This lavishly illustrated volume, which comes in four different colours and with an open Japanese binding, looks from both sides of the Atlantic at 80 years of photography from Chicago. At the New Bauhaus and what later became the Institute of Design, teachers like Laszlo Moholy - Nagy, Gyoergy Kepes and spater Arthur Siegel, Harry Callahan and Aaron Siskind taught an uninhibited approach to the medium which influenced generations of photographers. To mark the start of the great Bauhaus anniversary in 2019, the Bauhaus Archiv / Museum fur Gestaltung Berlin is presenting its collecti on of "New Bauhaus Photography" which is unique in Europe. It introduces the protagonists and institutions who since the foundation of the New Bauhaus in Chicago in 1937 have inspired, created and collected photography and then presented it to the public. The wide range of illustrations extends from abstract photograms and material experiments to conceptual and process - oriented works series. Contemporary works from Chicago complete the picture and reflect the importance of the Bauhaus thought process for th e present day.

In 1919, the state art school in Weimar was reopened under the direction of Walter Gropius, with a radical teaching approach and under the new name Bauhaus. Four years passed before the first exhibition took place, which conveyed a new approach to art to the enthusiastic public and carried the school's ideas all over the world. The catalogue Staatliches Bauhaus in Weimar 1919-1923 was published in 1923 to accompany this first public appearance. In this interdisciplinary oeuvre catalogue, the idea and potential of the Bauhaus found their way onto paper for the first time. In addition to numerous project presentations, the theoretical approaches of Paul Klee, Wassily Kandinsky, and Gertrud Grunow convey the teaching methods of the various workshops. Gropius' preface traces the structure of the State Bauhaus and presents the unique reformation approach that demands and teaches the unity of technology and art. The illustrations from the various workshops also show projects by students whose connection to the Bauhaus is less known. With the original layout by Laszlo Moholy-Nagy and the cover designed by Herbert Bayer, the book is an important testimony to that legendary avant-garde movement. This facsimile is supplemented by a commentary that places this publication, rare and long out of print, in a historical context and documents the Bauhaus from its idea to its establishment as a renowned art and design school. The German facsimile is accompanied by the first full English translation of the catalogue, making it accessible to an international audience.