Skip to Navigation

Past Exhibition

  • Marianne Brandt
    Tempo-Tempo, Progress, Culture [Tempo-Tempo, Fortschritt, Kultur], 1927
    Photomontage of newspaper clippings, black, red, and white ink
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden
  • Marianne Brandt
    Untitled (with Anna May Wong) [o.T. (mit Anna May Wong)], ca. 1929
    Photomontage of newspaper clippings with glass, celluloid, and metal
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Galerie Kicken, Berlin
  • Marianne Brandt
    Parisian Impressions [Pariser Impressionen], 1926
    Photomontage of newspaper clippings (halftone reproductions) on gray paper
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Bauhaus Dessau Foundation / Germany
  • Marianne Brandt
    me (Metal Workshop) in 9 years of the bauhaus. a chronicle [me (Metallwerkstatt) in 9 jahre bauhaus. eine chronik], 1928

    Photomontage of silver gelatin prints on white cardboard
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Bauhaus-Archiv, Berlin
  • Marianne Brandt
    Untitled (Self Portrait with Lilies), mid 1920s
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Negative collection of the Bauhaus-Archiv, Berlin
  • Marianne Brandt
    Untitled (Self Portrait with Jewelry for the Metal Party), 1929
    © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
    Glass negative in the collection of the Bauhaus-Archiv, Berlin

Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt

JUNE 9–AUGUST 27, 2006

Marianne Brandt (1893–1983), a leader of the Bauhaus style, is best known as a Bauhaus designer and metal-worker. Much less well-known are the photomontages that constitute the critical complement to her metal works from the mid-1920s and early 1930s. It was in these photomontages that Brandt first focused her analytical gaze on contemporary society and politics, and, in particular, on the ominous and destructive aspects of modern technology so apparent in the First World War. Drawing on the vast array of visual material made available by the Weimar Republic's burgeoning illustrated press, Brandt’s photomontages relied upon the technologies of modern visual culture to challenge pictorial conventions and imagine new roles for women.

This exhibition of approximately forty works, which will be the first full retrospective of Brandt's photomontages, has been organized by the Bauhaus-Archiv, Berlin, with Elizabeth Otto as guest curator.