Claudia Fährenkemper Biography
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Études Photographiques, 29 | 2012 the Wiederaufbau of Perception 2
Études photographiques 29 | 2012 Guerre et Iphone / La photographie allemande / Curtis / Ford The Wiederaufbau of Perception German Photography in the Postwar Moment, 1945–1950 Andrés Mario Zervigón Electronic version URL: http://journals.openedition.org/etudesphotographiques/3476 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 24 May 2012 ISBN: 9782911961298 ISSN: 1270-9050 Electronic reference Andrés Mario Zervigón, « The Wiederaufbau of Perception », Études photographiques [Online], 29 | 2012, Online since 24 June 2014, connection on 04 May 2019. URL : http://journals.openedition.org/ etudesphotographiques/3476 This text was automatically generated on 4 May 2019. Propriété intellectuelle The Wiederaufbau of Perception 1 The Wiederaufbau of Perception German Photography in the Postwar Moment, 1945–1950 Andrés Mario Zervigón 1 In the summer of 1943, during a long heat wave, the RAF (Royal Air Force), supported by the US Eighth Army Air Force, flew a series of raids on Hamburg.’ So begins German author W.G. Sebald’s account of the firebombing of this northern German city in his book Luftkrieg und Literatur. With a thoroughly straightforward – if sometimes fragmented – vocabulary, Sebald goes on to regale his reader with the grizzly details that follow his textual establishing shot: ‘In a raid early in the morning on July 27, beginning at one A.M., ten thousand tons of high explosive and incendiary bombs were dropped on the densely populated residential areas east of the Elbe … A now familiar sequence of events occurred: first all the doors and windows were torn from their frames and smashed by high- explosive bombs weighing four thousand pounds, then the attic floors of the buildings were ignited by lightweight incendiary mixtures, and at the same time firebombs weighing up to fifteen kilograms fell into the lower storeys. -
Presse-Information
Presse-Information 1945 – Köln und Dresden Fotografien von Hermann Claasen und Richard Peter sen. LVR-LandesMuseum Bonn vom 19.3.15 bis 7.6.15 Inhalt Pressetext (Kurztext) 2 Ausführliche Informationen 3 Biografien Hermann Claasen und Richard Peter sen. 6 Begleitband 11 Rahmenprogramm & Mitmachangebote 12 Besucherservice 13 Zusammenarbeit 14 Foto-Übersicht 15 Ihre Ansprechpartnerin: Stephanie Müller LVR-LandesMuseum Bonn, Presse- und Öffentlichkeitsarbeit Colmantstraße 14-16, 53115 Bonn Telefon 0228 / 2070-244 E-Mail: [email protected] Seite 2 Pressetext (Kurztext) Aus den Archiven 1945 – Köln und Dresden Fotografien von Hermann Claasen und Richard Peter sen. 19. März – 7. Juni 2015 im LVR-LandesMuseum Bonn Mit der Ausstellung 1945 – Köln und Dresden erinnert das LVR-LandesMuseum Bonn an das Ende des Zweiten Weltkrieges vor nunmehr 70 Jahren. Die Ausstellung stellt zwei bedeutende Fotografen der unmittelbaren Nachkriegszeit einander gegenüber: Hermann Claasen und Richard Peter. Ihre Fotobücher prägen bis heute unsere Wahrnehmung der zerstörten deutschen Städte des Zweiten Weltkriegs. Hermann Claasens „Gesang im Feuerofen“ von 1947 zeigt Köln in Trümmern. Der 1950 erstmals erschienene Bildband „Dresden, eine Kamera klagt an“ von Richard Peter sen. dokumentiert die Zerstörung Dresdens. Die Ausstellung zeigt 200 Vintage-Prints, Kontaktbögen und Dokumente aus den Nachlässen beider Fotografen. Sie rekonstruiert die Entstehungsgeschichte beider Bände und stellt sie in den historischen Kontext ihrer Erstpublikation. Mit dieser Präsentation begründen die drei Kooperationspartner – die Deutsche Fotothek in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden, die Stiftung F.C. Gundlach Hamburg sowie das LVR-LandesMuseum Bonn eine jährliche Ausstellungsreihe mit dem Titel „Aus den Archiven“. Die Ausstellung wird gefördert durch die Kunststiftung NRW. -
John Cohen on Passing Sep 16, 2019 Noam Chomsky Independence of Journalism Julian Assange + Telling Truth Fixing Reality Xu Yong
SPECIAL EDITION PARIS PHOTO | WEDNESDAY, NOVEMBER 6, 2019 BY GALERIE JULIAN SANDER, COLOGNE, GERMANY BY JULIAN SANDER The more we know, the more we know what we do not know. There is a profound wisdom in this con- tradictory sounding truth. Our desire to know things is the insatiable urge that has and conti- nues to drive our kind to its grea- test heights and its darkest depths. As our knowledge of each other has grown we have also gained a larger understanding of just how large the world is in which we all live. The news, a natural product of our need to prioritize the granular aspects of our existence, has beco- me a common base line of know- ledge. As all things that develop out of a necessity, the news has be- come a tool kit for the movement of mass information be it true or false. Although chances are that it will be somewhere in between more often than at either extre- me, at least for most of us who’s access to information is limited to that which has passed through the filters of national security and poli- tical correctness. These well formulated truths serve to help us make sense of a world so much larger than the numbers any of us can actually digest. 7.7738.603.459 people populate the world as of 23:09 CET on Octo- ber 21,2019. By comparison an 80 Reaper Drone in Temporary Hangar, Holloman AFB, NM, 2012, by Sean Hemmerle year life consists of 2.524.608.000 seconds. -
DUSSELDORF PHOTOGRAPHY Bernd and Hilla Becher & Beyond 4 September – 3 October 2015
DUSSELDORF PHOTOGRAPHY Bernd and Hilla Becher & Beyond 4 September – 3 October 2015 This autumn Ben Brown Fine Arts is pleased to present a major survey of photography originating from the Kunstakademie Düsseldorf after 1976. The exhibition offers an opportunity to see varying interpretations of the German ‘New Objectivity’ style championed by Bernd and Hilla Becher side by side, including meditations on architecture and landscape by their former pupils Candida Höfer, Andreas Gursky, Axel Hütte, Thomas Ruff, Elger Esser and Thomas Struth, also known today as the Dusseldorf School of Photography. These documentary representations of existing spaces will be complemented by the photography of Thomas Demand, a former sculpture student at the Kunstakademie, who models, amongst other subjects, life-size rooms and buildings for exacting depiction. Meeting at an advertising agency in Dusseldorf in 1957, Bernd and Hilla Becher began photographing industrial structures in the mining area of the Ruhr district where Bernd spent his childhood. Always incorporating overcast skies to minimise shadows, their formalist images capture the near-sculptural majesty of cooling towers, lime kilns and bunkers, each relics of a vanishing industrial age. In direct contrast to the romantic worldview of their post-war contemporaries, the Bechers’ works began a revival of the ‘New Objectivity’ photography that had prevailed in Germany in the 1920s and 1930s, characterised by an unsentimental gaze. Following the pair’s international debut at Documenta 5 in Kassel (1972) Bernd Becher was appointed professor of photography at the Kunstakademie Düsseldorf in 1976, which was increasingly renowned as a centre of high-quality photographic training and technological advancement. -
John Rule Art Book Distribution Stocklist Stocklist
John Rule Art Book Distribution Stocklist Stocklist SBN Title Author Format £ Status ARD_P 9781934510346 A Line in the Andes Felipe Correa and Ramiro Almeida Hb 35.00 NYP 9780982622612 Ganges Water Machine: Designing New India Anthony Acciavatti et al Hb 30.00 NYP 9781941806043 Rise Tectonic Machines! Construct Marcus Shaffer et al Pb 18.00 NYP 9781941806067 Zen Spaces in Neon Places: Reflections Vinayak Bharne Pb 30.00 NYP Atlantic Press 9780955734830 A Book Made of Tears Dean Owens Hb 9.99 9780955734823 A Postcard From The Mountains Richard Dinnis Pb 9.99 9780957154902 Authorial Illustrator: 10 Years of the Falmouth Steve Braund, Mat Osmond Pb 9.99 9780955734892 Beyond the Wire Alys Jones Pb 12.99 9780955734816 Coasters Poetry Anthology Ed. Elaine Ruth White (Ed.) Pb 9.99 9780953354382 Drawing on Water Mat Osmond Hb 11.99 9780953354344 Fried Eggs in Brine Paul Slater Hb 24.99 9780953354313 Grimm’s Fairy Tales: Three Illustrated Stories Simon Davies, Darryl de Beugny Pb 4.99 9780955734885 Micanopy Murders Elizabeth Blue Pb 9.99 9780955734847 Phantom Laura Wady Pb 9.99 9780953354399 Ratio : Pan dimensional Film Guide Thomas Barwick Pb 4.99 9780953354306 Something Amiss On The Moor Steve Braund Hb 14.99 9780955734854 Sophie’s Story Belinda Whiting Hb 9.99 9780955734861 The Case Helena Pertl Pb 5.99 9780953354337 The Funeral Barnaby Richards Pb 4.99 9780955734809 The Riddlers Steve Braund Pb 9.99 9780953354351 The Speckled Egg: Fifteen Visual Narratives Steve Braund & Michael Venning Pb 9.99 BedBury 9780955370908 Cuba: Land of Spirit James -
SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020
Grabbeplatz 4 40213 Düsseldorf Tel. +49 (0)211 520 99 595 [email protected] www.kunsthalle-duesseldorf.de SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020 For the first time, the exhibition Subject and Object. Photo Rhine Ruhr will examine the relationships between the different photographic positions that have developed in the cities of the Rhineland as well as the Ruhr and at the regions’ art academies since the 1960s. This unique approach is due to the fact that such a rich photography scene was able to develop in western Germany, which has repeatedly produced new and innovative artistic positions with sometimes very different photographic approaches over the past 70 years. According to the thesis, on the one hand this is due to the density of art academies and trade schools that developed in the Rhine and Ruhr regions after the Second World War. On the other hand, it is also a result of artistic socialization through an intensive art-historical discourse, parallel artistic developments within the visual arts, and the engagement with positions of international art that were shown at the major institutions in Düsseldorf, Essen, Cologne, Krefeld, and Mönchengladbach. An independent photo class was established in the 1970s at the Kunstakademie Düsseldorf with Bernd and Hilla Becher. At what is now the Folkwang University of the Arts in Essen, where a photo class led by Max Burchartz existed as early as the 1920s (parallel to the developments at the Bauhaus in Dessau), photography was once again taught as an independent specialization starting in 1959, initially under Otto Steinert. -
Theoretical and Philosophical Basis of Deadpan Aesthetics
European Journal of Science and Theology, December 2017, Vol.13, No.6, 107-118 _______________________________________________________________________ THEORETICAL AND PHILOSOPHICAL BASIS OF THE DEADPAN AESTHETICS Peter Lančarič* University of Ss. Cyril and Methodius, Faculty of Mass Media Communication, Nám. J. Herdu 2, 91701 Trnava, Slovak Republic (Received 9 August 2017) Abstract In the 21st century, the deadpan aesthetics is a part of photography. However, this topic has not been covered sufficiently. In the area of photography, the deadpan aesthetics represents a relatively new summarizing term for similar approaches and visual languages which can be found as fragments in different phases of the history of photography. The objective of the paper is to create a complex theoretical source by selecting relevant facts from the history of photography and identifying their mutual connection with the deadpan aesthetics. The paper also clarifies the historical fundamentals of the term deadpan. At the end of the 20th century, it became the term representing a technically formed aesthetics based on its historical substance. Except for the formalistic rules we elucidated in the paper, the deadpan aesthetics is inherently formed also by the effort to create as objective factual visual record as possible. In that manner, we placed the deadpan aesthetics in a position of a specific, scientific and systematic methodology frequently used by photographers. Creations of the authors mentioned in the papers represent particular phases in the development of this aesthetics. The overview of basic approaches, strategies and formal characteristics of the deadpan aesthetics can serve as a basis for photographic practice. Keywords: photography, deadpan, aesthetics, new objectivity 1. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
Kooperative Informationsinfrastrukturen Als Chance Und Herausforderung
Kooperative Informationsinfrastrukturen als Chance und Herausforderung Kooperative Informationsinfrastrukturen als Chance und Herausforderung Thomas Bürger zum 65. Geburtstag Herausgegeben von Achim Bonte und Juliane Rehnolt ISBN 978-3-11-058493-6 e-ISBN (PDF) 978-3-11-058752-4 e-ISBN (EPUB) 978-3-11-058503-2 Dieses Werk ist lizenziert unter der Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 Lizenz. Weitere Informationen finden Sie unter http://creativecommons. org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data Names: Bonte, Achim editor. Title: Kooperative informationsinfrastrukturen als chance und herausforderung : festschrift fuer thomas buerger zum 65. geburtstag / [edited by] Achim Bonte. Description: Boston, MA : De Gruyter, 2018. Identifiers: LCCN 2018937179 | ISBN 9783110584936 (alk. paper) Subjects: LCSH: Classification. | Library science–German-speaking countries. | BISAC: LANGUAGE ARTS & DISCIPLINES / Library & Information Science / General. Classification: LCC Z696.A4 K567 2018 | DDC 025.4/2–dc23 LC record available at https://lccn.loc.gov/2018937179 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Achim Bonte und Juliane Rehnolt, publiziert von Walter de Gruyter GmbH, Berlin/Boston Dieses Buch ist als Open-Access-Publikation verfügbar über www.degruyter.com. Coverabbildung: unter -
1931-‐2007) and Hilla Becher (B. 1934
Bernd Becher (1931-2007) and Hilla Becher (b. 1934) Bernd and Hilla Becher, the artist-couple known for their systematic and compulsive documentation of industrial architecture displayed in rigorous yet meditative sequences, can perhaps be considered the parents of modern photography. They have impacted generations of photographers, many of whom are included in this show, and have had a profound influence upon Minimalist and Conceptual art of the 1960s, 1970s and beyond. Bernd and Hilla Becher met as students at the Düsseldorf Academy in 1957 and two years later embarked on a collaboration photographing industrial buildings around Germany that were slowly being abandoned or destroyed, in an effort to document a history of industry and its unique architecture that was becoming obsolete. The Bechers would spend five decades together tirelessly documenting industrial architecture— barns, water towers, grain elevators, coal bunkers, gas tanks, warehouses, steel plants, oil refineries, blast furnaces, storage silos—first in Germany and then throughout Europe and the United States. The Bechers were fascinated by the similarities in the design of these various industrial structures, the attention to detail and robustness of the architecture, the stark visual impact they created and their symbolic significance as remains of a particular time and place in history. The Bechers photographed their subjects in an objective, clinical manner, always on overcast days to avoid deviations in light or shadow, in essentially three different formats: first the structure in its entirety, then detailed shots of key functional elements, and lastly the subjects presented in the larger context of their environment. By the mid-1960s they began exhibiting their works in grids—dubbed “typologies”—to allow comparisons of the functions, construction materials, regional idiosyncrasies and general appearances of their subjects. -
Llegat I Vigència De Les Aportacions De L'exposició the Family of Man En La Representació Fotogràfica De La Identitat
Llegat i vigència de les aportacions de l'exposició The Family of Man en la representació fotogràfica de la identitat Mar Redondo i Arolas ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
The Photographic Comportment of Bernd and Hilla Becher Blake Stimson
The Photographic Comportment of Bernd and Hilla Becher Blake Stimson Bernd and Hilla Becher first began their still-ongoing project of systematically photographing industrial structures – water towers, blast furnaces, gas tanks, mine heads, grain elevators and the like –in the late 1950s.1 The seemingly objective and scientific character of their project was in part a polemical return to the 'straight' aesthetics and social themes of the 1920s and 1930s in response to the gooey and sentimental subjectivist photographic aesthetics that arose in the early post-war period. This latter position was epitomised in Germany by the entrepreneurial, beauty-in-the-eye-of-the- beholder humanism of Otto Steinert's subjektive fotografie – '"Subjective photography",' wrote Steinert in his founding manifesto, 'means humanised, individualised photography' – and globally by the one-world humanism of The Family of Man. 2 While many photographers followed Robert Frank's critical rejoinder and depicted the seamier, chauvinistic underbelly of the syrupy universalisms advocated for by Steichen and Steinert, the Bechers simply rejected it and returned to an older, pre-war paradigm (fig.1). That they were responding critically does not mean, however, that the Bechers were not working at the same crossroads between man and machine that had differently concerned Steichen, Steinert, Frank and many others at the time. 'The idea,' they said once, 'is to make families of objects,' or, on another occasion, 'to create families of motifs’ – objects or motifs, that is, they continued, 'that become humanised and destroy one another, as in Nature where the older is devoured by the3 newer.' Their brute oedipal definition of the family form aside, this is not so different from the relations established between Steichen's motifs – lovers, childbirth, mothers and children, children playing, disturbed children, fathers and sons, etc., etc.