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Kunstverein Jena exhibition handbills (1924–27) - Fonts In Use

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Kunstverein Jena (Jena Art Association) was founded in 1903. In some of its early years, the organization held exhibitions at the Bauhaus in nearby Weimar, and later they were shown in Jena at the Prinzessinnenschlösschen (also known as the Griesbachsches Gartenhaus). This series of 10.5 × 14.9 cm handbills, designed by exhibition director Walter Dexel, is a fine example of the “new typography” promoted by László Moholy-Nagy at the Bauhaus in 1923. Paraphrasing Dexel from his contribution to Bodo Rasch’s 1930 Der gefesselte Blick (The Shackled View): “We no longer seek the so-called ‘beauty’, but clarity. The man of today has the right to demand that the information he needs be presented to him in a concise and clear manner.” The fliers use a variety of the grotesks favored by Bauhaus artists, as described by Indra Kupferschmid in one of the first articles on Fonts In Use. These include Venus, Akzidenz-Grotesk, and not Breite halbfette Grotesk but the similar Blockschrift, along with o

Kunstverein Jena exhibition handbills (1924–27) Contributed by Stephen Coles on Mar 14th, 2017. Artwork published in circa 1924 . Source: letterformarchive.org Photo by and collectcion of Letterform Archive . License: All Rights Reserved . Kunstverein Jena (Jena Art Association) was founded in 1903. In some of its early years, the organization held exhibitions at the Bauhaus in nearby Weimar, and later they were shown in Jena at the Prinzessinnenschlösschen (also known as the Griesbachsches Gartenhaus ). This series of 10.5 × 14.9 cm handbills , designed by exhibition director Walte

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