Laszlo Maholy-Nagy

László Moholy-Nagy was born in Hungary in 1895 and he initially studied law before serving in the army during World War I. He was discharged in 1918 after being wounded and by 1920 he had settled in Berlin, gaining a reputation as an innovative artist and a perceptive theorist. His reputation preceded him, at Walter Gropius’ invitation he taught at the Bauhaus School of Art and Design in Weimar and Dessau from 1923 to 1928. His approach, embracing new technologies and modern materials – alongside his utopian optimism for the future of design and society – came to define the Bauhaus ethos. However, the rise of Nazism forced Moholy-Nagy to leave Germany, first for Amsterdam and then to London

Childhood?...There Is No Childhood...

There is Childhood, but not as the body of work I had intended. Utter Journal 002 will come out in September, followed by Utter Journal 003 in November. Male and female artists have been subjected to prejudicial sabotage for decades and, where photography and children are involved, the vomit of the small-minded has the ability to strike fear into the core of society’s thinking. Childhood is an illusion, its temporality experienced in an endless tussle with reality, a disparity between actuality and memory, that of time remembered and time imagined. Children get caught up in our adult world, they get swept up in our phantasmagorical collective, our architecture of ready-mades. Children should

There Is No Childhood

Carrying on from last week, it transpired that the child's naked body and even worse the child's penis was somehow distrurbing, perverted and for the printers to go ahead, all photographs where the child's penis could be seen, however oblique and however small, had to be removed. I declined their censorship. There was one exception to their censorial demands. In the afterword of Childhood, I had included a photograph taken in 1896 by Francesco Paulo Michetti, 'The Offering'. This photograph of a mother and her naked son with his penis in full view, would be allowed, as it was, "historical". The contemporary child's penis, however, was to remain hysterical, both tragically and comically. Fran

There Is No Childhood

There Is No Childhood came about because there was Childhood. This is not the body of work I intended. There Is No Childhood deals with moments beginning twenty-six years ago, when I began photograohing my own children growing up. It ended with the printers of Utter Journal refusing to print Childhood, them calling in the police and my images cited as traumatic, disturbing and naive. The police went as far to say that, "Childhood is potentially a danger to children". I believe the irony was unintentional. Alternative cover of Utter Journal Issue 002, Summer 2019

Time In

Bruer Tidman, Andy Sloan and Mark Cator are exhibiting works at the Hendee House Studios from Wednesday 3rd July to Wednesday 10th July. Andy's metal sculptures can also be seen at The Big Shed, near Iken. Bruer has a selection of paintings from the past 25 years in the recently re-furbished gallery. Mark cator is exhibiting photographs depicting childhood.