- Gallery Text
One of the earliest electrically powered kinetic sculptures, Light Prop for an Electric Stage holds a central place in the history of modern sculpture. Representing the culmination of Moholy-Nagy’s experimentation at the Bauhaus, it incorporates his interest in technology, new materials, and, above all, light. Moholy sought to revolutionize human perception and thereby enable society to better apprehend the modern technological world. He presented Light Prop at a 1930 exhibition of German design as a mechanism for generating “special lighting and motion effects” on a stage. The rotating construction produces a startling array of visual effects when its moving and reflective surfaces interact with the beam of light. The sculpture became the subject of numerous photographs as well as Moholy’s abstract film Lightplay: Black, White, Gray (1930). Over the years the artist and later the museums made alterations to the sculpture to keep it in working order. It is still operational today.
- Identification and Creation
- Object Number
László Moholy-Nagy, American (Bacsborsod, Hungary 1895 - 1946 Chicago, Ill., USA)
- Light Prop for an Electric Stage (Light-Space Modulator)
- Other Titles
- Original Language Title: Lichtrequisit einer elektrischen Bühne
- Work Type
- Persistent Link
Level 1, Room 1520, Modern and Contemporary Art, Art in Germany Between the Wars
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- Physical Descriptions
- Aluminum, steel, nickel-plated brass, other metals, plastic, wood and electric motor
- 151.1 × 69.9 × 69.9 cm (59 1/2 × 27 1/2 × 27 1/2 in.)
- Sibyl Moholy-Nagy, gift; to Busch-Reisinger Museum, 1956.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Busch-Reisinger Museum, Gift of Sibyl Moholy-Nagy
- © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
- Accession Year
- Object Number
- Modern and Contemporary Art
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- Publication History
Charles Werner Haxthausen, "The Busch-Reisinger Museum, Harvard: the Germanic Tradition", Apollo (May 1978), vol. 107, no. 195, pp. 403-413, p. 410, repr. p. 410 as fig. 7
Charles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), pp. 12, 61, repr. pp. 60-63
Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 357, p. 301, repr.
Peter Nisbet and Emilie Norris, Busch-Reisinger Museum: History and Holdings, Harvard University Art Museums (Cambridge, MA, 1991), p. 67, ill.
Robert Atkins, Artspoke: A guide to Modern Ideas, Movements, and Buzzwords, 1848-1944, Abbeville Press (New York, 1993), p. 69, b/w
James Cuno, Alvin L. Clark, Jr., Ivan Gaskell, and William W. Robinson, Harvard's Art Museums: 100 Years of Collecting, ed. James Cuno, Harvard University Art Museums and Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 344-345, repr. color
Harvard University Art Museums, Masterpieces of world art : Fogg Art Museum, Arthur M. Sackler Museum, Busch-Reisinger Museum, 1997
Seiyo Bijutsukan [The History of Western Art], Shogakukan Inc. (Tokyo, Japan, 1999), p. 1039, repr. in color
Gary Garrels, ed., Celebrating Modern Art: The Anderson Collection, exh. cat., San Francisco Museum of Modern Art (San Francisco, CA, 2000), fig. 62, b/w illus.
Peter Nisbet and Joseph Koerner, The Busch-Reisinger Museum, Harvard University Art Museums, ed. Peter Nisbet, Harvard University Art Museums and Scala Publishers Ltd. (Cambridge, MA and London, England, 2007), p. 119
Peter L. Galison, Gerald Holton, and Silvan Schweber, ed., Einstein for the 21st Century, Princeton University Press (Princeton, New Jersey, 2008), pp. 112, 114, fig. 8.7, ill.
Stephan Wolohojian and Alvin L. Clark, Jr., Harvard Art Museum/ Handbook, ed. Stephan Wolohojian, Harvard Art Museum (Cambridge, 2008), p. 207, ill.
Leah Dickerman and Barry Bergdoll, Bauhaus 1919-1933: Workshops for Modernity, exh. cat., ed. David Frankel, Museum of Modern Art, New York (New York, 2009), cat. no. 374, p. 275, color repr.
Philip F. Palmedo, Lin Emery, Hudson Hills Press (Manchester, VT and New York, 2012), p. 124-125, fig. 7.2, ill.
Linda Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, MIT Press (Cambridge, MA and London, England, 2013), p. 35, ill. (black and white)
Gyula Ernyey, "The Hungarians in Bauhaus", Herito Quarterly, International Cultural Center, Krakow, Poland (Krakow, Poland, 2016), No. 24, pp. 20-21, p. 21, ill. (b/w)
Matthew S. Witkovsky, Carol Eliel, and Carol Vail, ed., Moholy-Nagy: Future Present, exh. cat., The Art Institute of Chicago (Chicago, 2016), p. 190
Keely Orgeman, Lumia: Thomas Wilfred and the Art of Light, exh. cat., Yale University Press (U.S.) (New Haven, CT, 2017), pp. 32-33, ill. (color)
Joyce Tsai, László Moholy-Nagy: Painting after Photography, University of California Press (Oakland, CA, 2018), pp. 85-112, fig. 3.1, ill. (color)
David Reinfurt, A *New* Program for Graphic Design, Inventory Press (Los Angeles, CA, 2019), p. 48, ill. (b/w)
- Exhibition History
19th- and 20th-Century Paintings and Sculpture from the Museum's Collection, Busch-Reisinger Museum, Cambridge, 06/11/1980 - 08/31/1980
Re-View: S118 European & American Art since 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 09/13/2008 - 04/09/2011
Re-View: European and American Art Since 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 05/03/2011 - 06/01/2013
32Q: 1520 Art in Germany Between the Wars (Interwar and Bauhaus), Harvard Art Museums, Cambridge, 11/16/2014 - 12/10/2018; Harvard Art Museums, Cambridge, 08/05/2019 - 01/01/2050
- Subjects and Contexts
- Related Articles
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