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This annotated anthology presents the first English translation of
German photographer Albert Renger-Patzsch's collected writings. A
towering figure in the history of photography, Albert
Renger-Patzsch (1897-1966) has come to epitomize New Objectivity,
the neorealist movement in modernist literature, film, and the
visual arts recognized as the signature artistic style of Germany's
Weimar Republic. Today, his images are regularly exhibited and
widely considered key influences on contemporary photographers.
Whether they capture geometrically intricate cacti, flooded tidal
landscapes, stacks of raw materials, or imposing blast furnace
towers, Renger-Patzsch's photographs embody what his peer Hugo
Sieker termed "absolute realism," an approach predicated upon the
idea that photographers have one task: to exploit the camera's
unique capacity to document with uncompromising detail. Not only a
photographer, Renger-Patzsch was also an influential and lucid
writer who advocated his unique brand of uncompromising realism in
almost a half century's worth of articles, essays, lectures,
brochures, and unpublished manuscripts addressing photography,
technology, and modernity. Drawing on his papers at the Getty
Research Institute and other archives, The Absolute Realist unites
in one volume this skillful photographer's ideas about the defining
visual medium of modernity.
Dieser Titel aus dem De Gruyter-Verlagsarchiv ist digitalisiert
worden, um ihn der wissenschaftlichen Forschung zuganglich zu
machen. Da der Titel erstmals im Nationalsozialismus publiziert
wurde, ist er in besonderem Masse in seinem historischen Kontext zu
betrachten. Mehr erfahren Sie . >
Fagus is the story of a Gesamtkunstwerk and an early example of
corporate identity: the Fagus factory in Alfeld an der Leine, built
by Walter Gropius and Adolf Meyer from 1911, is regarded as the
founding structure of modernism. The architects succeeded in giving
a medium-sized company a completely unusual face that was anything
but traditional. This was possible because the client and architect
formed an extraordinarily favorable constellation. The factory
owner combined an affinity toward the life reform movement with
American corporate philosophy. With its representative objectivity
and extensive use of glass, the factory is also an expression of a
new entrepreneurial self-confidence and a modern advertising
strategy. The avant-garde further influenced the design of the
company's machines and its printed matter. The list of
collaborators reads like a Who's Who of international modernism:
some of Fagus's advertising, for instance, was designed by Johannes
Molzahn, Theo von Doesburg, and Herbert Bayer. And with his series
of photographs from 1928, the photographer Albert Renger-Patzsch
created what can today be called a classic image of the Fagus
factory and its products.
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