Ottmar Anschütz, Störche bei Berlin, 1884 Max Ehlert, Schlußfeier der Olympiade Berlin, 1936 Robert Lebeck, Heimkehrer in Friedland, 1975

German Photography Impact of a Medium 1870 - 1970 Although German Photography may sound like a statement of fact it is meant to be a question: Is there such a thing as 'German photography' considering the many influences it has been subjected to in this century? The exhibition will address this question in a comprehensive display of photographs by German photographers. Approximately 400 pictures by 150 photographers in the fields of architecture, art, photojournalism, fashion, design and advertising provide a representative overview of German photography's development up to 1970. The exhibition is divided into four periods: Between 1870 and 1918 photography becomes a mass medium. Germany's first paper with printed photographic illustrations, the Illustrirte Zeitung, appears in Leipzig in 1884. Many more illustrated magazines are issued in quick succession. Major publications of the day include: Welt im Bild, Deutsche Illustrierte Zeitung and the Berliner Illustrirte Zeitung. During this time photography becomes ever more important for transporting information and news, providing the mass public with first impressions of foreign countries and of important world edifices. In addition, first steps towards artistic photography are undertaken. 1918 - 1929 This period is determined by exceptional experimentation in photography. Germany's particular situation after losing the first World War provides the ideal basis: Photography begins to be understood as part of a modern avant-garde, inspired not only in part by artists but also by photographers from the major design schools such as the Bauhaus in Dessau. The exhibition Film und Foto, staged in 1929 by the German Werkbund in Stuttgart, is already considered to be a retrospective exhibition and thus concludes this period. 1930-1945 Experimental photography ends with the great depression and, although photography continues on the premises laid down earlier, resignation begins to set in. From here it is only a short step towards an 'anticipatory obedience' to the national socialist reign of terror. The Nazis recognize photography's importance for propaganda and enhance its influence by appropriating all modern photographic means. 1945-1970 The photographic means that developed before the war and survived its destruction continue to be implemented during this time. Photographers living in the occupation zones of both German states record whatever moves them. Only a few develop original forms, and only with great delay in comparison to their colleagues in other countries. This situation does not change until 'subjective photography' appears for the first time in the 1950s. In the West photography eventually develops into a medium more directly influenced by art, while in the East photography is determined by a politically motivated adherence to the traditions established by worker photography. East Germany does not develop its own forms until much later. Around 1970 photography is fundamentally transformed world-wide, not only with respect to its medial characteristics but also to its form as an art. Television, video and computer technology break photography's monopoly in transporting visual information. At the same time, it is finally accepted as a legitimate art form. The exhibition German Photography. Impact of a Medium 1870-1970 is generously supported by: Frankfurter Allgemeine Zeitung and Leica Camera AG. A catalogue book to the exhibition includes a comprehensive systematic assessment of the history of German photography by renowned historians and photo experts, whereby the aesthetic characteristics of photography are also treated. On the occasion of the exhibition the Forum of the Kunst- und Ausstellungshalle will host an accompanying symposium in cooperation with the exhibition curators from 4 to 6 July 1997. The event will address the question of 'German photography' raised by the exhibition and will primarily analyse three aspects: First, individuals with great interest in photography will be invited to develop personal theories on German photography. Second, it will analyse the conditions under which photography can be considered 'German'. Theoretical expositions on, for instance, the future of photography as a medium and statements by collectors, curators or art dealers on their treatment of German photography will contribute to our understanding: How is German photography being collected, traded or presented today? Finally, contemporary German developments in photography since 1970 will be discussed. The assessment of recent trends will be complemented by a closing discussion between photographers from the Federal Republic of Germany, where they will be asked to clarify their definition of current photography and its chances for the 21st century. Information: Telephone (49) 0228 / 9171-236. Exhibition Curators: Klaus Honnef Rolf Sachsse Visit the exhibition right now: "The exhibition in one minute!" RealVideo G2 Quicktime movie (1,4 MB), 53 sec, no sound. More RealVideo and Quicktime movies at our Movie Page. The Catalogue email: Madeline Ferretti, Project Manager With generous support from

                       




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