Abstract

In László Moholy-Nagy's work, the concept of facture fused the material and immaterial, challenging preconceptions about its meaning, practice, purpose, matter and use. Facture was explored by the artist, in a way quite in tune with his Suprematist contemporaries, as an idea, a formless phenomenon, as well as a technological or scientific development. Exploring the significance of facture in Moholy-Nagy's work, this article focuses on the theoretical and practical affinities that Moholy-Nagy and Kazimir Malevich shared in the early 1920s, as expressed in their approaches toward the creative process, with particular focus on the artists' explorations of metallic factures.

pdf

Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.