauntal.1930 4 Klee,Dessau. 1929 Neue Nike (on reverse) 12 LakeStossen. Summer 1929 Autostrasse,Paznauntal VII 30 Klee Dessau XI 29 9/6 x 6 in. (image) Bale (?) (Stossensee)Sommer 29 Collage photograph, 1930 Collage photograph, 1929 Collage photograph, 1929 23 Mannequinwith sweater. 16Vi X I P/6 in. (mount) 7/6 111 !/i6 x l6 in. (mount) I P/6 X I6/2 in. (mount) M it Sweater(on reverse) 34 In front of my window.1931/32 5. Kleein his studio,Dessau. 1929 9 X 6/4 in. 13 Hanne,sailing. 1930 Vor meinem Fenster 1931/32 Klee im Atelier DessauXI 29 Hanne V/VI 30 beim Segeln 24 Hangingclothes (I). Collage photograph, 1931/1932 Collage photograph, 1929 /4 Collage photograph, 1930 4/2 X 63 in. I P/6 x 16/2 in. (mount) 7/6 I P/6 X l6 in. (mount) I P/6 x I6Z16in. (mount) Hanne (Hans Farman, brother of 25 Hangingclothes (II). 35 Hotelstaircase, Geneva. 1929 6 Pius + Schifra,Ascona. 1930 Anni Albers) 5/2 x 8% in. Hoteltreppen Genf 29 Pius + Schifra Ascona VIII 30 Collage photograph, 1929 Collage photograph, 1930 14 Kandinsky.1929/30 26 Hangingclothes (III). I P/6 X 16/2 in. (mount) ll'/6 X I6Z16in. (mount) Kandinsky Fruhjahr 1929 Meister auf 43/8 x 6% in. Pius (Walter Gropius) Terrassebei HM May 30 36 Endof winter, Dessau.1931 27 Biarritz. 1929 Collage photograph, 1929/30 Dessau Winterende 31 Biarritz 29 7 Anja Schawinskyon the beachat Ascona. I P/6 X I6Z16in. (mount) Collage photograph, 1931 Collage photograph, 1929 1930 I P/6 x 16/4 in. (mount) Anja SchawinskyAscona-Lido Vlll:30 15 Ozenfant.Summer 1931 16/2 x I P/6 in. (mount) Ozenfant Sommer 31 37 Tidewater,Biarritz. 1929 Collage photograph, 1930 28 Tent. Collage photograph, 1931 BrackwasserBiarritz VIII 29 11'/6 x I6Z16in. (mount) c. 1936?(later 1930s) IP/6 x \GVi in. (mount) Collage photograph, 1929 /85/6 35 X 2 in. (image) 8 El Lissitzky.1930 I P/6 X 16/2 in. (mount) 16 . El Lissitzki VI 30 29 Bullfight. 8% x 6/2 in. 38 Birds. Collage photograph, 1930 Collage photograph, c. 1930 c. 1936?(later 1930s) 111 Z\6 x I6Z16in. (mount) 17 Surprise. I P/6 x 16/2 in. (mount) 7"/6 x 9'/6 in. (image) Uberraschung 9 El Lissitzky,Dessau. 1930 30 SanSebastian. Summer 1930 9 x 6/2 in. El Lissitzky Dessau VI 30 Son SebastianSommer 1930 Collage photograph, 1930 18 Womanwith veil. Collage photograph, 1930 5/87/6 ll x l6 in. (mount) 9/8 X 73/4in. (image) I P/6 X 16/2 in. (mount) , . .

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