Peter Geimer

As an artistic medium, photography is uniquely subject to accidents, or disruptions, that can occur in the making of an artwork. Though rarely considered seriously, those accidents can offer fascinating insights about the nature of the medium and how it works. With Inadvertent Images, Peter Geimer explores all kinds of photographic irritation from throughout the history of the medium, as well as accidental images that occur through photo-like means, such as the image of Christ on the Shroud of Turin, brought into high resolution through photography. Geimer’s investigations complement the history of photographic images by cataloging a corresponding history of their symptoms, their precarious visibility, and the disruptions threatened by image noise. Interwoven with the familiar history of photography is a secret history of photographic artifacts, spots, and hazes that historians have typically dismissed as “spurious phenomena,” “parasites,” or “enemies of the photographer.” With such photographs, it is virtually impossible to tell where a “picture” has been disrupted—where the representation ends and the image noise begins. We must, Geimer argues, seek to keep both in sight: the technical making and the necessary unpredictability of what is made, the intentional and the accidental aspects, representation and its potential disruption.

A History of Photographic Apparitions

Inadvertent Images

Nikolaus Hirsch

Daniel Birnbaum

Isabelle Graw

Städelschule Frankfurt am Main. Institut für Kunstkritik

Introduction : remarks on contemporary painting's perseverance André Rottmann -- Painting and atrocity : the Tuymans strategy Peter Geimer -- Questions for Peter Geimer Isabelle Graw -- Response to Isabelle Graw Peter Geimer -- The value of painting : notes on unspecificity, indexicality, and highly valuable quasi-persons Isabelle Graw -- Questions for Isabelle Graw Peter Gaimer -- Response to Peter Gaimer Isabelle Graw.

Reflexivity and Agency Beyond the Canvas

Thinking Through Painting

Hal Foster

Sheena Wagstaff

Briony Fer

Benjamin H. D. Buchloh

Brinda Kumar

André Rottmann

Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post–WWII Germany, in both broad and very personal terms. This handsomely designed book spans the artist’s rich and varied oeuvre from the early 1960s to the present, including photo paintings, portraits, large-scale abstract series, and works on glass. Essays by leading experts on the artist illuminate Richter’s preoccupation with painting in relation to other modes of representation, and emphasize the ongoing importance of the medium’s formal and conceptual possibilities in contemporary art.

Painting After All

Gerhard Richter

Henning Schmidgen

Sven Dierig

Mit Beiträgen von Bruno Latour, Timothy Lenoir, Casey Alt, Trudy Dehue, Sven Dierig, Thomas Fechner-Smarsly, Peter Geimer, Armin Schäfer, Joseph Vogl, Daniel Todes, Henning Schmidgen, Otniel Dror AIDS, Rinderwahnsinn, globale Erwärmung: Die Anzeichen mehren sich, daß unsere Gesellschaft zu einer Experimentiergesellschaft wird. Vor allem die Lebenswissenschaften scheinen die engen Grenzen des Labors verlassen zu haben. Was früher unter dem Mikroskop oder im Reagenzglas geschah, betrifft heute große Kollektive, ganze Bevölkerungen, mithin den gesamten Planeten. Manche sprechen schon vom "World Wide Lab". Was sind die Gründe für diese Entwicklung? Die Beiträge in diesem Band spüren den immer enger werdenden Verzahnungen von Labor und Gesellschaft, von Experiment und Kultur nach: in der Geschichte des Tierversuchs, den frühen Formen des Körpertrainings und den experimentellen Verfahren der künstlerischen Avantgarde. Es geht um Gewebekulturen und Nervenkulturen, um Kybernetik, Bioinformatik und die Physiologie des Unmöglichen. In der schönen neuen Welt des laboratory life trifft Pavlov auf Nietzsche, Strindberg begegnet Crick & Watson. Anders gesagt, das Experiment erweist sich als Kulturfaktor, der bislang weitgehend unterschätzt worden ist.

Kultur im Experiment

Existenzen zwischen Leben und Leblosigkeit

UnTot

Peter Geimer

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