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AUGUST SANDER – Portrait I Landscape I Architecture at Multimedia Art Museum, Moscow

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PORTRAIT | LANDSCAPE | ARCHITECTURE

MULTIMEDIA ART MUSEUM, MOSCOW
August Sander

February 21st – May 19th, 2013

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| DE

‘Photography is by nature a documentary art,’ Sander declared in 1931 during one of his radio lectures, voicing the artistic credo to which he remained faithful all his life. Sander owes his fame and status as a master of photography to the vast series of portraits begun at the very outset of his career. The German photographer’s portraits are full-face and typically quite uncompromising shots with carefully considered composition, where nothing is intended for effect or spectacle. Sander was able to capture the individuality and character traits of his subjects, while openly demonstrating that they belonged to a specific social group. Consequently his photographs are a representative slice of interwar German society and also a fascinating historical document, rather than merely a collection of portraits.

In the early 1920s August Sander spent much of his time with the artists of the German avant-garde and in particular Otto Dix, who became one of his closest friends. The money earned from commercial commissions allowed Sander to work in his spare time on a grandiose documentary project entitled ‘People of the 20th Century’, aimed at compiling a typology of contemporary Germans and devising a social portrait of his epoch. Subjects for these images were selected from his acquaintances and customers.

Since Sander could not conceive of humanity separately from the environment, he conducted an active study of fauna and worked on a topographical description of German territories in parallel to the portrait photography. In 1933 the photographer began producing thematic albums dedicated to various regions in Germany, including the Rhine valley. Although August Sander never achieved widespread recognition as a topographer, he can rightly be considered the forerunner of modern landscape and architectural photography.

Sander’s creative style, his methodical approach, objectivity and specific method of working on photographic series greatly influenced luminaries such as Walker Evans, Irving Penn, Diane Arbus, Robert Frank, Bernd and Hilla Becher, Thomas Ruff, Thomas Struth and Andreas Gursky.

This exhibition was conceived by the photographer’s grandson Gerd Sander whose work is continued now by Julian Sander, the great grandson of August Sander. The exhibition is organised in collaboration with the Galerie Priska Pasquer (Cologne) and is curated by Julian Sander.

When asked in November 1927 what prompted him to create ‘People of the 20th Century’, August Sander wrote: ‘Look, observe and think’. These three words were engraved on Gerd Sander’s heart from childhood, and like his father before him, he is devoted to preserving, describing and popularising his grandfather’s artistic legacy.

| EN

‘Photography is by nature a documentary art,’ Sander declared in 1931 during one of his radio lectures, voicing the artistic credo to which he remained faithful all his life. Sander owes his fame and status as a master of photography to the vast series of portraits begun at the very outset of his career. The German photographer’s portraits are full-face and typically quite uncompromising shots with carefully considered composition, where nothing is intended for effect or spectacle. Sander was able to capture the individuality and character traits of his subjects, while openly demonstrating that they belonged to a specific social group. Consequently his photographs are a representative slice of interwar German society and also a fascinating historical document, rather than merely a collection of portraits.

In the early 1920s August Sander spent much of his time with the artists of the German avant-garde and in particular Otto Dix, who became one of his closest friends. The money earned from commercial commissions allowed Sander to work in his spare time on a grandiose documentary project entitled ‘People of the 20th Century’, aimed at compiling a typology of contemporary Germans and devising a social portrait of his epoch. Subjects for these images were selected from his acquaintances and customers.

Since Sander could not conceive of humanity separately from the environment, he conducted an active study of fauna and worked on a topographical description of German territories in parallel to the portrait photography. In 1933 the photographer began producing thematic albums dedicated to various regions in Germany, including the Rhine valley. Although August Sander never achieved widespread recognition as a topographer, he can rightly be considered the forerunner of modern landscape and architectural photography.

Sander’s creative style, his methodical approach, objectivity and specific method of working on photographic series greatly influenced luminaries such as Walker Evans, Irving Penn, Diane Arbus, Robert Frank, Bernd and Hilla Becher, Thomas Ruff, Thomas Struth and Andreas Gursky.

This exhibition was conceived by the photographer’s grandson Gerd Sander whose work is continued now by Julian Sander, the great grandson of August Sander. The exhibition is organised in collaboration with the Galerie Priska Pasquer (Cologne) and is curated by Julian Sander.

When asked in November 1927 what prompted him to create ‘People of the 20th Century’, August Sander wrote: ‘Look, observe and think’. These three words were engraved on Gerd Sander’s heart from childhood, and like his father before him, he is devoted to preserving, describing and popularising his grandfather’s artistic legacy.

SHERRIE LEVINE – AUGUST SANDER

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SHERRIE LEVINE – AUGUST SANDER

JABLONKA PASQUER PROJECTS

March 16th – June 1st, 2012

| DE

Press Release

Jablonka Galerie and Galerie Priska Pasquer are pleased to present the exhibition “Sherrie Levine – August Sander”. This exhibition involves direct interaction between the artists’ works from both galleries. US artist Sherrie Levine created the series “After August Sander” specially for this exhibition.Sherrie Levine, who has just presented a major exhibition in New York’s Whitney Museum this winter, has – as a member of the Pictures Generation (with artists such as Cindy Sherman and Richard Prince) – generated much attention and controversy since the early 1980s with her works on modern art. Using an approach that she terms “appropriation”, Sherrie Levine copied the works of artists such as Walker Evans, Karl Blossfeldt, Man Ray, El Lissitzky and Paul Cézanne, making them her own in the process. With reproductions of photographs, paintings and sculptures, Sherrie Levine calls into question central concepts of art such as originality, significance and autonomy of artistic works. At the same time, the artist confirms the aura of the appropriated works in the differences between her versions and the originals – particularly in the case of photographs.Sherrie Levine’s new series “After August Sander” is to be shown at Jablonka Pasquer Projects. The series consists of 18 prints of portrait photographs from August Sander’s landmark portrait of society Menschen des 20. Jahrhunderts (People of the 20th Century). With this pioneering example of conceptual photography, August Sander (1876-1964) created a typology of people in the Weimar Republic. Sanders’ work is characterised by the photographer’s ability to capture the individuality of the protagonist while simultaneously presenting him or her as a typical representative of a specific social class and occupation. August Sander’s influence remains strong to this day – without him, it is difficult to imagine such diverse photographers as Irving Penn or Bernd and Hilla Becher of the “Becher School”.The 18 photographs – half depicting men and half women – were selected by Sherrie Levine from a group of 36 photographs by August Sander, of which his son, Gunther Sander, made prints in the 1970s and 80s. The group of 36 works was put together by Gerd Sander, August Sander’s grandson. These photographs are to be exhibited in the Jablonka Gallery. In the selection of 36 of his grandfather’s photographs, Gerd Sander brought to the fore similarities and opposites of form and content in August Sander’s work. These correlations were ignored by Sherrie Levine in her group of 18 works “After August Sander”, which are based on the aforementioned series. In addition, her works are slightly blurred and vary somewhat in tonality.In his essay “After August Sander”, Kay Heymer describes Sherrie Levine’s work as follows: “With her Sander pictures, Sherrie Levine underlines the great significance of this artist by means of a traditional homage. At the same time, however, her pictures are appropriations of existing pictures whose creator has no role to play. They have become her pictures – just as they become those of the beholders, or of the collectors who can purchase them as commodities. Sherrie Levine’s art is one of heightened attention which – by means of the finely graduated differentiation that is her unmistakable trademark – examines, confirms or rejects the different stages of reality and authenticity in pictures. Those who venture into her world will discover a wealth of humour and sensuality there.”In addition to the “After August Sander” series, Jablonka Pasquer Projects will be showing Sherrie Levine’s bronze bust “Phrenology Cranium” (2006). The bust, which was created based on a found template, shows a model used in the study of phrenology, a pseudoscience developed at the beginning of the 19th century that attempted to allocate mental attributes to specific topological areas of the brain.

In addition to landscape shots by August Sander, Galerie Priska Pasquer will be exhibiting two small-format sculpture groups and one painting. The two groups, each consisting of three bronze figures, were described by Sherrie Levine as “posses”. With “The Three Muses” (2006) and “The Three Furies” (2006), which depict little pigs and little monsters respectively, the focal point is not “original versus copy”, but the relationship between the figures.

These are joined by a large-scale painting from Levine’s “Knot Paintings” series, in which Levine uses pieces of plywood in which 40 missing knots are replaced by wooden discs which she has painted monochrome. The references to the original works are less distinct here, but, as in all of Levine’s works, the focus here is also on “sources, precedents, influences, inspirations and copies” (Adam D. Weinberg).

Sherrie Levine was born in Hazelton, Pennsylvania, in 1947. She studied at the University of Wisconsin and lives and works in New York and Santa Fe. Her works have been widely shown in group and individual exhibitions, the latter including the following: Wadsworth Atheneum Museum of Art, Hartford (1987), Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1988), San Francisco Museum of Modern Art (1991), Philadelphia Museum of Art (1993), Portikus, Frankfurt a. M. (1994), Museum of Contemporary Art, Los Angeles (1995), Kunstverein Hamburg (1999), The Getty Research Institute, Los Angeles (2001), Georgia O’Keeffe Museum, Santa Fe (2007) und Whitney Museum of American Art, New York (2011).

August Sander was born in the German town of Herdorf in 1876. Between 1904 and 1910, he worked as a photographer in Linz, Austria. After this, he moved to Cologne and opened a photo studio. He focused mainly on portrait photography, later also on architectural and landscape photography. In 1929, the book Antlitz der Zeit (Face of Our Time) was published, featuring a selection from Menschen des 20. Jahrhunderts (People of the 20th Century). During the Second World War, he moved to Kuchenhausen, in the Westerwald district of Germany. His Cologne studio was destroyed during an air raid in 1944. August Sander died in Cologne in 1964. His works have been showcased in many group and individual exhibitions, the latter including the following. Kölnischer Kunstverein, Cologne (1927), Photokina, Cologne (1951), Museum of Modern Art, New York (1969), The Art Institute of Chicago (1976), Kunstgewerbemuseum Zürich (1977), Philadelphia Museum of Art (1980), Pushkin Museum, Moskau (1994), Die Photographische Sammlung, Köln (2001), National Museum of Modern Art, Tokyo (2005), The J. Paul Getty Museum (2008), Fondation Henri Cartier-Bresson, Paris (2009), Tate Modern, London (2010), National Galleries Scotland, Edinburgh (2011).

| EN

Press Release

Jablonka Galerie and Galerie Priska Pasquer are pleased to present the exhibition “Sherrie Levine – August Sander”. This exhibition involves direct interaction between the artists’ works from both galleries. US artist Sherrie Levine created the series “After August Sander” specially for this exhibition.Sherrie Levine, who has just presented a major exhibition in New York’s Whitney Museum this winter, has – as a member of the Pictures Generation (with artists such as Cindy Sherman and Richard Prince) – generated much attention and controversy since the early 1980s with her works on modern art. Using an approach that she terms “appropriation”, Sherrie Levine copied the works of artists such as Walker Evans, Karl Blossfeldt, Man Ray, El Lissitzky and Paul Cézanne, making them her own in the process. With reproductions of photographs, paintings and sculptures, Sherrie Levine calls into question central concepts of art such as originality, significance and autonomy of artistic works. At the same time, the artist confirms the aura of the appropriated works in the differences between her versions and the originals – particularly in the case of photographs.Sherrie Levine’s new series “After August Sander” is to be shown at Jablonka Pasquer Projects. The series consists of 18 prints of portrait photographs from August Sander’s landmark portrait of society Menschen des 20. Jahrhunderts (People of the 20th Century). With this pioneering example of conceptual photography, August Sander (1876-1964) created a typology of people in the Weimar Republic. Sanders’ work is characterised by the photographer’s ability to capture the individuality of the protagonist while simultaneously presenting him or her as a typical representative of a specific social class and occupation. August Sander’s influence remains strong to this day – without him, it is difficult to imagine such diverse photographers as Irving Penn or Bernd and Hilla Becher of the “Becher School”.The 18 photographs – half depicting men and half women – were selected by Sherrie Levine from a group of 36 photographs by August Sander, of which his son, Gunther Sander, made prints in the 1970s and 80s. The group of 36 works was put together by Gerd Sander, August Sander’s grandson. These photographs are to be exhibited in the Jablonka Gallery. In the selection of 36 of his grandfather’s photographs, Gerd Sander brought to the fore similarities and opposites of form and content in August Sander’s work. These correlations were ignored by Sherrie Levine in her group of 18 works “After August Sander”, which are based on the aforementioned series. In addition, her works are slightly blurred and vary somewhat in tonality.In his essay “After August Sander”, Kay Heymer describes Sherrie Levine’s work as follows: “With her Sander pictures, Sherrie Levine underlines the great significance of this artist by means of a traditional homage. At the same time, however, her pictures are appropriations of existing pictures whose creator has no role to play. They have become her pictures – just as they become those of the beholders, or of the collectors who can purchase them as commodities. Sherrie Levine’s art is one of heightened attention which – by means of the finely graduated differentiation that is her unmistakable trademark – examines, confirms or rejects the different stages of reality and authenticity in pictures. Those who venture into her world will discover a wealth of humour and sensuality there.”In addition to the “After August Sander” series, Jablonka Pasquer Projects will be showing Sherrie Levine’s bronze bust “Phrenology Cranium” (2006). The bust, which was created based on a found template, shows a model used in the study of phrenology, a pseudoscience developed at the beginning of the 19th century that attempted to allocate mental attributes to specific topological areas of the brain.

In addition to landscape shots by August Sander, Galerie Priska Pasquer will be exhibiting two small-format sculpture groups and one painting. The two groups, each consisting of three bronze figures, were described by Sherrie Levine as “posses”. With “The Three Muses” (2006) and “The Three Furies” (2006), which depict little pigs and little monsters respectively, the focal point is not “original versus copy”, but the relationship between the figures.

These are joined by a large-scale painting from Levine’s “Knot Paintings” series, in which Levine uses pieces of plywood in which 40 missing knots are replaced by wooden discs which she has painted monochrome. The references to the original works are less distinct here, but, as in all of Levine’s works, the focus here is also on “sources, precedents, influences, inspirations and copies” (Adam D. Weinberg).

Sherrie Levine was born in Hazelton, Pennsylvania, in 1947. She studied at the University of Wisconsin and lives and works in New York and Santa Fe. Her works have been widely shown in group and individual exhibitions, the latter including the following: Wadsworth Atheneum Museum of Art, Hartford (1987), Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1988), San Francisco Museum of Modern Art (1991), Philadelphia Museum of Art (1993), Portikus, Frankfurt a. M. (1994), Museum of Contemporary Art, Los Angeles (1995), Kunstverein Hamburg (1999), The Getty Research Institute, Los Angeles (2001), Georgia O’Keeffe Museum, Santa Fe (2007) und Whitney Museum of American Art, New York (2011).

August Sander was born in the German town of Herdorf in 1876. Between 1904 and 1910, he worked as a photographer in Linz, Austria. After this, he moved to Cologne and opened a photo studio. He focused mainly on portrait photography, later also on architectural and landscape photography. In 1929, the book Antlitz der Zeit (Face of Our Time) was published, featuring a selection from Menschen des 20. Jahrhunderts (People of the 20th Century). During the Second World War, he moved to Kuchenhausen, in the Westerwald district of Germany. His Cologne studio was destroyed during an air raid in 1944. August Sander died in Cologne in 1964. His works have been showcased in many group and individual exhibitions, the latter including the following. Kölnischer Kunstverein, Cologne (1927), Photokina, Cologne (1951), Museum of Modern Art, New York (1969), The Art Institute of Chicago (1976), Kunstgewerbemuseum Zürich (1977), Philadelphia Museum of Art (1980), Pushkin Museum, Moskau (1994), Die Photographische Sammlung, Köln (2001), National Museum of Modern Art, Tokyo (2005), The J. Paul Getty Museum (2008), Fondation Henri Cartier-Bresson, Paris (2009), Tate Modern, London (2010), National Galleries Scotland, Edinburgh (2011).

AUGUST SANDER, “Portraits, Paysages, Architecture” at Théâtre de la Photographie et de l’Image, Nice

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PORTRAITS, PAYSAGES, ARCHITECTURE
August Sander
Théâtre de la Photographie et de l’Image, Nice

January 29th – May 15th, 2011

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August Sander compte parmi les grands photographes du XXe siècle, dont l’influence sur nombre de photographes et artistes contemporains reste aujourd’hui très présente.
« La nature de la photographie dans son ensemble est documentaire » déclarait-il en 1931 au cours d’une de ses conférences radiophoniques. Cette phrase allait rester au cœur de sa conception du travail durant toute sa carrière.
Autour de ces trois thèmes : portraits, paysages et architecture, l’exposition regroupera 120 images dont une partie en tirages d’époque et proposera ainsi au visiteur un panorama représentatif du travail artistique de ce grand photographe. Elle constitue un ensemble exceptionnel que nous sommes heureux de pouvoir présenter pour la première fois au public de la région.

L’exposition a été conçue par Gerd Sander, petit-fils d’August Sander, et organisée en collaboration avec la Galerie Priska Pasquer, à Cologne et le Théâtre de la Photographie et de l’Image Charles Nègre.

Exposition présentée du 29 janvier au 15 mai 2011
THÉÂTRE DE LA PHOTOGRAPHIE
ET DE L’IMAGE CHARLES NÈGRE
10h-18h tous les jours sauf lundi et certains jours fériés
27, bd Dubouchage – Nice – entrée libre
04 97 13 42 20
www.tpi-nice.org

| EN

August Sander compte parmi les grands photographes du XXe siècle, dont l’influence sur nombre de photographes et artistes contemporains reste aujourd’hui très présente.
« La nature de la photographie dans son ensemble est documentaire » déclarait-il en 1931 au cours d’une de ses conférences radiophoniques. Cette phrase allait rester au cœur de sa conception du travail durant toute sa carrière.
Autour de ces trois thèmes : portraits, paysages et architecture, l’exposition regroupera 120 images dont une partie en tirages d’époque et proposera ainsi au visiteur un panorama représentatif du travail artistique de ce grand photographe. Elle constitue un ensemble exceptionnel que nous sommes heureux de pouvoir présenter pour la première fois au public de la région.

L’exposition a été conçue par Gerd Sander, petit-fils d’August Sander, et organisée en collaboration avec la Galerie Priska Pasquer, à Cologne et le Théâtre de la Photographie et de l’Image Charles Nègre.

Exposition présentée du 29 janvier au 15 mai 2011
THÉÂTRE DE LA PHOTOGRAPHIE
ET DE L’IMAGE CHARLES NÈGRE
10h-18h tous les jours sauf lundi et certains jours fériés
27, bd Dubouchage – Nice – entrée libre
04 97 13 42 20
www.tpi-nice.org

Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others, WOMEN

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WOMEN
Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde and others

June 27th – September 19th, 2009

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Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

| EN

Erwin Blumenfeld, Alexander Rodchenko, Frantisek Drtikol, August Sander, Annelise Kretschmer, Wols, Madame Yevonde, Heinz Hajek-Halke, Elfriede Stegemeyer, Weegee, Aaron Siskind, Josef Sudek, Chargesheimer, Ed van der Elsken, Gerard P. Fieret, Marcel Broodthaers, Louis Faurer, Helmut Newton, Daido Moriyama, Michael Ruetz, Rudolf Bonvie, Jen Davis, Oliver Sieber

AUGUST SANDER, Portrait – Architecture – Landscape

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PORTRAIT – ARCHITECTURE – LANDSCAPE
August Sander

March 30th – July 14th, 2007

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| EN

Werner Mantz, Fred G. Korth and August Sander, ARCHITECTURE AND INDUSTRY

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ARCHITECTURE AND INDUSTRY

Werner Mantz, Fred G. Korth and August Sander

September 19th – November 21st, 2003

| DE

In der Ausstellung „Architektur und Industrie“ werden drei Fotografen vorgestellt, deren Oeuvre zwar in derselben Epoche entstanden ist, an deren Fotografie jedoch unterschiedliche Ideen von Architekturfotografie abzulesen sind.
Während sich zwei der Fotografen, Werner Mantz und August Sander, in Köln etablierten und sogar zeitweilig in denselben Kreisen verkehrten – beide gehörten in den 1920er Jahren zum Umkreis der „Kölner Progressiven“ – verließ Fred G. Korth Deutschland in jungen Jahren und machte in den USA Karriere als Berufsfotograf.

Werner Mantz, 1901 in Köln geboren, wurde in der 2. Hälfte der 1920 Jahre mit seiner an der Neuen Sachlichkeit orientierten Fotografie zum „Hausfotograf” namhafter Architekten in Deutschland, bevor er 1932 in Maastricht ein zweites Studio eröffnete.
Die in der Ausstellung gezeigten Industriefotografien sind nach seinem Umzug in die Niederlande entstanden und zeigen zum größten Teil Fotografien von Industrieanlagen, die im Auftrag der Provinzregierung entstanden sind. Die Aufnahmen sind typisch für seine Gestaltungsweise mit einem aus dem Zentrum verlegtem Fluchtpunkt und in die Tiefe laufenden Diagonalen, die einen großen Tiefensog erzeugen. Gleichzeitig wird der Raum durch Schlagschatten in die Tiefe gestaffelt ganz nach dem Motto von Mantz: „Lassen Sie die Sonne für sich scheinen – Lassen Sie die Wolken für sich arbeiten – Sonne und Wolken machen oft mehr aus einem Bild als ich”. Auch in den Innenräumen bevorzugt Mantz Tageslicht, wofür die Fotografie „Kommunionsbank” mit seinem eleganten Zusammenspiel von schwingenden Linien und Diagonalen, verbunden mit der kontrastreichen Gegenübersetzung von dunklen/hellen und spiegelenden/rauhen Steinmaterialien, ein brillantes Beispiel darstellt.

Der Fotograf Fred G. Korth wird in dieser Ausstellung erstmals außerhalb der USA vorgestellt. Obwohl Korth in den Staaten einen Namen als Architektur- und Werbefotograf hatte, geriet sein Werk nach seiner Berufsaufgabe 1965 in Vergessenheit und fand bislang keinen Eingang in die Fotogeschichte.
Fred G. Korth, 1902 in Guben/ Brandenburg geboren, verbrachte seine Schulzeit in Königsberg (heute Kaliningrad) und später in Berlin. 1926 wanderte er nach Chicago aus, wo er die Fotografie autodidaktisch erlernte und Ende der 20er Jahre dem „Dearborn Camera Club” beitrat. In den 30er Jahren wurden seine Fotografien vielfach auf nationalen und internationalen (Japan, Wien, Madrid) Fotosalons ausgestellt und mehrfach ausgezeichnet. 1932 eröffnete Korth ein Studio in Downtown Chicago und begann für Zeitschriften (National Geographic, Newsweek, Fortune, etc.) zu arbeiten. Über Bildagenturen wurden seine Fotografien nach Übersee u. a. nach Deutschland, Italien und Frankreich verkauft. Neben der Magazinfotografie arbeitete Korth als Industriefotograf für Firmen vor allem aus der Schwerindustrie wie U.S. Steel und Inland Steel und zudem als „Food Photographer” für staatliche Institute.

| EN

In der Ausstellung „Architektur und Industrie“ werden drei Fotografen vorgestellt, deren Oeuvre zwar in derselben Epoche entstanden ist, an deren Fotografie jedoch unterschiedliche Ideen von Architekturfotografie abzulesen sind.
Während sich zwei der Fotografen, Werner Mantz und August Sander, in Köln etablierten und sogar zeitweilig in denselben Kreisen verkehrten – beide gehörten in den 1920er Jahren zum Umkreis der „Kölner Progressiven“ – verließ Fred G. Korth Deutschland in jungen Jahren und machte in den USA Karriere als Berufsfotograf.

Werner Mantz, 1901 in Köln geboren, wurde in der 2. Hälfte der 1920 Jahre mit seiner an der Neuen Sachlichkeit orientierten Fotografie zum „Hausfotograf” namhafter Architekten in Deutschland, bevor er 1932 in Maastricht ein zweites Studio eröffnete.
Die in der Ausstellung gezeigten Industriefotografien sind nach seinem Umzug in die Niederlande entstanden und zeigen zum größten Teil Fotografien von Industrieanlagen, die im Auftrag der Provinzregierung entstanden sind. Die Aufnahmen sind typisch für seine Gestaltungsweise mit einem aus dem Zentrum verlegtem Fluchtpunkt und in die Tiefe laufenden Diagonalen, die einen großen Tiefensog erzeugen. Gleichzeitig wird der Raum durch Schlagschatten in die Tiefe gestaffelt ganz nach dem Motto von Mantz: „Lassen Sie die Sonne für sich scheinen – Lassen Sie die Wolken für sich arbeiten – Sonne und Wolken machen oft mehr aus einem Bild als ich”. Auch in den Innenräumen bevorzugt Mantz Tageslicht, wofür die Fotografie „Kommunionsbank” mit seinem eleganten Zusammenspiel von schwingenden Linien und Diagonalen, verbunden mit der kontrastreichen Gegenübersetzung von dunklen/hellen und spiegelenden/rauhen Steinmaterialien, ein brillantes Beispiel darstellt.

Der Fotograf Fred G. Korth wird in dieser Ausstellung erstmals außerhalb der USA vorgestellt. Obwohl Korth in den Staaten einen Namen als Architektur- und Werbefotograf hatte, geriet sein Werk nach seiner Berufsaufgabe 1965 in Vergessenheit und fand bislang keinen Eingang in die Fotogeschichte.
Fred G. Korth, 1902 in Guben/ Brandenburg geboren, verbrachte seine Schulzeit in Königsberg (heute Kaliningrad) und später in Berlin. 1926 wanderte er nach Chicago aus, wo er die Fotografie autodidaktisch erlernte und Ende der 20er Jahre dem „Dearborn Camera Club” beitrat. In den 30er Jahren wurden seine Fotografien vielfach auf nationalen und internationalen (Japan, Wien, Madrid) Fotosalons ausgestellt und mehrfach ausgezeichnet. 1932 eröffnete Korth ein Studio in Downtown Chicago und begann für Zeitschriften (National Geographic, Newsweek, Fortune, etc.) zu arbeiten. Über Bildagenturen wurden seine Fotografien nach Übersee u. a. nach Deutschland, Italien und Frankreich verkauft. Neben der Magazinfotografie arbeitete Korth als Industriefotograf für Firmen vor allem aus der Schwerindustrie wie U.S. Steel und Inland Steel und zudem als „Food Photographer” für staatliche Institute.

GERMAN VINTAGE PHOTOGRAPHS FROM AUGUST SANDER TO OTTO STEINERT

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GERMAN VINTAGE PHOTOGRAPHS

FROM AUGUST SANDER TO OTTO STEINERT

November 3rd, 2001 – January 26th, 2002

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The exhibition “German Vintage Photographs – from August Sander to Otto Steinert” covers a time frame of a half a century in the history of German photography. Beginning with the photographic achievements of the leading representatives of the New Vision movement in the Weimar Republic and extending to subjective photography and the fotoform group, independent, artistic and applied photography are featured in the exhibition.

Photography dating from the Weimar era is characterised by a great diversity in form and expression. During this period of Gleichzeitigkeit des Ungleichzeitigen (simultaneity and diversity), the possibilities of the photographic medium were investigated using a wide variety of approaches in terms of technique and formal composition. In the exhibition, these approaches range from the New Objectivity photographs by Albert Renger-Patzsch, portraits from August Sander’s monumental project “Man in the Twentieth Century” and nude photographs by Heinz Hajek-Halke, through to experimental and applied photographs by Bauhaus artists such as Laszlo Moholy-Nagy, Hannes Meyer, Walter Peterhans and Lotte Gerson.

The thirties and forties are represented by the surreal images of Hans Bellmer and Herbert List, portraits by Wols and Anneliese Kretschmer, nature photographs by Alfred Ehrhardt, Hein Gorny and Elfriede Stegemeyer as well as architectural and industrial photographs by Adolf Lazi and Werner Mantz.

The post-war photographers, particularly the members of the fotoform group on show in the exhibition, such as Otto Steinert, Peter Keetman and Ludwig Windstosser explicitly modelled themselves on their great precursors from the Weimar era. Nevertheless, their photographs, which primarily seek out the beauty of natural forms and their detailed textures, are devoid of anything utopic or playful in their application of the photographic medium. Their aim was to capture reality as it presents itself in images of the greatest possible formal severity and highest degree of technical perfection – even where experimental techniques were used. In the so-called subjective photography, “the conception, individual creativity, was the dominant feature” (Ute Eskildsen).

Erich Angenendt
Auriga Verlag
Theo Ballmer
Irene Bayer
Hans Bellmer
Aenne Biermann
Katt Both
Chargesheimer
Rudolf Dührkoop
Alfred Ehrhardt
Hugo Erfurth
Lotte Gerson
Hein Gorny
Walter Gropius
Arvid Gutschow
Heinz Hajek-Halke
Ruth Hallensleben
Raoul Hausmann
Heinrich Heidersberger
Jacob Hilsdorf
Lotte Jacobi
Peter Keetman
Edmund Kesting
Anneliese Kretschmer
August Kreyenkamp
Siegfried Lauterwasser
Adolf Lazi
Kurt Leppien
Herbert List
Werner Mantz
Hannes Meyer
Willi Moegle
Lucia Moholy
Laszlo Moholy-Nagy
Oskar Nerlinger
Walter Peterhans
Albert Renger-Patzsch
Franz Roh
August Sander
Toni Schneiders
Lotte Stam-Beese
Elfriede Stegemeyer
Otto Steinert
Liselotte Strelow
Marlene Tamm
Georg Trump
Ludwig Windstosser
Dr. Paul Wolff
Wols
Piet Zwart

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The exhibition “German Vintage Photographs – from August Sander to Otto Steinert” covers a time frame of a half a century in the history of German photography. Beginning with the photographic achievements of the leading representatives of the New Vision movement in the Weimar Republic and extending to subjective photography and the fotoform group, independent, artistic and applied photography are featured in the exhibition.

Photography dating from the Weimar era is characterised by a great diversity in form and expression. During this period of Gleichzeitigkeit des Ungleichzeitigen (simultaneity and diversity), the possibilities of the photographic medium were investigated using a wide variety of approaches in terms of technique and formal composition. In the exhibition, these approaches range from the New Objectivity photographs by Albert Renger-Patzsch, portraits from August Sander’s monumental project “Man in the Twentieth Century” and nude photographs by Heinz Hajek-Halke, through to experimental and applied photographs by Bauhaus artists such as Laszlo Moholy-Nagy, Hannes Meyer, Walter Peterhans and Lotte Gerson.

The thirties and forties are represented by the surreal images of Hans Bellmer and Herbert List, portraits by Wols and Anneliese Kretschmer, nature photographs by Alfred Ehrhardt, Hein Gorny and Elfriede Stegemeyer as well as architectural and industrial photographs by Adolf Lazi and Werner Mantz.

The post-war photographers, particularly the members of the fotoform group on show in the exhibition, such as Otto Steinert, Peter Keetman and Ludwig Windstosser explicitly modelled themselves on their great precursors from the Weimar era. Nevertheless, their photographs, which primarily seek out the beauty of natural forms and their detailed textures, are devoid of anything utopic or playful in their application of the photographic medium. Their aim was to capture reality as it presents itself in images of the greatest possible formal severity and highest degree of technical perfection – even where experimental techniques were used. In the so-called subjective photography, “the conception, individual creativity, was the dominant feature” (Ute Eskildsen).

Erich Angenendt
Auriga Verlag
Theo Ballmer
Irene Bayer
Hans Bellmer
Aenne Biermann
Katt Both
Chargesheimer
Rudolf Dührkoop
Alfred Ehrhardt
Hugo Erfurth
Lotte Gerson
Hein Gorny
Walter Gropius
Arvid Gutschow
Heinz Hajek-Halke
Ruth Hallensleben
Raoul Hausmann
Heinrich Heidersberger
Jacob Hilsdorf
Lotte Jacobi
Peter Keetman
Edmund Kesting
Anneliese Kretschmer
August Kreyenkamp
Siegfried Lauterwasser
Adolf Lazi
Kurt Leppien
Herbert List
Werner Mantz
Hannes Meyer
Willi Moegle
Lucia Moholy
Laszlo Moholy-Nagy
Oskar Nerlinger
Walter Peterhans
Albert Renger-Patzsch
Franz Roh
August Sander
Toni Schneiders
Lotte Stam-Beese
Elfriede Stegemeyer
Otto Steinert
Liselotte Strelow
Marlene Tamm
Georg Trump
Ludwig Windstosser
Dr. Paul Wolff
Wols
Piet Zwart

Heinz Hajek-Halke, Gustav Klutsis, El Lissitzky, Alexander Rodchenko, Osamu Shiihara and others, VINTAGE PHOTOGRAPHS OF THE 1920S AND 1930S

/in /by

VINTAGE PHOTOGRAPHS OF THE 1920S AND 1930S

Heinz Hajek-Halke, Gustav Klutsis,

El Lissitzky, Alexander Rodchenko, Osamu Shiihara and others

November 10th, 2000 – January 31st, 2001

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The premiere exhibition of “Vintage Photography of the 1920s and 1930s” on November 9th, 2000 marks the opening of Galerie Priska Pasquer in Cologne. The newly opened gallery located at Goebenstraße 3 offers collectors of fine art photography a first-time opportunity to view a representative sampling of artwork from among the gallery’s stock.

Priska Pasquer’s representation of European photography has enjoyed long-standing success. Previously employed for a number of years at Galerie Rudolf Kicken in Cologne, Ms. Pasquer has since launched out on her own as an art dealer and creative consultant in distinguished international collections. Her exclusive representation of such renowned photographers as El Lissitzky, Gustav Klucis and Heinz Hajek-Halke attests to the authentic caliber of her professional expertise over the years.

The opening of Galerie Priska Pasquer hallmarks its commitment to further enhance the preparation and presentation of photography of the 1920s, 1930s and 1950s. The gallery also plans to introduce an emphatic trend in photography by way of augmenting the prospective repertoire with select works of contemporary art as a rejoinder to the challenge occasioned by the departure of prominent galleries from the Rhineland to Berlin.

Approximately 70 vintage European and Japanese photographs of the 1920s and 1930s are represented in the opening exhibition. The centerpiece of the presentation consists of photomontages by El Lissitzky, including one of his most celebrated works, “The Constructor” (1924). “The Constructor”, which ranks as one of the most significant self-portraits in the 20th century, embodies “the struggle for artistic creativity by combining modern technology with the human intellect” (M. Tupitsyn). Particularly deserving of critical attention are the photomontages “Lenin’s Death Mask” and “Self-portrait” presented on the occasion of the 1928 Pressa Exhibition in Cologne.

Additional Soviet artists, such as Alexander Rodchenko, Gustav Klucis and Max Penson, whose works are also represented in the exhibition, capture in their photography dynamic scenes in public settings and tableaux of crowds, alongside more intimate evocations of the artists’ personal surroundings, as well as working prints and drafts for political posters.

Western European representatives of “New Photography”, who figure among the pioneers of the revolutionary forms of expression of the 1920s and 1930s and whose portraits, objectified forms and experimental photographs are featured in the exhibition, notably include Franz Roh, Umbo, Aenne Biermann and Heinz Hajek-Halke. Photographed stage sets and still lifes by the Italian Futurists Cesare Cerati, Renato di Bosso, Marisa Mori and Ivo Pannaggi round off the high spots of this premiere exhibition.