Imaging+Foto-Contact Dezember 2012

Total Page:16

File Type:pdf, Size:1020Kb

Imaging+Foto-Contact Dezember 2012 € 4,– • ISSN 1430 - 1121 • 40. Jahrgang • 30605 12 imaging foto 2012 Fachzeitschrift für die Fotobranche • www.foto-contact.de BFI — „Memories are more ... SMART“ boot — Die „Water Pixel World“ Cewe — 20 Millionen Cewe Fotobücher Smarte Imaging-Ideen für den Fotohandel Foto und Video auf der boot 2013 dm Kundin bestellte Jubiläums-Exemplar Am 27. und 28.2.2013 präsentiert die photokina unter dem Titel Auf der boot 2013 werden Foto- und Videoprodukte für den Am 15. November wurde im dm Markt auf der Düsseldorfer Friedrich- „Memories are more ... SMART“ wieder das Business Forum Imaging Einsatz im und am Wasser vorgestellt. Wir sprachen mit Goetz- straße ein Jubiläum gefeiert: Dr. Rolf Hollander, Vorstandsvorsitzender Cologne. Seit dem Start im Jahr 2009 hat sich der jährliche Kongress Ulf Jungmichel, Director der boot Düsseldorf, was die inter- von Cewe, und Christoph Werner, Geschäftsführer von dm-drogerie als Trendforum für die europäische Imagingbranche etabliert. S. 8 nationale Leitmesse dem Fotohandel zu bieten hat. S. 1 8 markt, übergaben einen Reisegutschein im Wert von 4.000,- €. S. 22 www.bfi-photokina.de 27. – 28. Februar 2013, Congress-Centrum Nord, Koelnmesse BUSINESS FORUM IMAGING COLOGNE Trends · Innovations · Networking presentedpresented byby worldworld ofof imagingimaging „Memories are more . SMART“ Gold-Sponsoren Silber-Sponsoren Organisatoren: INTERNATIONAL CONTACT · Photo Imaging News Partner: Photoindustrie-Verband e.V. · GfK Retail and Technology Informationen: www.bfi -photokina.de · E-Mail: bfi @photokina.de · Fax: +49 221 821-3995 bfi-Anz_A4_imaging_foto_contact_dt_281112_RZ.indd 1 28.11.12 11:28 Editorial Gute Aussichten fürs Weihnachtsgeschäft Fotohändler? Glück gehabt! Auf der diesjährigen Ringfoto Herbstmesse setzte „Digiguru“ Martin Smartphone-Herstellern wie, halten Wagner seine Präsentation unter das Motto „Fotohändler? Glück Sie sich fest, Apple. Denn dieses Unter- nehmen, so stellte der Verbandsvorsit- gehabt!“ Der Mann hatte offensichtlich Recht: Die jüngsten Markt- zende fest, habe das Verbraucherver- zahlen der GfK zeigen, dass es der Fotobranche im Vergleich zu halten positiv beeinflusst, indem es die anderen Sektoren geradezu blendend geht. Das ist doch einmal Konsumenten für hochpreisige Produk- eine Nachricht, die man als Verleger gerne weitergibt. te sensibilisiert habe. Und das stimmt! Wer 679 Euro für ein iPhone 5 auf den Solche negativen Smartphone-Effekte Tisch legt, der zuckt auch nicht, wenn kennt der Fotohandel natürlich auch: die neue Kamera mindestens genauso Die Umsätze mit Kompaktkameras viel kostet. Zudem hat die Mobilfunk- gehen spürbar zurück, und schon mel- branche die Kunden daran gewöhnt, den sich Experten zu Wort, die einen dass auch ein noch so schönes Gerät richtiggehenden Zusammenbruch des nach zwei Jahren alt ist und ersetzt weltweiten Kompaktkamera-Marktes werden muss. Genau dieses Verhalten vorhersagen. Anders als bei den Kol- übertragen viele Menschen inzwi- legen von der Braunen Ware gleicht schen auch auf andere Technik-Pro- die Fotobranche aber den Umsatz- dukte wie Kameras. Und weil man sich einbruch in den billigen Klassen durch bekanntlich bei einer Neuanschaffung einen regelrechten Boom bei hoch- nicht verschlechtern möchte, wächst wertigen Modellen aus. Dazu tragen die Nachfrage nach hochwertigen neben den Spiegelreflexkameras zur Modellen überproportional. Zeit vor allem die kompakten System- Thomas Blömer, Verleger kameras bei. Das Resultat: Die GfK Natürlich sollten vorsichtige Kaufleute bilanzierte für das dritte Quartal trotz die Frage stellen, wie lange diese Die Kollegen von der klassischen spürbar zurückgehender Stückzahlen schöne Entwicklung weitergehen kann Unterhaltungselektronik dagegen für den Fotomarkt ein Umsatzplus um und womit der Fotohandel in einigen kann der Fotohandel – aber bitte ohne 6,6 Prozent. Und da der qualifizierte Jahren sein Geld verdienen soll. Aber Schadenfreude! – nur bedauern. Die- Fotohandel seinen Anteil am Kamera- das hat wirklich Zeit bis zum neuen se Branche ächzt unter sinkenden Prei- markt zu Lasten der Fachmärkte zur Jahr, das ja schon bald vor der Türe sen und stagnierender, wenn nicht Zeit stetig steigert, profitiert er erfreu- steht. Jetzt sollten Sie erst einmal mit sogar zurückgehender Nachfrage; licherweise überproportional von die- Freude und Begeisterung verkaufen – allein im dritten Quartal war ein ser positiven Entwicklung. und dann geruhsam Weihnachten Umsatzminus von 9,5 Prozent gegen- feiern. Wir wünschen Ihnen schöne über dem Vorjahr zu verzeichnen. Seinem Amt entsprechend hat der Festtage und für das neue Jahr nicht Zwar werden große und internetfähi- Vorsitzende des Photoindustrie-Ver- nur gute Ideen, sondern auch den ge Fernsehgeräte immer beliebter, bandes, Christoph Thomas, in einer Unternehmergeist, den man braucht, aber das kann die sinkenden Preise Presseerklärung verständlicherweise um die zukünftigen Herausforderun- und die schwache Nachfrage nicht die faszinierenden Produkte unserer gen genauso gut zu bewältigen wie ausgleichen. Hinzu kommt, dass wich- Branche und die Innovationskraft der die in der Vergangenheit. tige Frequenz- und Umsatzbringer für Hersteller als wichtige Gründe für das den CE-Handel, zum Beispiel mobile erfreuliche Wachstum ausgemacht. Audio-Geräte, zunehmend von Smart- Überraschenderweise betonte Tho- phones verdrängt werden. mas aber auch die positive Rolle von Thomas Blömer 12/2012 imaging+foto-contact 3 Inhalt Nikon 1 bleibt zu Weihnachten in der Erfolgsspur – Tempo in der Pole Positon Zum Titelbild ZUM TITELBILD Mit den zwei neuen Model- Nikon 1 bleibt zu Weihnachten in der len Nikon 1 J2 und Nikon 1 V2, massivem Werbedruck Erfolgsspur – Tempo in der Pole Position. 12 und attraktiver PoS-Präsenz gibt Nikon auch im Weih- Editorial nachtsgeschäft bei den kom- pakten Nikon 1 System- Gute Aussichten fürs Weihnachtsgeschäft: kameras weiter Gas. In nur Fotohändler? Glück gehabt! . 3 einem Jahr hat der Hersteller in diesem Segment die Marktführerschaft errungen und will seine Spitzenposition auch in der umsatzstärksten Wichtiges aus foto-contact.de . 6, 10 Zeit des Jahres behaupten. Seite 12 dm Kundin bestellte Jubiläums-Exem- Internationale Messen plar – 20 Millionen Cewe Fotobücher Business Forum Imaging Cologne – Am 15. November wur- „Memories are more ... SMART“. 8 de im dm Markt in der Düsseldorfer Friedrichstra- ße ein Jubiläum gefeiert: Neuheiten . 21, 25, 29 Dr. Rolf Hollander, Vor- standsvorsitzender von Die neue Nikon DSLR D5200 – Cewe, und Christoph Mittelklasse . 16 Werner, Geschäftsführer von dm-drogerie markt, übergaben einen Reisegutschein im Wert von 4.000 Euro an die dm Kundin Annika Handel Schwoll. Sie hatte das 20-millionste Cewe Fotobuch in Auftrag gegeben. Seite 22 BILDDIENSTLEISTUNGEN Nikon 1 bleibt zu Weihnachten in der Erfolgsspur – Tempo in der Pole Position. 12 Die Weihnachtspromotions von DNP – Fernoptik und Präzisionsprodukte für Sofortdruck besonders günstig Astronomie – Bilora vertreibt Vixen . 28 Zur Weihnachtszeit will DNP mit attraktiven Angeboten für den Fotohandel für festliche Stimmung beim Sofort-Fotoservice sor- Aktionsprodukte plus Uhr als Gratis- gen. Das betrifft nicht nur Software- Zugabe – Winterpromotion von Manfrotto 32 Lösungen, mit denen Betreiber von DNP Sofortdruck-Systemen personalisierte Weihnachtskarten und neue Kalender herstellen können. Seite 24 Business Forum Imaging Cologne – INTERNATIONALE MESSEN „Memories are more ... SMART“ Foto Hauschildt setzt auf das Fujifilm Am 27. und 28. Februar 2013 präsentiert die photokina unter Frontier LP 5700R dem Titel „Memories are more... Drylabs sind bei der Bild- SMART“ wieder das Business produktion im Geschäft ein Forum Imaging Cologne. Seit dem aktueller Trend, aber auch Start im Jahr 2009 hat dieser jähr- für den Einsatz eines „klas- liche Kongress sich als Trendforum sischen” Minilabs gibt es gute Gründe. Das gilt vor für die europäische Imagingbran- allem, wenn die Kunden einen besonders schnellen Ser- che etabliert. Auch im kommenden vice erwarten und die Qualitätsanmutung eines „echten” Jahr werden Top-Manager der Industrie und unabhängi- Fotos zu schätzen wissen. Deshalb hat sich Christian ge Experten wieder zahlreiche Ideen für das Imaging- Hauschildt, in dritter Generation Chef von Foto Hau- Geschäft der Zukunft präsentieren, darunter auch neue schildt in Darmstadt, ganz bewusst für das „nasse“ Mini- Konzepte für den Fotohandel. Seite 8 lab Fujifilm Frontier LP 5700R entschieden. Seite 26 Inhalt Interview mit Goetz-Ulf Jungmichel, boot Direktor Interview In einem speziellen Aus- stellungsbereich präsen- Foto und Video auf der boot 2013 – tiert die boot 2013, die Die „Water Pixel World“. 18 vom 19.–27. Januar in INTERVIEW Düsseldorf stattfindet, Foto- und Videoprodukte, Bilddienstleistungen die besonders für den Einsatz im Wasser und dm Kundin bestellte Jubiläums-Exemplar: rund um das feuchte 20 Millionen Cewe Fotobücher . 22 Element geeignet sind. Nach den erfolgreichen Die Weihnachtspromotions von DNP – ersten Schritten mit der „Underwater Pixel World“ auf den boot Messen 2011 und 2012 wird das Angebot Sofortdruck besonders günstig . 24 in der Messehalle 4 im kommenden Jahr deutlich ausgeweitet: Im Rahmen der „Water Pixel World” geht Foto Hauschildt setzt auf das es mit einem breiten Produktangebot um das Thema Fujifilm Frontier LP 5700R – Keine (Unter-)Wasser- und Outdoorfotografie. Seite 18 Angst vor „nassen“ Bildern . 26 Fernoptik und Präzisionsprodukte für Astronomie – Bilora vertreibt Vixen Unternehmen Ab 1. November hat Bilora den Die neue Sigma Markenstrategie
Recommended publications
  • SELECTED PHOTOGRAPHS from Brassaï to Cindy Sherman from Brassaï to Cindy Sherman
    T +49 (0)30 - 211 54 61 | F +49 (0)30 - 218 11 97 |[email protected] 97 54 |F+49T +49 61 (0)30 11 (0)30 -218 -211 |www.kunsthandel-maass.de Kunsthandel Jörg Maaß |Rankestraße Berlin |10789 24 Kunsthandel Jörg Maaß SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman · 2009 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman Cindy Brassaïto From 2 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman 2 FROM BRASSAÏ TO CINDY SHERMAN 22 selected photographs For a number of years we have been gathering together a took Europe by storm between the two world wars, displaying collection of photographs which has evolved into a substantial infl uences from the Bauhaus, Surrealism and Neue Sachlichkeit group, but has never been shown publicly. A selection of which (New Objectivity) movements. Some examples of artists who we would now like to present in this catalog and exhibition. Our were proponents of the Neues Sehen or New Vision Photography intentions are to pro vide a wide and representative cross section are reproduced in our catalog. of our inventory, begin ning in the late 1920s and continuing up to the present day. We focus on American and European After the Second World War, the center of modern art moved photo graphy; black and white, as well as color. We have chosen from Europe to the United States, where photography had been works – in addition to the signifi cance of the individual artists – developing in a different direction. In the States, photography according to certain central themes: the nude, land scapes, por - was less dependent on the fi ne arts and can be seen as a per- traits and architecture, to name the most prominent.
    [Show full text]
  • Bildgestaltung – Die Große Fotoschule 427 Seiten, Gebunden, September 2017 44,90 Euro, ISBN 978-3-8362-3940-0
    Know-how für Fotografen. Leseprobe Gelungen ist die Fotografie nicht nur, wenn Sie sie für ein gutes Bild halten, sondern wenn sich der Inhalt Ihrer Fotografie den Betrachtern ebenso gut mitteilt. Den meisten unter Ihnen mag der erstgenannte Aspekt relativ ein- fach erscheinen, der zweite ist schon schwieriger – und genau um ihn geht es. Diese Leseprobe beginnt mit den Grundlagen ... Kapitel 1: »Bildgestaltung« Inhaltsverzeichnis Index Die Autoren Leseprobe weiterempfehlen André Giogoli, Katharina Hausel Bildgestaltung – Die große Fotoschule 427 Seiten, gebunden, September 2017 44,90 Euro, ISBN 978-3-8362-3940-0 www.rheinwerk-verlag.de/4001 KAPITEL 1 BILDGESTALTUNG Wozu und für wen fotografieren wir? Die meisten Aufnahmen entstehen, um geteilt und mitgeteilt zu werden. Fotografie ist ein Medium der Kommunikation. Die Bildsprache drückt ihren Inhalt aus. Die Gestaltung ist wichtig, um den Inhalt der Bilder deutlich zu vermitteln. Marokko, 2017 (Bild: Elena Breuer) KAPITEL 1 1.2 Der Impuls, Fotografien mitzuteilen In jedem Fall geht vom Motiv ein ästhetischer Reiz aus, optischen Dreieck. Sie kontrastieren mit dem hellen Bo- und darauf folgt unser Impuls zu fotografieren. Der Be- den. Inmitten des optischen Dreiecks gehen ein Mann BILDGESTALTUNG griff »ästhetisch« ist in diesem Zusammenhang nicht und eine Frau nach rechts, ihre Köpfe sind einander zu- Wozu oder für wen fotografieren? zwangsläufig als »schön« zu verstehen, sondern als sinn- geneigt. Der Mann hat weißes Haar, er trägt eine helle lich empfindbar, also wahrnehmbar. Es gibt auch eine Jacke und eine dunkle Hose. Die Frau hat dunkles Haar, Ästhetik des Hässlichen, des Schreckens oder des Erha- trägt eine dunkle Jacke und eine weiße Hose.
    [Show full text]
  • Cyanotype Expressions on Plastic Waste
    “FAUXSSILLES” FOR THE FUTURE: CYANOTYPE EXPRESSIONS ON PLASTIC WASTE A Master’s Thesis by Naz ÖNEN Department of Communication and Design İhsan Doğramacı Bilkent University Ankara June 2018 To my family. “FAUXSSILLES” FOR THE FUTURE: CYANOTYPE EXPRESSIONS ON PLASTIC WASTE The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by Naz ÖNEN In Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS IN MEDIA AND DESIGN THE DEPARTMENT OF COMMUNICATION AND DESIGN İHSAN DOĞRAMACI BILKENT UNIVERSITY ANKARA JUNE 2018 ABSTRACT “FAUXSSILLES” FOR THE FUTURE: CYANOTYPE EXPRESSIONS ON PLASTIC WASTE Önen, Naz M.F.A., in Media and Design Supervisor: Vis. Asst. Prof. Andreas Treske June 2018 This thesis focuses on the increasing plastic waste problem in the marine environment and it tries to create an artistic reflection with the Cyanotype photographic technique in order to create a body of work that highlights the relationship between found Plastic Objects and Cyanotype Photographs. The project conceptualizes the plastics as the fossils of the future since the material is highly durable and much resistant than the organic components in the marine environment. The conceptualization of these “fauxssilles” sounds like fossils, focuses on the plastics and photographic series being “faux”; meaning “fake” and “false”. The Cyanotype as one of the earliest photographic techniques has been used for this series with a reference to the first photographic book by Anna Atkins, and this alternative photographic process has been selected as the Cyan - Prussian blue of Cyanotype technique has a reference to the marine environment and the chemistry (plasticity) of cyanotype prints are as durable as the content of the images of the plastics.
    [Show full text]
  • Hoffmann À Aix
    Oran Hoffmann à Aix Written by Patrick Healy F.I.U. Amsterdam | 2018 Oran Hoffmann à Aix Written by Patrick Healy F.I.U. Amsterdam | 2018 1 Thanks to the three different exhibitions In that undertaking he has gone of Oran Hoffmann (born 1981) taking beyond indexing and archiving to show place in Aix in September of this year how constructive and deconstructive (2018), one at the Atelier Cezanne, seeing, his own decade-long research another at Fondation Vasarely, and on perception and responding to one at La Non-Maison, one can say art practise itself, has lead, as will that every surprise at any, or each one, be shown, to an expansive and an of the exhibitions confirms what has emancipatory achievement. Not unlike become increasingly apparent in the his last major museum exhibition in trajectory of Hoffmann’s development Tel Aviv, Hoffmann responds to, enters as an artist since graduating from into visual dialogue with specific the Rietveld Academy in Amsterdam, works, in that case of the artist Josef and his later studies at the Bezalel Albers, and wrests from these his own Academy in Jerusalem, in the Master independent fashioning and highly of Fine Arts programme, where he individual and recognisable style. In this graduated summa cum laude. case in Aix, he continues and refines that first great dialogue and now with In these three shows his increasing the work of Vasarely and Cezanne, preoccupations and achievements as and a single manifestation at La Non- an artist become more legible. It is Maison, often described as a micro- a work involved with the signature of centre for cultural experimentation.
    [Show full text]
  • Is a Landmark Publication That Encompasses the History, Art and Science of Photography in a Single Volume
    The Thames & Hudson Dictionary of Photography is a landmark publication that encompasses the history, art and science of photography in a single volume. At a time when information is instantly accessible on the internet but is often of doubtful reliability or provenance, this ambitious project both reasserts the veracity, reliability and accuracy of scholarly research in reference publishing and celebrates the pleasure and immersive experience offered by refined, elegant book design. Compiled under the editorial guidance of Nathalie Herschdorfer and in consultation with an international panel of 150 experts, The Thames & Hudson Dictionary of Photography is based on entirely fresh scholarship by seventy-nine researchers from sixteen countries. The culmination of nearly ten years of development and research, this is the new, relevant and truly definitive reference to photography. Key features Specification Over 1,200 concise yet fully detailed entries on all Casebound with jacket aspects of the subject, including photographers, images, 30.7 × 20.2 cm agencies, genres, movements, exhibitions, publications, (12⅛ × 8 in.) collectors, techniques and processes. 448 pages c. 300 illustrations, A comprehensive reference to over 180 years of photographic history. Truly authoritative and based on c. 60 in colour fresh scholarship. Illustrated throughout with over 300 images showing key works, artist portraits, exhibitions, installations, publications and technical diagrams. A book that offers an immersive experience, combining a clear presentation with the very best in modern yet timeless typographic design. The Thames & Hudson Dictionary of Photography – Information Pack 1 Over a decade in the making Fresh scholarship and clarity of writing The Thames & Hudson Dictionary of Photography Following the consultation and peer-review process represents over a decade of careful consideration, and the finalizing of the list of entries, a team of development and scholarship.
    [Show full text]
  • Elist 47: Recent Aquisitionsphotography 1 Elist 47: Recent Aquisitions ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA
    ANDREW Elist 47: Recent AquisitionsPHOTOGRAPHY 1 Elist 47: Recent Aquisitions ART CAHAN LITERATURE BOOKSELLER, LTD AMERICANA Terms: All items are offered subject to prior sale. A phone call, email or fax insures availability. Shipping and insurance charges are additional. Returns are accepted for any reason within ten days of receipt; we request notification in advance. All items must be returned in the exact condition in which they were received. Library and Institutional billing requirements will be accommodated. Customers new to us are requested to send payment in advance or provide references. For your convenience we also accept payment by Visa, MasterCard, American Express, and PayPal. Ohio customers will be charged the applicable sale tax. Overseas customers please note: all items will be shipped via insured priority airmail unless otherwise requested. A statement will be sent under separate cover and we request payment in full upon receipt. We accept payment by bank transfer, a check drawn upon a U.S. bank in dollars, or via credit card. This list represents just a small portion of our stock. If there are specific items you are seeking, we would be pleased to receive your desiderata. We hope you will keep in mind that we are always pleased to consider fine individual items or entire collections for purchase. To receive our future E-Lists and other notifications, please send us your email address so we can let you know when a new list is available at our website, cahanbooks.com. PO Box 5403 • Akron, OH 44334 • 330.252.0100 Tel/Fax [email protected] • www.cahanbooks.com 1.
    [Show full text]
  • Picture Stories: the Rise of the Photoessay in the Weimar Republic
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Picture Stories: the Rise of the Photoessay in the Weimar Republic Anton Holzer Translated by Elisabeth Lauffer HCM 6 (1): 1–39 DOI: 10.18352/hcm.520 Abstract Between the mid-1920s and the early 1930s German photojournalism experienced a profound, far-reaching upheaval. Up until this time, the illustrated mass media had favoured the reproduction of single photos, but during this brief period the photo-essay rose to prominence. Photographs and texts were integrated into a new, complex narrative unity: photo- reportage. This article aims to reconstruct the historical conditions under which modern photo-reportage arose during the Weimar Republic. It will also revise certain accepted judgements about the history of photojournal- ism between the world wars. The development of modern photojournalism has until now been identified almost exclusively with the achievements of individual protagonists, mainly prominent photographers. Although these individuals played an important role in the production process of photo- reportage, they were rarely consulted regarding editorial questions and layout. In order to better understand the economic development of photo- reportage and its growth as a medium, it is necessary to examine the edito- rial work being done behind the scenes at the magazines and newspapers of the time. This article will therefore focus more on the development of the media and economic macrostructures at play in the emergence and growth of photo-reportage, and less on individual photographers’ contributions and photojournalistic output.
    [Show full text]
  • Female Photographers' Self-Portraits in Berlin 1929-1933
    SELF-EXPRESSION AND PROFESSION: FEMALE PHOTOGRAPHERS’ SELF-PORTRAITS IN BERLIN 1929-1933 By Sophie Rycroft A thesis submitted to The University of Birmingham as part of the requirements for the Degree of Master of Philosophy in History of Art. Department of History of Art School of Languages, Cultures, Art History and Music College of Arts and Law The University of Birmingham September 2013 Student ID Number: 0944443 History of Art MPhil (B) Word Count: 19,998 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is the first in-depth study of female photographers’ images of themselves, with their cameras, working in Weimar Berlin. A focus on three self-portraits by women at the heart of the so-called ‘New Photography’, will allow insight into the importance of the self- portrait genre for female photographers, who sought to establish themselves in this rapidly developing field. The photographers Lotte Jacobi (1896-1990), Eva Besnyö (1910-2003) and Marianne Breslauer (1909-2001) have diverse photographic oeuvres yet each produced an occupational self-portrait whilst in Berlin between 1929 and 1933.
    [Show full text]
  • Josef Albers: an Open Mind for the Newer and Nearer Sarah Hermanson Meister
    Josef Albers: An Open Mind for the Newer and Nearer Sarah Hermanson Meister As both an artist and teacher, Josef Albers is a singularly important figure in the history of twentieth-century art. He is best known for his Homages to the Square, an expansive suite of paintings and prints that explores the nuances of color and tonal relationships and the relative nature of percep- tion. Albers made his firstHomage to the Square in 1950, and during the next quarter-century he produced more than two thousand paintings and 160 distinct prints that adhere to a fixed set of formal parameters— a square with three or four concentric but unequal margins (page 10, for example)—through which the artist explored a seemingly infinite variety of combinations.1 Yet as much as Albers is identified with this body of work, it is important to remember that by the time he painted his first such square, at age sixty-two, he was already an accomplished artist and, no less, a respected teacher, first at the Bauhaus in Germany, then at Black Mountain College in North Carolina; in 1950, he was just assuming the chairmanship of the Department of Design at Yale. Celebrated for his furniture and typographic designs, glassworks, drawings, and prints, in 1963 he published the first edition of Interaction of Color, which revolutionized the discourse surrounding perception and pedagogy. In 1971, he became the first living artist to be honored with a major retrospective at The Metropolitan Museum of Art. One field in which Albers was not known, however, was photography, and his engagement with the medium was only fully discovered after his death.
    [Show full text]
  • Lucia Moholy's Bauhaus Negatives and The
    I would like to acknowledge the collaboration with Jeffrey Saletnik on the initial research of this essay’s subject matter, beginning in 2008 for the conference ‘Bauhaus Palimpsest: The Object of Discourse’ held at Harvard University Art Museums (14–15 March 2008) and published subsequently in the Images in Exile: Lucia Moholy’s ‘Introduction’ of Bauhaus Construct: Fashioning Identity, Discourse, and Modernism Bauhaus Negatives and the London: Routledge 2009. For invaluable assistance with the later research, I would especially like to thank Sabine Hartmann and Construction of the Bauhaus Legacy Wencke Clausnitzer-Paschold at the Bauhaus- Archiv, Berlin, and Laura Muir at the Busch- Reisinger Museum, Harvard University, all of whom responded to multiple queries Robin Schuldenfrei concerning their collection’s objects and documents and gave generously of both their time and expertise. I would like to express gratitude to the Institute of Art and Visual History at the Humboldt University, Berlin, for its support. This essay has also benefitted This article argues that photographs of the Bauhaus – its architecture and design from the assistance and thoughtful objects – taken by Lucia Moholy played a key role in establishing the school during suggestions of John Ackerman, Michael the short period of its existence, but that they took on heightened significance in Berkowitz, Kerstin Flasche, Louis Kaplan, exile, during the post-war period in which the Bauhaus’s legacy was solidified. As Elizabeth Otto, Rolf Sachsse, Pepper Stetler Bauhaus members fled Germany in the 1930s, what they were able to take with them and the audience members at the conference formed a disproportionate part of their oeuvre thereafter; what was no longer extant ‘Entfernt.
    [Show full text]
  • Simply Reproducing Reality— Brecht, Benjamin, and Renger-Patzsch on Photography
    Simply Reproducing Reality— Brecht, Benjamin, and Renger-Patzsch on Photography Carl Gelderloos ABSTRACT This article reads Albert Renger-Patzsch’s photographic theory and practice in the context of Benjamin’s and Brecht’s dismissals of his work in order to recover the paradoxical interplay between documentation and perceptual training central to debates about photography as a specifically modern medium during the 1920s. I argue that, rather than evincing a naïve faith in verisimilitude, Renger-Patzsch mobilized ideas of visual analogy, formal play, and embodied vision to foreground the camera’s potential for disrupting perceptual habits. Returning to this moment of Weimar photographic theory can help recover deeper aesthetic tensions among formal, documentary, and critical demands made of the medium. “The situation thus becomes so complicated that a simple ‘reproduction of reality’ is now less than ever able to say anything about reality. A photograph of the Krupp works or the AEG shows almost nothing about these institutions.”1 “Only slowly does the much more radical view begin to take hold—that the task of reforming our entire aesthetic perspectives from the ground up falls to this new beauty of technology. Works of technology should not conform to an existing aesthetic, but rather, it is through them that our concept of beauty takes on a fundamentally altered aspect.”2 “But now follow the path of photography further. What do you see? It becomes ever more nuancé, ever more modern; and the result is that it can no longer record a tenement block or a refuse heap without transfiguring it. Needless to say, German Studies Review 37.3 (2014): 549–573 © 2014 by The German Studies Association.
    [Show full text]
  • László Moholy-Nagy Jan 2021
    #57 January 2021 Cameraderie László Moholy-Nagy (1895-1946) I don’t quite know how to approach László Moholy-Nagy, because, according to the Wikipedia article, photography was not central to his artistic endeavors: The art critic Peter Schjeldahl [the head art critic for The New Yorker] called him “relentlessly experimental” because of his pioneering work in painting, drawing, photography, collage, sculpture, film, theater, and writing. I am moved to report on Moholy-Nagy because of what I said last month in my article on Beaumont Newhall (#56, Nov. 2020), quoting from Wikipedia: “In 1940, Newhall became the first curator of MoMA’s photography department and decisively began collecting for the Museum, starting with the work of László Moholy-Nagy.” Here is the link to the Wikipedia article on Moholy-Nagy: https://en.wikipedia.org/wiki/L%C3%A1szl%C3%B3_Moholy-Nagy Here are some quotes from the Wikipedia article: In 1923, Moholy-Nagy was invited by Walter Gropius to teach at the Bauhaus in Weimar, Germany. He took over Johannes Itten's role co-teaching the Bauhaus foundation course with Josef Albers, and also replaced Paul Klee as Head of the Metal Workshop. This effectively marked the end of the school’s expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, film-making, and industrial design. One of his main focuses was photography; starting in 1922, he had been initially guided by the technical expertise of his first wife and collaborator Lucia Moholy.
    [Show full text]