Cyanotypes of India and Germany

Robert A. Schaefer, Jr. Jantar Mantar – Misra Yantra, New Delhi (2009) Cyanotypes of India and Germany Robert A. Schaefer, Jr.

Part - I Part - II Government Museum and Art Gallery Goethe-Institut / Max Mueller Bhavan November 11th -16th, 2010 November 18th - 24th, 2010 Sector 10C, Chandigarh 3, Kasturba Gandhi Marg, New Delhi

3, Kasturba Gandhi Marg, New Delhi +91 11 23471100 www.goethe.de/newdelhi Oktoberfest I, II, III, (triptych), Munich (1976 ) Photography allows the spirit of the mind and its eye to move into different dimensions to capture themselves, to be viewed for their spatial and tonal relation to the frame, without any attempt to that which it sees and that which it envisions to see. 19th century processes enable a much provide a larger, more “meaningful” context. deeper realisation of this power, yet, again of the spirit of a romantic window into the diverse, often newly discovered energies and elements of a far-off site, a forgotten locus, an exotic or In his personal trajectory to construct his photographic world, Schaefer became interested in verboten territory. Consider the pioneering explorers of the Eastern realms and the camera, such photographic processes invented in the 19th Century. His favourite one became the cyanotype as John Thomson (Scottish, d.1921), and Felice Beato (Italian-British, d.1909), the Lord Curzon- because he felt it enhanced the light surreal direction of his imagery. Lyle Rexer in his book led Younghusband Expedition to Tibet (1903-1904), or the Himalayan subjects of Andrey Avinoff Photography’s Antiquarian Avant-garde, (Abrams, 2002) commenting on Schaefer’s cyanotypes (Russian-American, d.1949), in such homage to the composition of the printed object. says, “The work of former architect Robert Schaefer marries the process to a Machine Age aesthetic of urban geometrics and industrial technologies…Schaefer also reverses himself In essence, a more organic, tangible technique enables the unseen facets of the captured imagery with a blue neo-Impressionism; images that might have originated in the Photo-Secession and to materialise. A heightened sense of timelessness and fluidity arise from Robert A. Schaefer, Jr.’s photography’s embrace of painting.” Just as one ponders: How does the past accumulate in photographs. Classic architectural edifices and monuments seem bathed in an early morning light, built space and in what ways does this space shape our individual memory? What of the past is further configuring the hand of nature. His is a strong visual language which connects memory, an actual memory and what is a fantasy or our miss-remembering? How has architecture played thought, iconic forms and mannerisms, in an idiosyncratic voice of narration. (As a referential note, a role in this process? Is memory the residue of the individual lives and interactions that shape In Situ: Architecture and Landscape, the 2009/2010 exhibition at the Museum of Modern Art in architecture or is it that architecture imposes itself on our memory? New York.) Three years ago I met Robert Schaefer in New York City through our mutual friend and Power of the colour blue spans cultures and or perception of a large dimension of nature – photographer Felicia Murray. When I saw Robert’s cyanotypes, I responded immediately and in particular the sky and the sea, long sources of primary inspiration for creative depiction. poetically mused that he should photograph sites in India. Two predominant forces surfaced. One Furthermore, within Indian culture blue has imprinted associations with deities. Another imposing was the architectural direction in Robert’s photography and how he would capture historic sites incorporation of the colour in an almost heraldic symbol is the configuration of thick and thin such as Jantar Mantar and Humayun’s Tomb, and the modern era French architect Le Corbusier’s blue lines on the edge of the saris worn by the sisters of Mother Teresa’s Missionaries of Charity designs for the city plan and government complex of Chandigarh. Eventually, we thought to in Kolkata. Demonstrated by the adaptation of the cyanotype process, one can realise the “blue incorporate Raj Rewal and his Parliament Library (2003). The other context is the Prussian blue image” on treated fabric as well, thereby conjuring another significant textile tradition of indigo. colour of the cyanotype print. Apparently, as I was later to learn, a cyanotype restorer resides in Chennai and there are several examples in the Alkazi Foundation for the Arts Collection in New Whether it is the shared experience of the built environment, the psychological and metaphorical Delhi. His extensive earlier work during years of study and residency in Germany constituted the aspects of theory and design, or the physical construction itself, the very qualities of architecture final side of the exhibition equation. have inspired visual artists for centuries. One thread that many artists have recently investigated is the creation of memory and its relationship to architecture. Cultural or individual memory, both This project celebrates the melding of place and time, of the colour blue, of architectural visions of real and imagined, has been explored in many of these works. With their commanding presence the past and present. It recognises the routes and journeys of form and the timeless inspirations and sometimes troubled histories, buildings (and monuments) are mediators of the past and are, which continue to influence creativity. In the words of the Kenyan author, Ngugi Wa Thiong’O, arguably, the strongest medium of our collective consciousness. Through built spaces, communities an attempt to herald “the importance of creating literature in small languages to preserve world articulate ideologies, create social, race, ethnic and class relationships, construct histories and cultures.” (From a live interview on National Public Radio, October 2010) I am grateful for this inform the unconscious. past year and a half since visualising this endeavour, to Robert Schaefer for his eye, disciplined skill and integral sensitivity for his subjects. Similarly, to Goethe-Institut for sharing our passion This brings one to the discourse of Dr. Oliver Sacks, the neurologist, explored in his new tome, and supporting such myriad undertakings. Lastly, my sincere remerciements to friends and family The Mind’s Eye (Albert Knopf, 2010), the retention of the visual image and shifting perceptions of across the globe, and the so many acknowledged individuals and institutions for their collaborative colour and tonalities, with rendered distortions via lasers as if hallucinations of geometric patterns. spirit and indefatigable enthusiasm. Just as one learns to read photography in two dimensions, as opposed to stereoscopic depictions. It is duly noted in Sacks’earlier pioneering work on colour-blindness, in particular in light of the colour-specificity of Schaefer’s cyanotype oeuvres through which he builds a realm of history, a Elizabeth Rogers passageway of visual recording, shaded through a personal, albeit shared timeline. Graduate of Harvard University (B.A.), Institut d’Etudes Politiques (C.E.P.) and Institut des Civilisations et Langues Orientales This was aptly examined in Susan Sontag’s 1966 monumental book Against Interpretation. (matrise, Paris), Beijing and Fudan Universities (P.R.C.), and Yale University (M.A. amd M.F.A.), she has curated exhibitions of “Interpretation is the revenge of the intellect upon art,” she wrote, arguing that to seek Asian art across the globe. She was the Assistant Director of the Museum at Japan Society (New York), and the Director understanding from art is to impoverish its meaning. Sontag saw photographs as objects unto of the Jacques Marchais Museum of Tibetan Art (New York). 3 Chandigarh Exhibition: List of Cyanotype Works

Chandigarh - Government Buildings by Le Corbusier 21. Rear Facade of The High Court, 2009, 8 ¼" x 5 ¾" (3/20) 1. The Assembly Building I, 2009, 10" x 15" (3/20) 22. The High Court, 2009, 5 ¾" x 8 ¼" (3/20) 2. The Assembly Building and the Secretariat, 2009, 9" x 15" (3/20) 23. Detail of The Assembly Building, 2009, 8 ¼" x 5 ¾" (3/20) 3. The Assembly Building II, 2009, 10 ¼" x 15" (3/20) 24. Balcony Detail of The Secretariat, 2009, 5 ¾" x 8 ¼" (3/20) 4. Reflection of the Assembly Building, 2009, 5 ¾" 8 ¼" (3/20) 25. Roof of The Secretariat, 2009, 6 ¼" x 9" (3/20)

5. Roof of the Assembly Building, 2009, 10 3/8" x 15" (3/20) 26. The Secretariat II, 2009, 5 ¾" x 8 ¼" (3/20) 6. Rear Entrance to the High Court, 2009, 10" x 15" (3/20) 27. The Secretariat – Rear Facade, 2009, 5 ¾" x 8 ¼" (3/20)

7. The Open Hand I, 2009, 10 3/8" x 15" (3/20)

8. The Open Hand II, 2009, 15" x 10 3/8" (3/20) Germany 7 9. The High Court – Street Facade, 2009, 15" x 10 3/8" (3/20) 1. Street Crossing, Munich, 1977, 10 ¼" x 14 /8" (3/20) 10. The Secretariat III, 2009, 10 ¼" x 15" (3/20) 2. VW in Mirror, Munich, 1977, 15" x 10" (3/20) 3 11. Assembly Building III, 2009, 10 3/8" x 15" (3/20) 3. Visitor’s Center II, Berlin, 2005, 15 /8" x 10 ¼" (3/20)

12. Atrium of Rear Entrance to High Court, 2009, 10 3/8" x 14 5/8" (3/20) 4. Visitor’s Center I, Berlin, 2005, 5 ¾" x 8 ¼" (4/20)

13. Rear Atrium of High Court – Ceiling Detail, 2009, 10 3/8" x 15" (3/20) 5. Antique Shop, Munich, 1977, 8 ¼" x 5 ½" (4/20)

14. The Secretariat I, 2009, 15" x 10 3/8" (3/20) 6. Curiosity Shop, Munich, 1977, 8 ¼" x 5 ¾" (3/20) 15. Entrance to the High Court, 2009, 15" x 9 ¾" (3/20) 7. Train Station, Hannover, 1979, 5 ¾" x 8 ½" (3/20) 16. Partial View of The Secretariat, 2009, 10 ¾" x 15" (3/20) 8. Plexiglass Roof of 1972 Olympic Games Bldg.I, Munich, 1977, 6 ¼" x 9" (3/20) 17. Pavilion between High Court and Assembly Bldg., 2009, 10 ¾" x 15" (3/20) 9. Plexiglass Roof of 1972 Olympic Games Bldg.II, Munich, 1977, 6 ¼" x 9" (3/20) 18. Entrance to The Secretariat, 2009, 8 ¼" x 5 ¾" (3/20) 10. Market Square “Alte Wache,” Frankfurt, 1979, 5 ¾" x 8 ¼" (4/30) 19. Facade Detail of The Assembly Building, 2009, 5 ¾" x 8 ¼" (3/20) 11. Bicycle Tire at Flea Market, Munich, 1977, 5 ¾" x 8 ¼" (3/20) 20. Rear Atrium of The High Court, 2009, 8 ¼" x 5 ¾" (3/20) 12. Train Station, Munich, 1976, 5 ¾" x 8 ¼" (3/20)

4 Delhi Exhibition: List of Cyanotype Works

Historic Architectural Sites Germany 1. Qutab Minar Tower, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20) 1. Train Station, Hannover, 1979, 5 ¾" x 8 ½" (4/20)

2. Taj Mahal (Side View), Agra, 2009, 10 3/8" x 14 7/8" (3/20) 2. Market Square “Alte Wache,” Frankfurt, 1979, 5 ¾" x 8 ¼" (3/20) 3. Taj Mahal (Back View through Gate), Agra, 2009, 5 ¾" x 8 ¼" (3/20) 3. VW in Mirror, Munich, 1977, 8 ¼" x 5 ¾" (3/20) 4. Humayun’s Tomb - Side Building Entrance, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 4. Street Crossing, Munich, 1977, 10 ½" x 15" (4/20)

5. Humayun’s Tomb, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 5. Elektro Licht Kraft Sign, Munich, 1976, 8 ½" x 5 5/8" (5/20)

1 6. Jantar Mantar – Ram Yantra I, New Delhi, 2009, 8 7/8" x 6" (3/20) 6. Antique Shop, Munich, 1977, 14 ¾" x 9 /8" (3/20)

7. Jantar Mantar – Ram Yantra II, New Delhi, 2009, 8 7/8" x 6" (3/20) 7a. Oktoberfest I, Munich, 1976, 9" x 6 ½" (3/20)

8. Jantar Mantar – Jaya Prakasa, New Delhi, 2009, 14 7/8" x 10 1/8" (3/20) 7b. Oktoberfest II, Munich, 1976, 9" x 6 ½" (3/20)

9. Jantar Mantar – Misra Yantra, New Delhi, 2009, 10 1/8" x 14 ¾" (3/20) 7c. Oktoberfest III, Munich, 1976, 9" x 6 ½" (3/20) 10. Jama Masjid Mosque, Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 8. Plexiglass Roof of 1972 Olympic Games Bldg., Munich, 1977, 6 ¼" x 9" (2/20) 11. Wall on the Grounds of Qutab Minar Tower, New Delhi, 2009, 15" x 10 ¼" (3/20) 9. Visitor’s Center I, Berlin, 2005, 10 ¼" x 15" (7/20)

12. Temples, Fatehpur Sikri, 2009, 10 ¼" x 14 7/8" (3/20) 10. Theater Festival Box Office, Munich, 1979, 10 ¼" x 15" (3/20) 13. Building Window on Grounds of Humayun’s Tomb, New Delhi, 2009, 15" x 10 ¼" (3/20) 11. Bicycle Tire at Flea Market, Munich, 1977, 10 ¼" x 15" (3/20) 14. Reflection of Taj Mahal, Agra, 2009, 8 ¼" x 5 ¾" (3/20) 12. Curiosity Shop, Munich, 1977, 8 ¼" x 5 ¾" (3/20) 13. Train Station, Munich, 1976, 10 ¼" x 15" (3/20) Parliament Library 1. Detail of Roof Garden Overhang, New Delhi, 2009, 10 ¼" x 15" (3/20) 2. View of Courtyards from Roof Garden, New Delhi, 2009, 10 ¼" x 15" (3/20) 3. Ceiling of the Entrance Hall, New Delhi, 2009, 10 ¼" x 15" (3/20) 4. Zig-zag Wall of Roof Garden, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20) 5. Courtyard Facade I, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 6. Reflective Glass Ceiling, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 7. Entrance Hall (Reinterpretation of a Yantra), New Delhi, 2009, 5 ¾" x 8 ¼" (3/20) 8. Courtyard II, New Delhi, 2009, 8 ¼" x 5 ¾" (3/20) 9. Skylight and Roof Garden, New Delhi, 2009, 5 ¾" x 8 ¼" (3/20)

5 Temples, Fatehpur Sikri (2009) 6 Taj Mahal (Side View), Agra (2009)

Historic Architectural Sites

Having visited in 1972 Spain’s Alhambra in Granada and the Mesquite in Cordoba, I was aware of the influence that the Moors had in countries they had invaded. Looking at similar influences in the development of architecture from this period in Northern India (Moghul Style) such as Humayun’s Tomb and the Taj Mahal was a historical feast. Conversely, I was completely mesmerized by Jantar Mantar and the modernity of its forms. I spent quite a lot of time contemplating how such elements and volumes were selected for the study of astronomy and actual planetary changes as well as predictions of eclipses in the early part of the 18th Century. RAS Taj Mahal (Back View through Gate), Agra (2009) 7 Humayun’s Tomb, New Delhi (2009) 8 Humayun’s Tomb - Side Building Entrance, New Delhi (2009) Side Building Window on Grounds of Humayun’s Tomb, New Delhi (2009) 9 Jantar Mantar – Ram Yantra I, New Delhi (2009) Jantar Mantar – Jaya Prakasa, New Delhi (2009) 10 Qutab Minar Tower, New Delhi (2009) Wall on the Grounds of Qutab Minar Tower, New Delhi (2009) 11 The Assembly Building and the Secretariat, Chandigarh (2009) 12 The Assembly Building, Chandigarh (2009) Chandigarh

During my architectural studies at Auburn University in Alabama and the Technische Universitaet in Munich, I often observed and contemplated the work of the French architect Le Corbusier. Subsequently, in my travels to Europe, I visited many of his structures in France such as the Chapel of Nôtre Dame du Haute at Ronchamp, the Maison Du Brésil in Paris and the Unité d’ Habitation in Marseilles. I was also aware of the new town Le Corbusier had designed for Chandigarh after it became the capital of the Punjab, and wanted to visit it. Although gaining permission to photograph the main government buildings designed by Le Corbusier was quite exhausting, it was well worth the effort to be able to experience these pillars of modern architecture by standing in front of them while sketching them with my camera. RAS The Assembly Building I, Chandigarh (2009) 13 Roof of the Assembly Building, Chandigarh (2009) 14 Reflection of the Assembly Building, Chandigarh (2009) 15 Rear Entrance to the High Court, Chandigarh (2009)

The Open Hand I, Chandigarh (2009) Insert: The Open Hand II, Chandigarh (2009) 16 17 Ceiling of the Entrance Hall, New Delhi (2009) 18 Entrance Hall (Reinterpretation of a Yantra), New Delhi (2009)

Parliament Library

My first thought of seeing the Parliament Library designed by architect Raj Rewal in New Delhi was old becomes new in the third dimension called architecture. I immediately saw elements from earlier centuries of Indian architecture brilliantly made modern in their forms and volumes. The use of local sandstone both inside and outside speaks to the history of Indian architecture as well as providing sustainability to the overall design. The roof garden not only adds to the concept of sustainability, it provides additional outdoor spaces as well as natural climate control. The Parliament Library is a prime example of the direction architecture should be taking in the 21st Century. RAS

Skylight and Roof Garden, New Delhi (2009) 19 View of Courtyards from Roof Garden, New Delhi (2009) 20 Detail of Roof Garden Overhang, New Delhi (2009) 21 Reflective Glass Ceiling, New Delhi (2009) 22 Courtyard II, New Delhi (2009) Zig-zag Wall of Roof Garden, New Delhi (2009) 23 Plexiglass Roof of 1972 Olympic Games Building, Munich (1977)

Germany

Though I am third generation German, I was never introduced to the culture or language while growing up in North Alabama, USA. On my first trip to Europe in 1972, my grandfather insisted that I stay with relatives in Germany I never knew we had. Thus, I embarked on not only learning German but deciding to get my Masters of Architecture and City Planning Degree (Diplom Ingenieur Architekt) at the Technische Universitaet in Munich. These images were taken in part during the six years I lived in Germany and on subsequent visits thereafter. They take German themes and locations into my photographic world of layered structure and shadow. RAS

Market Square – ‘Alte Wache’, Frankfurt (1979) 24 Train Station, Hannover (1979) 25 26 Visitor’s Center II, Berlin (2005)

Visitor’s Center I, Berlin (2005) 27 VW in Mirror, Munich (1977) 28 Antique Shop, Munich (1977) Elektro Licht Kraft Sign, Munich (1976) 29 Architectural Blue

In the Fall of 2008 in New York City, a mutual friend introduced me to Elizabeth Rogers. At the the cyanotype was discovered - the blueprint used by architects and engineers to copy drawings. time, she saw a portfolio of my cyanotypes and later suggested that I should go to India and I was well aware of blueprints having viewed them as a child during the building of our home produce a body of work printed with the cyanotype process. She proceeded to help me plan my and later as a student of Architecture at Auburn University in Alabama and then the Technische trip, and in November 2009, I traveled to India and Bangladesh for the first time. Universität in Munich, Germany.

My studies are in architecture and photography, thus the initial direction of my trip was to I landed in Delhi where she had arranged a meeting with the then Director of the Goethe-Institut/ photograph the government buildings designed by the French architect Le Corbusier in Max Mueller Bhavan to see if they might be interested in hosting an exhibition of German images Chandigarh, India as well as the parliament buildings by American architect Louis Kahn in Dhaka, taken during the time I lived in Munich (1975 to 1981) printed with the cyanotype process. The Bangladesh. (The documentary movie My Architect by Kahn’s son Nathaniel shows this wonderful meeting with Dr. Stefan Dreyer went very well; he expressed interest in a future exhibition and complex of buildings.) My plan was to visit these sites and print the captured images using the suggested that I contact the Goethe Zentrum in Chandigarh. Concurrently, Elizabeth introduced cyanotype process. me to Raj Rewal, the architect of the Parliament Library, which we had arranged for me to photograph. This process was invented in 1842 by Sir John Herschel in England to make the printing of photographs easier than its first process - the daguerreotype. The cyanotype process uses some Architectural Blue incorporates my two mediums of architecture and photography under the type of paper (other materials such as cloth may also be used) coated with chemicals making it themes of India and Germany. In selecting the cyanotype process to print them, I acknowledge light sensitive. The negative is placed on top of the paper along with a sheet of glass to weight the relationship this hue of blue holds for India and the relationship that India has to19th Century it down and then put under ultra-violet light such as the sun or black light. The result is a photographic processes in general as documented and preserved at the Alkazi Foundation in monochromatic, Prussian blue photograph. Instead of a negative, objects can be placed on top of Delhi. I look forward to exhibiting this body of work in India and am deeply grateful to Elizabeth the coated paper and exposed producing what is called a photogram. Although I have used other Rogers and the Goethe-Instititut/Max Mueller Bhavan for their diligent work in helping me processes discovered in the 19th Century such as platinum, palladium and gum-bichromate, I feel produce Architectural Blue. that the resultant blue of the cyanotype process enhances the light surreal quality of my imagery and gives a science-fiction quality to my cityscapes. Cyanotype, like most of the 19th Century processes, is a contact process meaning that the negative is the same size as the print. Therefore, Robert A. Schaefer, Jr. for each print, I have to make a digital negative to produce the print. In 1870, another use for New York City, August 2010

30 ONE PERSON EXHIBITIONS Windows On Columbus, Jersey City, NJ, 2009 Museum of Fine Arts, Montgomery, AL 2007 – 2008 Gallery DeFrog, Houston, TX, 2006 Chamot Gallery, Jersey City, NJ, 2003 Huntsville Museum of Art, Huntsville, AL, 1999 – 2000 AGNES (Gallery) Birmingham, AL, 1999 Barbara Ann Levy Gallery, New York City, NY, 1999 Aroma Gallery, Berlin, Germany, 1995, 1997 2-1/2 x 4-1/2 Fotogalerie, Amsterdam, Holland, 1988, 1992 Oysterponds Historical Society, Orient (Long Island), NY, 1992 The Singers Forum Art Gallery, New York, NY, 1991 Puchong Gallery, New York, NY, 1987 Soho Photo Gallery, New York City, 1984,1986, 1987, 1990 Black River Galleries, South Haven, Michigan, 1982 L’ Institut Français de Munich, Munich, Germany, 1980 Museum of Fine Arts, Montgomery, AL, 1978 Amerika Hauses: Hannover, Hamburg & Frankfurt Germany, 1979 Kulturhaus, Graz, Austria, 1978 © Robert H erman Amerika Haus Munich, Munich, Germany, 1977

GROUP EXHIBITIONS ROBERT A. SCHAEFER, JR. Museum auf Abruf, Vienna, Austria, 2010 Watchung Arts Center, Watchung, NJ, 2010 44 EAST 21st STREET, 2R, NEW YORK, NY 10010 Brno House of Arts, Brno, Czech Republic, 2009 – 2010 Email: [email protected] The Mishkin Gallery in Baruch College, New York, NY, 2009 URL: http://www.schaeferphoto.com Museum of Fine Arts Houston, Houson, TX, 2006 The Royal College of Art, London, England, 2006 BIRTHPLACE Silver Eye Center For Photography, Pittsburgh, PA, 2005 Cullman, Alabama, 1951 Here Is New York, 2001 – Present Main Line Art Center, Haverford, PA, 2000 The Raab Gallery, Berlin, Germany, 1997 The Donnell Library, New York City, NY, 1996 Huntsville Museum of Art, Huntsville, AL, 1995 Fine Arts Museum of the South, Mobile, AL, 1995 Maryland Fed. of Art (Juried: V. Goldberg), Annapolis, MD, 1992

31 Toledo Friends of Photography (Juried: P. McGill), Toledo, OH, 1991 Rainer Fetting, painter and sculptor, Berlin, Germany The Book Trader Gallery, Philadelphia, PA, 1990 Alf Lechner, sculptor, Rottenburg auf de Tauber, Germany Janacek Theatre, Brno, Czechoslovakia, 1990 Galerie Bartsch & Chariau, Munich, Germany Cork Gallery, Lincoln Center, New York City, NY, 1989 Estate of Architect Bruce Goff, Oklahoma, USA Photowork ’89 (Juried: C. Capa), Poughkeepsie, NY, 1989 Max Protech Gallery (art auction), New York City, NY 1988 PUBLICATIONS Art in Embassies Program, Washington DC, 1987 Blueprint to Cyanotypes, Alternative Photography.com, 2006 Fotofest 2006, Official Catalogue: 10th Int. Month of Photography PERMANENT COLLECTIONS What Is A Body Of Work?, Positive Focus, Brooklyn, NY, 2003 Photography’s Antiquarian Avant-garde, Abrams, New York, 2002 PUBLIC The Star Ledger, Newark, NJ, 2002, 2003 Museum of Modern Art, New York City, NY Fine Art Photography, Design & Print, Apple, Inc., 2001 Bibliotheque Nationale, Paris, France The Philadelphia Inquirer, Philadelphia, PA, 2000 Museum of Fine Arts Houston, Houston, TX PHOTO Insider, Florham Park, NJ, 2000 The New York Historical Society, New York City, NY Catalogue: RASJR25, Huntsville, AL, 1999 Library of Congress, Washington D.C. The Non-Toxic Darkroom, Design & Publishing, Apple, Inc.,1998 Amerika Haus, Munich, Germany Brennpunkt, Berlin, Germany 1998 Janacek Theatre, Brno, Czechoslovakia Fotophile, New York, NY, 1997 Huntsville Museum of Art, Huntsville, AL Alabama Impact Catalogue, Huntsville, AL, 1995 Birmingham Museum of Art, Birmingham, AL Bilderleben, Art Text, Berlin, Germany, 1992 Woodstock Center for Photography, Woodstock, NY Staten Island Advance, Staten Island, New York, NY, 1989 Congregation Emanu El, Houston, TX Focus/World Press Photo, Netherlands, 1988 Union Rescue Mission Art Collection, Los Angeles, CA Foto - Universeel Maandblad voor Fotografie, Netherlands, 1988

CORPORATE INSTRUCTOR Philip Morris, Inc. Collection, New York City New York University, 2002 – Present Office: Dr. Edward Goldberg, New York City Center for Alternative Photography, 2009 – Present Lewis Neville Interior Design, New York City Long Island University, Brooklyn, NY, 2009 – Present The New School, 2003 – 2005 PRIVATE Pratt Institute (Workshops), 2003, 2005 Kofi Annan, Former Sec. Gen., United Nations, New York City, NY Seminars for Apple, Inc. (Fine Art Photography), 1999 - 2001 W.M. Hunt, Collection Dancing Bear, New York City, NY Peter Hay Halpert Fine Art, New York City, NY EDUCATION Michael Mazzeo, Michael Mazzeo Gallery, New York City, NY Auburn University, Auburn, AL, 1970-1975 Ben Fernandez, photographer Technische Universität, Munich, Germany, 1975-1978 Estate of Hermann Wiesler, Berlin, Germany

32 Architectural Blue: Cyanotypes of India and Germany Chandigarh and New Delhi November 2010

Presented by Goethe-Institut/Max Mueller Bhavan

Curator and Editor Elizabeth Rogers

Photography All cyanotype photographs courtesy of and ©Robert A. Schaefer, Jr. Portrait of Robert Schaefer courtesy of and ©Robert Herman Courtyard Facade I, New Delhi (2009) Design & Printing Archana Press, New Delhi (www.archanapress.com)

Curator’s Acknowledgments Goethe-Institut/Max Mueller Bhavan, Dr. Stefan Dreyer, Robin Mallick, Deepa Kumar, and Malavika Venugopal; Mr. Maken of Goethe Zentrum, Chandigarh; Professor Rajnish Wattas, Chandigarh; Mr. Navjot P.S. Randhawa and the Government Museum & Art Gallery, Chandigarh; Mr. D.S. Kapoor and the Government College of Art, Chandigarh; Mr. Pradeep K. Bhagat and the Chandigarh College of Architecture; Raj and Helene Rewal, and Manu Rewal; Lalsawmliani Tochhawng and India International Centre (IIC); Akshaya Tankha and the Alkazi Foundation; Suneet Paul and A+D; Diwan Manna; Urvashi Mohan and Delfly Travels; Himman Dhamija, Raj Dhamija and Safina Uberoi; Archana Press and Ranjan Bakshi; Vikas Sharma and Sharma Framing House; Lucette Gilbert; Felicia Murray; and Robert A.Schaefer, Jr.

Photographer’s Acknowledgments Goethe-Institut/Max Mueller Bhavan, Dr. Stefan Dreyer, Ms. Deepa Kumar, Ms. Malavika Venugopal, Mr. Robin Mallik, Mr. Surinder Maken, Professor Rajnish Wattas, Professor Sangeet K. Gupta, Mr. Diwan Manna, Ms. Urvashi Mohan, Ms. Lucette Gilbert, Ms. Jeelu Billimoria, Ms. Nandita Raman, Ms. Sharon Collins, Mr. Raj Rewal, Mr. K.R. Krishnan Mr. Suneet Paul, Mr. Ram Dhamija, Ms. Safina Uberoi, Mr. Himman Dhamija, Mr. Robert Herman, Ms. Felicia Murray, Mr. Peter Prestcott, Mr. George Trahanis and Ms. Elizabeth Rogers

No part of this publication may be reproduced/stored in retrieval system or transmitted in any part or by any other means without prior permission in writing. The High Court – Street Facade, Chandigarh (2009) 34