Moholy-Nagy: Future Present, the long overdue traveling retrospective of Hungarian-born artist and educator László Moholy-Nagy, is a timely testament to an artistic practice that was truly interdisciplinary, spanning seemingly every medium and ism, and to an aesthetic vision that saw the creative potential in every citizen.
The following interview is a composite dialogue, a textual collage that combines passages from a conversation between designer and architect Ken Isaacs and myself that took place on September 9, 2014, in Granger, Indiana, and excerpts from the Isaacs's own writings and other interviews.
Captured throughout the exhibition is the dual sense of hope and despair that infused these countries during the interwar period, as is the political and social upheaval that spawned artists to craft a new vision for Europe.
The following is a transcription of “Ukrainian Modernism: Identity, Nationhood, Then and Now,” a panel discussion organized by and held at the Chicago Cultural Center in conjunction with the exhibition Crossroads: Modernism in Ukraine, 1910-1930, on view at the Chicago Cultural Center, July 22-October 15, 2006, and The Ukrainian Museum, New York, November 5, 2006-April 29, 2007.
The following roundtable concluded a panel devoted to contemporary and art historical perspectives on central and East European art and culture from 1945 to the present at the 2001 College Art Association Conference.