Shortly after joining the faculty of the Bauhaus art school, in Weimar, Germany, in April 1923, Moholy had Construction in Enamel 2 and 3 made at a local enamel factory. He would later claim to have ordered them by describing them over the telephone, exaggerating both his distance from the manufacturing process that produced them and the degree of technological mediation involved. In doing so Moholy presented the artist in the modern age as producer of ideas rather than things. While sharing the same abstract geometric composition, the works use a mathematical progression to change its scale, highlighting the conception of the image as transferable data.
from Inventing Abstraction, 1910–1925, December 23, 2012–April 15, 2013
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