Monika Faber

Wien, Paris : Portraits aus Kunst und Gesellschaft 1907-1957

Madame d'Ora

Seiichi Furuya

Seiichi Furuya leistet Gedächnisarbeit mittels der Fotografie. Die sieben gemeinsam mit seiner Frau verbrachten Jahre sind vor langer Zeit zu Ende gegangen. "Auf geheimnisvolle Weise ist die Beziehung, die wir teilen, seit ihrem Tod immer tiefer geworden. Und nun, während ich die Fotografien ein weiteres Mal ordne, begegne ich ihr jeden Tag. Ich habe in ihr eine Frau, die an mir vorbeigeht, manchmal ein Model, manchmal die Frau, die ich liebe, manchmal die Frau, die zu mir gehört, gesehen." (S. F.)

Christine Furuya-Gössler, 1978-1985

Portrait

Werner Michael Schwarz

Herbert List

Erik Kästner

Sandra Mühlenberend

Arne Reimer

Surreal and fantastical wax figures, captured by the lens of a famed Magnum photographer German photographer Herbert List (1903-1975) was known for his commercial work with magazines such as Vogueand Life. In 1944, he photographed the wax mannequins and automata inside Vienna's Prater, a long-standing, then-derelict fairground. Based on List's original draft, this publication presents this series in full.

Herbert List. Panoptikum

Azar Nafisi

Inge Morath

In 1956, Inge Morath traveled to the Middle East for Holiday magazine where she wore the traditional chador and traveled alone most of the time. Moraths subjects range from politics to religion and from work to commerce; from the Shah's palace to the nomad's tent to the Zoroaster's sacred shrine. Morath entered deeply into the culture of the places she visited and the lives of the people she photographed in order to document, as she noted, "the continuity - or lack of it - between past and present." She photographed Iran with the fine vision of an anthropologist, examining religious rituals, costuming, work, sport, music, art, and theatre. Morath's work in Iran presaged her later work in Spain, China, and Russia, creating an extensive document of the clash between modernity and tradition in the post-war world. Retrospectively, Inge Morath: Iran recalls a land and a culture that has been profoundly transformed since the Iranian Revolution of 1979. It is a window into the past which provides a unique perspective on Iran in the present.

Iran

This text incorporates Furuya's rich work created during the last 25 years in Europe, Japan and the USA. It provides a survey of the ways in which this Japanese photographer laconically responded to a variety of subject matter.

Alive

Esther Ruelfs

Discover the work of legendary fashion and society photographer Madame d'Ora, who documented both the glamour and the tragedy of 20th-century Europe. Born Dora Kallmus (1881-1963), the Austrian fashion and portrait photographer who went by the moniker Madame d'Ora was the most acclaimed portraitist of fin de siècle Vienna. After relocating to Paris in the 1920s, she opened one of the most stylish Art Deco portrait studios where her models included Pablo Picasso, Josephine Baker, and Collette, among many others. This book, accompanying the largest exhibition devoted to Madame d'Ora ever presented in the United States, includes sections focusing on the different periods of the photographer's life, from her early upbringing as the daughter of Jewish intellectuals in Vienna, to her days as a premier society portraitist, through her survival during the Holocaust.

Madame D'Ora

Hubert Locher

Ludger Derenthal

Antje Kalcher

Kristina Lowis

How photographs became art: »Paragons & Afterimages« - the pair of terms refers to correlations between images, but also to their production, where reference is made to already existing images. In the art academies and schools of applied arts in the 19th and early 20th century, photographs served as »models« or »paragons« and served as their individual didactic type of image. Photographic reference material was an important aid in the creative practice of aspiring artists; and in the course of their use, »afterimages« were created in art classes: paintings, sculptures, drawings and graphics. The archives of the Berlin University of the Arts have preserved a unique and valuable photographic teaching collection that dates back to the 1850s and had already been created at the predecessor institutions, the Berlin Art Academy and the leading School of Decorative Arts. With approximately 25,000 individual photographic prints, and additional bundles and albums, this collection is unique in Germany. Hardly noticed for a long time, it has in recent years been archivally and scientifically reviewed. This collection is presented for the first time in this book and with the exhibition organized by the Münchner Stadtmuseum. The most common pictorial motifs include art reproductions, landscapes, nature studies of water, clouds, trees, plants, rocks etc., architecture, still lifes of fruits, glass etc., portraits, genre scenes as well as tableaux vivants, nudes and animal studies, oriental and historical representations. The original studies - distributed in France as »études d'après nature« - are by well-known European and American photographers, among them: Fratelli Alinari, Ottomar Anschütz, Karl Blossfeldt, Adolphe Braun, Eugène Cuvelier, Georg Maria Eckert, Constantin Famin, Wilhelm von Gloeden, Albert Renger-Patzsch, Jakob August Lorent, Gustave le Gray, James Robertson, Henry Peach Robinson, Giorgio Sommer, Carleton Watkins.

Photographs from the Berlin University of the Arts, 1850-1930

Paragons Afterimages

Heinrich Kühn

Astrid Mahler

German scientist and photographer Heinrich K hn (1866-1944) was one of the central figures in the establishment of international art photography at the turn of the twentieth century. Having studied botany and medicine, K hn made his first photograph in the late 1870s, dedicating himself solely to the medium within a decade. He achieved this dedication through the support of American photographers Alfred Stieglitz, Edward Steichen and others. After a meeting in 1904, Stieglitz and K hn initiated an almost 30-year-long correspondence, ushering in an era of pioneering experimentation with autochrome and other photographic processes. Critical to K hn's success was an offset process he perfected, which allowed him to deliberately dissolve the sharpness of the image and alter its brightness. The results are gorgeous, dreamy images full of rich, delicate color. Around 1910, K hn reduced the romantic cosmos of Pictorialism to the point where his compositions became almost abstract, so that only the study of light and the rendering of tonal values mattered. He later returned to exploring the photograph as objective record, concentrating mainly on writing and to experiments in photographic technology. This landmark volume surveys the works of a revelatory photographer.

The Perfect Photograph

Heinrich Kuhn

Monika Faber

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