 Der international renommierte Verlerger Lothar Schirmer ist passionierter Sammler. In der Bayerischen Akademie der Schönen Künste zeigt er ersmals in München vom 11.11.2009 an 84 Arbeiten der weltweit geachteten Düsseldorfer Fotoschule rund um Hilla und Bernd Becher, Candida Höfer, Thomas Struth, Axel Hütte, Jörg Sasse, Laurenz Berges, Elger Esser, Ulrich Gambke, Andreas Gursky, Simone Nieweg und Petra Wunderlich. —- The international k… ASX.TV: Sammlung Schirmer – “Die Düsseldorfer Fotoschule” (2009)  …males (the exception being the Becher’s), would in retrospect read off as a hall of fame of sorts within the photographic community of these modern times. The involved parties were as follows: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel Jr. Whether these individuals would have obtained the exact measure of success to date without this project is a que… REVIEW: “New Topographics” (2009)  Photography in Düsseldorf By Douglas Eklund Bernd and Hilla Becher began their collaborative project in 1959 (and were married shortly thereafter), at a time when German photography was mired in the same collective paralysis as the culture at large. The most prominent photographer at that time was Otto Steinert, whose Subjective Photography movement attempted to resuscitate moribund ideas of expressive pictorialism. The Bechers’ work—… “Photography in Düsseldorf”  Hilla und Bernd Becher gehören Zweifels ohne zu den bedeutendsten zeitgenössischen Konzept-Fotokünstlern, die mit ihren ikonografischen Fotoarbeiten von Industriebauten Weltruhm erlangten. Momentan sind einige ihrer Arbeiten in der Ausstellung “Stephen Shore und die Düsseldorfer Fotoschule” im NRW-Forum in Düsseldorf zu sehn. In München sprachen wir mit Hilla Becher über die Bedeutung des Ruhrgebietes für ihre Fotografie. Institut… ASX.TV: Hilla Becher – “Das Ruhrgebiet” (2010)  … works are ‘portraits’ of spaces, but really you could just as easily turn that around: several of the portraits in my earlier work were to a certain extent already images of ‘spaces’, as I now see them. At the same time, the label that was attached to my photos very early on is proving stubborn. The same clichés keep on turning up in article after article. Admittedly, I still don’t make optimistic, colourful pictures, but I still believe I’m doi… INTERVIEW: “Conversation with Dirk Braeckman” (1998)  …unes of Depression times, but your photographs are not critical. I find them more of a glorification—glorification of the plain and simple reality. W.E.: I’m pleased to hear you say that, because I didn’t like the label that I unconsciously earned of being a social protest artist. I never took it upon myself to change the world. And those contemporaries of mine who were going around falling for the idea that they were going to bring d… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,… DIANE ARBUS: “Diane Arbus’ Noah’s Ark of Humanity” (2004)  …n a vernacular culture, the architecture and details of a landscape that idiosyncratically described the U.S. This became the central theme of Evans’s photography as supported by both Keller and Rathbone, who dispel the labeling of Evans as a “socially concerned” photographer. Whatever Evans’s personal beliefs were about the social conditions brought on by the Depression, he did not use photography as a crusading practice…. WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996) …tists and the historical effects of their work are rarely synonymous. For example, artists who have benefited from the renewed critical and curatorial interest in Conceptual Art in the last decade have themselves resisted the label “conceptual.”(2) This is understandable – no practicing artist wants to be pigeon-holed as an example of an historical movement. Yet the conceptual designation has been crucial to the historical under… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  …y identifies a realist use of the medium, which could be seen to open up a much more complex and rich understanding of photography than the limiting implications of terms like formalism, which tend to get used pejoratively to label your writings and contribution to the history of photography. JS: When critics don’t know what to say about a good photographer who uses the camera simply and directly they say that the photographer uses the came… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006) |
