Typologien: Photography in 20th-Century Germany @ Fondazione Prada, Milan - Exhibition Curated by Suzanne Pfeffer

Typologien

Photography in 20th-Century Germany

Fondazione Prada, Milan

Through 14 July 2025

Fondazione Prada presents “Typologien,” an extensive study dedicated to 20th-century German photography, at its Milan venue. The exhibition, hosted within Podium, the central building of the Milan headquarters, is curated by Susanne Pfeffer, art historian and director of the MUSEUM MMK FÜR MODERNE KUNST, Frankfurt.

The exhibition attempts to apply the principle of “typology,” which originated in 17th- and 18th-century botany to categorize and study plants, and appeared in photography in the early 1900s, affirming itself in Germany throughout the 20th century. Paradoxically, the given formal principle allows for unexpected convergences of German artists spanning different generations and the manifestation of their individual approaches.

The exhibition path follows a typological rather than a chronological order, bringing together more than 600 photographic works by 25 established and lesser-known artists essential for recounting a century of German photography, including Bernd and Hilla Becher, Sibylle Bergemann, Karl Blossfeldt, Ursula Böhmer, Christian Borchert, Margit Emmrich, Hans-Peter Feldmann, Isa Genzken, Andreas Gursky, Candida Höfer, Lotte Jacobi, Jochen Lempert, Simone Nieweg, Sigmar Polke, Gerhard Richter, Heinrich Riebesehl, Thomas Ruff, August Sander, Ursula Schulz-Dornburg, Thomas Struth, Wolfgang Tillmans, Rosemarie Trockel, Umbo (Otto Umbehr), and Marianne Wex. A system of suspended walls creates geometric partitions in the exhibition space, forming unexpected connections between artistic practices that differ from each other, but are united by a common principle or intention of classification.

As stated by Susanne Pfeffer, “Only through juxtaposition and direct comparison is it possible to find out what is individual and what is universal, what is normative or real. Differences are evidence of the abundance of nature and the imagination of humans: the fern, the cow, the human being, the ear; the bus stop, the water tower, the stereo system, the museum. The typological comparison allows differences and similarities to emerge and the specifics to be grasped. Unknown or previously unperceived things about nature, the animal, or the object, about place and time become visible and recognizable.”

In photography, employing typologies means affirming an equivalence between images and the absence of hierarchies in terms of represented subjects, motifs, genres, and sources. Despite this, typology remains a highly challenging and complex notion. It operates in a paradoxical regime: on the one hand, this approach can lead to a systematic recording of people and objects based on extreme objectivity; on the other hand, typology corresponds to an individual and arbitrary choice, revealing itself as a disturbing and potentially subversive act.

The hypothesis that photography plays a key role not only in fixing distinctive phenomena but also in organizing and classifying a plurality of visible manifestations remains a vital force in today’s artistic efforts to navigate the complexity of our social and cultural realities. With the spread of digital imagery and practices, the concept of typology continues to be questioned and re-defined by contemporary photographers and artists.

As underlined by Susanne Pfeffer, “The unique, the individual, seems to have been absorbed into a global mass, the universality of things is omnipresent. The Internet allows typologies to be created in a matter of seconds. And yet this is precisely when it seems important—to artists—to take a closer look.” As further explained by Pfeffer, “When the present seems to have abandoned the future, we need to observe the past more closely. When everything seems to be shouting at you and becoming increasingly brutal, it is important to take a quiet pause and use the silence to see and think clearly. When differences are not seen as something other, but turned into something that divides us, it is crucial to notice what we have in common. Typologies allow us to identify remarkable similarities and subtle differences.”

In the early 20th century, Karl Blossfeldt (1865–1932) was one of the first artists to transfer the classification system used in botanical studies to photography. His vast and detailed plant atlas represented a foundational moment for German Neue Sachlichkeit (New Objectivity). This artistic and photographic movement emerged in the 1920s during the Weimar Republic and promoted the importance of categories and distinctions and the remarkable ability of photography as a medium to explore the very idea of typology.

Another pioneering figure was August Sander (1876–1964), who published his photo book Antlitz der Zeit (Face of Our Time) in 1929, at the time excerpted from his landmark project Menschen des 20. Jahrhunderts (People of the 20th Century). Described by Walter Benjamin as a “training atlas” of physiognomic perception, Antlitz der Zeit was an ambitious attempt to portray the diversity and the structure of German society using class, gender, age, occupation, and social background as distinct categories of a rigid and neutral classification system. 

Both Karl Blossfeldt’s and August Sander’s typologies were fundamental for Bernd Becher (1931–2007) and Hilla Becher (1934–2015) when, at the end of the fifties, they began an enormous and lifelong documentation and preservation project of industrial architecture. In 1971, they described the “industrial constructions” as “objects, not motifs”. They stated that “the information we want to provide is only created through the sequence, through the juxtaposition of similar or different objects with the same function”. Their black-and-white monuments, or “anonymous sculptures”, isolated against a monochromatic sky, centered, framed in the same format and arranged in a block, became an essential reference for American and European Post-Minimalist and Conceptual artists. They also represented a rich heritage for younger generations of German artists and photographers, such as Andreas Gursky (b. 1955), Candida Höfer (b. 1944), Simone Nieweg (b. 1962), Thomas Ruff (b. 1958) and Thomas Struth (b. 1954), who studied at the Academy in Düsseldorf in the class led by Bernd and Hilla Becher from 1976.

Hans-Peter Feldmann (1941–2023), internationally recognised for his fundamental contribution to conceptual art, traced a complementary trajectory in German photography. In his works, he documented everyday objects and historical events and combined deadpan humor with a systematic approach to accumulating, cataloguing, and rearranging elements of contemporary visual culture. In his series, he invented personal yet very political typologies and adopted a deliberate snapshot approach with a commercial aesthetic. For his work Alle Kleider einer Frau (All the Clothes of a Woman, 1975), he took 35mm-format photographs of underwear, hosiery, T-shirts, dresses, trousers, skirts, socks, and shoes, all hanging on hangers on the wall or laid on dark fabric. With his project Die Toten 1967–1993 (The Dead 1967–1993, 1996–98), he paid homage to individuals murdered in the context of the political and terroristic movements in Post-War Germany. As pointed out by Susanne Pfeffer, “With his typologies, he emphasized the equal value of all photographs, their image sources and motifs, and underscored the de-hierarchization inherent in every typology.”

In his apparently random collection of found, personal or pornographic images, press clippings, and historical photos of Nazi concentration camps, the Red Army Faction and German reunification, a “private album” named Atlas (1962 – present), Gerhard Richter (b. 1932) seemed to deny or challenge the very idea of typology. Instead, he took the principle of equivalence between images and their trivialization process to the limits, creating a jarring contrast and an acute awareness of a repressed collective memory.

In the seventies and eighties, in a dialectic relationship with the artistic lessons of the Bechers, Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth progressively abandoned the radicalism and black-and-white purism of their professors. They explored the colorful dominance of banality in their series of individual or family portraits, monumental and detailed city views, and spectacular documentation of cultural or tourist sites, generating a plethora of contemporary and conflicting typologies.

In the late seventies and early eighties, multimedia artist Isa Genzken (b. 1948) engaged in a direct dialogue with the photographic medium. In 1979, she created a series entitled Hi-Fi that featured advertisements of avant-garde Japanese stereo equipment, organizing them in an imaginary commercial catalog. The second series entitled Ohr (Ear) (1980) depicted, in large-scale color close-ups, the ears of random women Genzken photographed on the streets of New York City. She transferred the traditional portrait genre to physiognomic detail and ironically investigating the absolute singularity and infinite individual differentiation the photographic portrait can record.

Typologien

Photography in 20th-Century Germany

Image courtesy of the Fondazione Pada

An illustrated book, published by Fondazione Prada and designed by Zak Group, accompanies the exhibition “Typologien: Photography in 20th-Century Germany”. It includes an introduction by Miuccia Prada, President and Director of Fondazione Prada, a text by the exhibition curator Susanne Pfeffer and three essays by renowned international art historians and curators Benjamin Buchloh, Tom Holert, and Renée Mussai.

FONDAZIONE PRADA, MILAN

Largo Isarco 2, 20139 Milano

www.fondazioneprada.org

Typologien: Photography in 20th-Century Germany @ Fondazione Prada, Milan, 3 April - 14 July 2025

August Sander @ Edwynn Houk Gallery, NYC - Citizens of the Twentieth Century

August Sander: Citizens of the Twentieth Century
Edwynn Houk Gallery, New York
5 April - 26 May, 2012

Edwynn Houk Gallery announces its representation of the August Sander family collection. In celebration, the gallery is presenting a retrospective look at August Sander’s career from the series Citizens of the Twentieth Century.

August Sander is widely considered to be one of the leading photographers of the twentieth century, and a master of modern photographic portraiture. He is most celebrated for his iconic Citizens of the Twentieth Century, a project that aspired to be a comprehensive inventory of the German people during the Weimar Republic, and which became his lifelong endeavor. Parts of it were first published in the volume Face of Our Time (1929). His photographs are lucid and honest portraits from every strata of that society: peasants, students, laborers, businessmen, bankers, artists, children, the disabled and the unemployed. Each finds his or her proper place within the seven portfolios into which Sander arranged his Citizens of the Twentieth Century: The Farmer, The Skilled Tradesman, The Woman, Classes and Professions, The Artist, The City and The Last People. The project remains a moving celebration of the diversity of national life, yet for the Nazis it was far too rich and various, and it refused to conform to their narrow Aryan ideals: in 1934 they confiscated all the copies of August Sander’s books and prints that they could find, and banned him from continuing to take portraits.

August Sander remained a firm exponent of the universal language of photography as an uncensored communicator of truth and reality. A photograph, he believed, should be free of any manipulation or trickery and should serve as a true document. As he once put it, “nothing seemed to me more important than to project an image of our time with absolute fidelity to nature by means of photography.” His portraits beautifully demonstrate his meticulous sense of observation, his eye for the surrounding environment, for occupation and social class. Dress and posture and backdrop all do the work of revealing identity. For Sander, the inner essence of a human being could always be read from their outward appearance. His direct - but by no means detached - style of portraiture has been a major influence on photographers ever since, including Paul Strand, Richard Avedon, Irving Penn, Walker Evans, and Diane Arbus.

The exhibition consists of over forty images from Citizens of the Twentieth Century, including some of the most famous, such as Three Farmers and Pastry Chef, and the less seen images of persecuted Jews. Rare enlargement prints are also on view. This exhibition follows Houk Gallery’s Diane Arbus /August Sander exhibition last fall at the Zurich gallery.

EDWYNN HOUK GALLERY
745 Fifth Avenue, New York, NY 10151
www.houkgallery.com

August Sander a la Fondation HCB

« Voir, observer et penser »

Peintre [Anton Räderscheidt], 1926

© Die Photographische Sammlung/SK Stiftung Kultur -

August Sander Archiv, Köln ; ADAGP, Paris, 2009,

Tous droits réservés

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. On me demande souvent comment l’idée m’est venue de créer cette oeuvre :

Voir, observer et penser, et la question a sa réponse.

August Sander

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. En 1927, à l’occasion de son exposition Hommes du 20ème siècle à la Kunstverein de Cologne, August Sander souligne que « voir, observer et penser » est au coeur de sa démarche photographique. La Fondation HCB organise, en collaboration avec Die Photographische Sammlung / Stiftung Kultur de Cologne, une exposition de tirages de ce grand photographe allemand (1876-1964) qui donne à voir, à travers ses clichés, une représentation de son époque en même temps qu'il nous laisse une brillante leçon de photographie.

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La centaine de photographies exposées à la Fondation HCB du 9 septembre au 20 décembre 2009 sont d'une grande qualité et sont d’époque pour la plupart. En présentant l’oeuvre d’August Sander en faisant cohabiter portraits, paysages et études botaniques, les organisateurs ont souhaité rendre justice à l’esprit même de sa démarche.

. Né en 1876, August Sander a cherché tout au long de sa vie à transmettre une image de son époque qui se veut fidèle à la réalité, grâce à la photographie. Celle-ci le passionne très tôt et il achète son premier appareil photo à 16 ans. D’abord employé d’un studio photo, il s’installe très vite comme photographe professionnel à Cologne et gagne sa vie comme portraitiste. Au début des années 20, il s'intègre dans les cercles culturels de Cologne. Musiciens, écrivains, architectes et acteurs posent pour le photographe qui commence à travailler au projet de sa vie, Hommes du XXème siècle (publié dans son intégralité en 1980). Le regard porté par August Sander sur la réalité se veut objectif et est accueilli avec enthousiasme lors de la publication, en 1929, de Antlitz der Zeit (Visages d’une époque). Ce recueil de portraits, avait pour objectif d’établir une sorte d’inventaire sociologique des types humains, classes sociales et métiers, en cherchant à éviter les clichés idéalisants.

. Parallèlement à l’attention portée aux hommes de son temps, August Sander est un fin observateur de la nature. Il commence à établir un répertoire topographique des différentes régions d’Allemagne et réalise des études de botanique qui le passionnent. Il s’agit pour lui de montrer le lien existant entre l’homme et les espaces naturels qu’il façonne. Dès 1930 il élabore des albums ayant pour thème ces régions et notamment les paysages du Rhin, dont l’exposition à la Fondation HCB présente un exemplaire complet.

. L’arrivée au pouvoir des nazis marque le début d’une période difficile pour le photographe, qui va déménager à la campagne avec sa femme Anna très active dans le studio. Il y met en sécurité 10.000 négatifs parmi les plus précieux. Son livre Antlitz der Zeit est interdit à la vente en 1936, et les stocks mis au pilon. Son fils Erich, membre du Parti communiste, est emprisonné (il meurt en 1944), et une grande partie de ses négatifs est détruite dans l’incendie de son appartement de Cologne.

. Après la guerre, August Sander se consacre à l’organisation de ses archives et notamment à la constitution d’un vaste ensemble sur Cologne, avant la destruction de la ville pendant la guerre : Köln wie es war (Cologne telle qu’elle était). La ville l’achètera en 1953.

. En 1951, son travail est montré lors de la Photokina de Cologne. Il fait partie de la célèbre exposition Family of man organisée par Steichen au MoMA de New York en 1955. Mais sa première grande exposition personnelle hors d’Allemagne, se tiendra au MoMA de New York en 1969, après sa mort.

. August Sander meurt le 20 avril 1964 à Cologne. Il laisse une oeuvre photographique immense. Son rapport à la série, son goût pour la démystification et la restitution à la recherche de l'objectivité ont éveillé chez de nombreux photographes contemporains une autre façon d'appréhender leur travail photographique.

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Le catalogue, publié en Français par Schirmer/Mosel, est accompagné d’une préface par Agnès Sire, d’une introduction par Gabriele Conrath-Scholl et de la retranscription, pour la première fois en français, de la cinquième conférence radiophonique sur la photographie tenue en 1931 par August Sander : La photographie, langage universel.

. Fondation Henri Cartier-Bresson

du 9 septembre au 20 décembre 2009

2, impasse Lebouis

75014 Paris

www.henricartierbresson.org

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August Sander: People of the 20th Century Photographs Exhibition

San Francisco Museum of Modern Art

August Sander, Hod carrier, 1928, gelatin silver print

Courtesy of the August Sander Archive, Cologne ;

ARS, New York, 2002

The San Francisco Museum of Modern Art (SFMOMA) presents August Sander: People of the 20th Century from November 29, 2002 through February 23, 2003. The exhibition comprises more than 200 vintage prints drawn from the photographer’s monumental portrait of German society, made for the most part between the two world wars. SFMOMA’s presentation is the most comprehensive showing in the United States of this seminal project, which has never been publicly displayed in its entirety in this country. The works on view are culled from the archives of the Photographische Sammlung of SK/Stiftung Kultur, Cologne, and supplemented by selected photographs on loan from international institutions and private collectors. The exhibition curator is Susanne Lange, director of the Photographische Sammlung of SK Stiftung Kultur, Cologne. Overseeing the San Francisco presentation is Douglas R. Nickel, SFMOMA curator of photography. Accompanying the exhibition is a newly revised seven-volume trilingual (German, English and French) monograph containing all 619 works in the portfolio, as well as Sander’s own annotations on the photographs and negatives, many categorized and evaluated for the first time.

August Sander (1876–1964) is widely hailed as an avatar of modern photography. His influence can be seen in the work of subsequent generations of international photographers, including that of Walker Evans, Diane Arbus, and Bernd and Hilla Becher. Sander’s exhaustive People of the 20th Century project set conceptual and aesthetic standards that were unprecedented in the history of photography; the achievement is still considered unparalleled today. Through this project, Sander created a compelling record of the world and time in which he lived by making direct, descriptive posed portraits of ordinary people from a broad cross section of German society—the farmer, businessman, bricklayer, painter, secretary, philosopher, dockworker, blacksmith and coal carrier, for instance—where individuals stood for and were grouped according to categorical occupational, social or familial types. He then collected the photographs into some 45 portfolios, which were finally assigned to seven archetypal categories: “The Farmer,” “The Skilled Tradesman,” “The Woman,” “Classes and Professions,” “The Artists,” and “The City.” The final category, “The Last People,” included the elderly as well as those with birth defects, disabilities, and mental disorders. Taken together, these images capture a detailed view of pre–World War II Germany and reflect Sander’s optimistic view of the prevailing social order.

Sander was born in 1876 in Herdorf, Germany, near Cologne, the son of a mining carpenter. Soon after receiving a camera from an uncle in 1892, he built a darkroom and began photographing. After his military service, he worked as a commercial photographer, specializing in architectural and industrial photography. Sander was most active creatively during the period between the two World Wars, when many German artists were stimulated by newfound political freedom. Inspired by the Cologne Progressives, a group of radical painters he met in the early 1920s, he conceived of his ambitious project in sympathy with the Neue Sachlichkeit, or “New Objectivity,” in art current in this circle. Sander worked on People of the 20th Century until his death in 1964, despite the tumultuous world events generated by the rise of Hitler and the Third Reich: Nazi authorities disapproved of Sander’s undifferentiated, unheroic depiction of the German people and for a time forced him to stop work on the project; thousands of his glass negatives were confiscated and destroyed. Eventually Sander relocated to the village of Kuchhausen—bringing with him and thus saving 10,000 negatives—and sat out the war years by devoting himself to a series of landscapes and nature studies. One of Sander’s sons, Erich, who joined the anti-Nazi Socialist Worker’s Party in 1933, was jailed for treason in 1934 and died in prison 10 years later. Erich’s brother, Gunther Sander, began working toward the publication of People of the 20th Century in 1980.

The first section of the exhibition, “The Farmer,” demonstrates Sander’s familiarity with the rural environment of his youth, as well as his view of the farmer as the basic archetype of society. The first section also includes a portfolio of 12 pictures that Sander created as a prologue to the total project. These images depict a broad cross section of social types as they relate to inner character: the man of the soil, the revolutionary, the philosopher and the sage. A second section, “The Skilled Tradesman,” includes images of members of the trades as they were understood in Sander’s age—the bricklayer, the locksmith, the shoemaker, the tailor, the potter and the pastry cook—as well as images of industrialists, technicians and inventors. In the third section, “The Woman,” women appear largely defined in relationship to other people in pictures with titles such as Wholesale Merchant and Wife, The Innkeeper and His Wife and Middle-Class Couple. In some of the later images, however, women do appear in autonomous social roles in occupations that were open to them, such as nun, dressmaker and secretary.

In the fourth section, “Classes and Professions,” Sander creates a complex image of society: the subsection “The Clergyman” includes both Roman Catholics and Protestants; “The Teacher and Educator” shows teachers from cities and villages; “The Businessman” ranges from match seller to publisher to art dealer. Sander’s comprehensive view of society is most apparent in his inclusion of people whose professional activity might be considered marginal, such as the hypnotist in the portfolio “The Doctor and the Pharmacist.” Also on view are portraits of politicians of multiple political persuasions. However, all Sander’s portraits are made in the same spirit of scientific objectivity and neutrality, including a series of national socialists, Jews, and soldiers of both world wars.

The cultural spectrum of “The Artists” ranges from world-class conductor to café musician, from film actor to touring player. The images in “The City” depict the life of urban dwellers on festive and solemn occasions; people living on the fringes of urban society, such as circus artists, gypsies, transients and city youth. The section also includes images of persecuted Jewish citizens, foreign workers and political prisoners. Sander devotes the final section, “The Last People,” to people on society’s outermost perimeters: the sick, the old and frail, and people born with physical or mental disabilities. On view in this section is an image of the death mask of his son Erich, who died as a political prisoner.

The seven-volume catalogue that accompanies the exhibition is available for purchase in the SFMOMA Museum Store. Published by Harry N. Abrams, the fully illustrated set is priced at $195, $175.50 for SFMOMA members.

Hours: Open daily (except Wednesdays) 11 a.m. to 6 p.m.; open late Thursdays until 9 p.m.; summer hours (Memorial Day to Labor Day) open at 10 a.m.; closed Wednesdays and the following public holidays: Thanksgiving, Christmas, New Year’s Day. Admission prices: Adults $10; seniors $7; students $6. SFMOMA members and children 12 and under are admitted free, sponsored by Thursday evenings, 6 to 9. The first Tuesday of each month admission is free.

August Sander Exhibit Getty Museum

August Sander: German Portraits (1918-1933)

Opens March 6, 2001 at the Getty Museum

Photographs by the Powerful German Master

This exhibition highlights more than 125 photographs that survey this German master's portraiture of the 1920s and early 1930s, and reveal the turbulent face of Germany during the Weimar period after WWI, just prior to the rise of Adolf Hitler's Third Reich. The exhibition will be on view from March 6 through June 24, 2001, at the J. Paul Getty Museum. It examines a significant period of Sander's prolific career through works that were selected from more than 1200 Sander photographs in the Getty's collection - the largest holding outside of Germany.

August Sander (1876- 1964) is revered in Germany as a father of modern photography. Since the 1920s, his work has had an enormous influence on generations of artists around the world. He is known primarily for his iconic photographs of farmers, artists, bricklayers, musicians, cab drivers, bureaucrats, dancers, industrialists, secretaries, the unemployed, and the disabled. Together these images form a collective "portrait" of pre-World War II German society, and reflect Sander's then-idealistic view of the existing social order. Many of these works will be on display at the Getty. Ironically, in the rise of the Third Reich, Sander himself became a focus of persecution. He eventually moved from Cologne to the relative safety of the countryside, leaving behind 30,000 glass negatives that were later destroyed by fire in 1946. Sander's photographs of his house and studio made before the Allied bombing of Cologne will also be on view in the exhibition.

Judith Keller, associate curator of the Getty's department of photographs, commented, "With each of our shows, the department of photographs tries to share with our audience more of the permanent collection. The Sander exhibition, drawn from our exceptional Sander holdings, takes another look at one of the masters of portraiture at a time when this genre is again popular with painters and photographers. In his own way, Sander employed his camera to put his country back together after World War I, one man, one picture at a time. His portraits take on added resonance in light of the devastating war that followed."

Sander reached artistic maturity during the Weimar Republic (1918-1933), when many German artists were inspired by a refreshing political freedom. Berlin had become an international artistic center and a new Realism in painting reflected observations about contemporary government and society. The era's cultural icons and references included the Bauhaus school, Joseph von Sternberg's film Blue Angel, Bertolt Brecht's Three Penny Opera, Alfred Döblin's novel Berlin Alexanderplatz, and Thomas Mann's The Magic Mountain.

Fueled by the Cologne Progressives, a group of radical young painters he met in the early 1920s, Sander embarked on a grand artistic enterprise. He began an ambitious project he called "Citizens of the Twentieth Century," and sought to portray the German social order through images of "types" or population groups. He began by revisiting his earliest portraits of peasants from his native Westerwald region and added an extensive series of portraits that blended his conservative views and nostalgia for the past with a progressive future vision. The photographs he created as part of this project are considered his most significant work.

With the rise of Hitler's political power and the advent of the Third Reich in 1933, Sander's career took a turn for the worse. His son Erich, a communist party member, was arrested, and Sander was scorned by the Nazi authorities. He moved to the small village of Kuchhausen and managed to bring with him and thus save 10,000 negatives. He was forced to abandon his politically sensitive work and concentrated instead on landscape photography. While he never completed his ambitious "Citizens" project, he left a compelling body of work reflecting the contradictory and complex nature of the era.

"Sander continuously walked the fine line between social satire and factual recording. Because of their multivalent character, Sander's photographs have been sources for artists working in a variety of materials from poetry to motion pictures," commented Weston Naef, curator of photographs.

For this exhibition, the Getty photographs galleries will be organized into sections related to Sander's own hierarchy of subjects. These include: First and Last (from the rural peasants to the urban unemployed), Women and the Metropolis, and Tradesmen and Professionals, with a final section portraying his house and studio.

Concurrent with the exhibition, the Getty is publishing a new book about Sander in its In Focus photography series. It will be on sale at the Getty bookstore and online for $17.50 (paperback).

The In Focus series makes available in an affordable format the Museum's significant holdings of works by major photographers. Each volume contains approximately 50 photographs with commentaries, an introduction, a chronology, and a transcription of a colloquium on the photographer's life and work. Among the contemporaries of Sander featured in this series are André Kertész, László Moholy-Nagy, Man Ray, Alfred Steiglitz, and Doris Ulmann.