WANAFOTO: Cologne

Showing posts with label Cologne. Show all posts

25/07/25

Lee Friedlander, Joseph Rodríguez, Garry Winogrand @ Museum Ludwig, Cologne - "Street Photography" Exhibition Curated by Barbara Engelbach

Street Photography

Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne

Through October 12, 2025

Lee Friedlander

New York City, 1963

Gelatin silver paper, print after 1963, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

New York City, 1969

Gelatin silver paper, print after 1978, 22,9 x 34,2 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

220 West Houston Street, NY 1984,

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The street life of cities has always been a fascinating subject for photographers, who have approached it in a variety of ways, from candid images documenting urban unrest to portraits that shine a spotlight on individuals. Since the nineteenth century, cities and photography have been directly linked through the idea of modernity. With the introduction of compact cameras such as the Leica, street photography developed into its own genre in the mid-twentieth century. Small-format cameras gave photographers greater flexibility and enabled them to respond quickly while remaining discrete. They explored public space without obtruding and, in contrast to staged photography, captured candid and spontaneous moments that had previously been considered unworthy photographic subjects. Influenced by Henri Cartier-Bresson’s concept of the “decisive moment,” these photographers sought to capture the fleeting instant when light, composition, and subject aligned to convey the significance of an event.

Lee Friedlander

New York City, 1965

Gelatin silver paper, print after 1965, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1970

Gelatin silver paper, print after 1981, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

I picked him up at a club and I took him to

Brooklyn. He was a happy camper, NY 1984,

Gelatin silver paper, print after 1988, 24,8 x 36,8 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This exhibition in the Photography Room at the Museum Ludwig is dedicated to three protagonists from two generations of street photography: Garry Winogrand (b. 1928 in New York, d. 1984), Lee Friedlander (b. 1934 in Aberdeen, Washington, based in New York), and Joseph Rodríguez (b. 1951 in Brooklyn, based in New York). Despite all three photographers sharing the same subject matter, each one pursues a singular approach that produces distinct results. Iconic photographs from the 1960s to the 1980s are displayed alongside lesser-known examples from each photographer’s oeuvre. All of the works on display were included in donations made by the Bartenbach Family in 2015 and Volker Heinen in 2018, or have been acquired by the Museum Ludwig since 2001.

Lee Friedlander

New York City, 1966

Gelatin silver paper, print after 1966, 22 x 32,9 cm

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Lee Friedlander

Mount Rushmore, 1969

Gelatin silver paper, print after 1969, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The landmark exhibition "New Documents" at the Museum of Modern Art in New York in 1967 helped launch the careers of Garry Winogrand and Lee Friedlander. Their striking photographs broke with visual conventions, such as a level horizon line or a centered main subject. Garry Winogrand frequently tilted his viewfinder, producing skewed horizon lines that offer a new view of reality and make his images appear spontaneous, as does his purposeful use of blurriness, overexposure, underexposure, and backlighting. Lee Friedlander, in turn, created compositions in which the viewer’s gaze is hindered by obstructions, such as shadows, signs, architectural elements, and streetlights, or is disoriented by reflections.

Garry Winogrand

Circle Line Statue of Liberty Ferry, New York, 1971

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1973

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand and Lee Friedlander, who are represented in the exhibition with twenty images each, both use photography in a self-reflective way that brings the formal aspects of photography to the fore. This encourages an analytical gaze, producing an emotional distance between the viewer and the subject, which often results in ambivalent images where the intention of the photographer remains unclear. Garry Winogrand and Lee Friedlander each developed their own distinct style, embracing originality and authorship by merging documentary photography and personal expression. While they attempted to distance themselves from photojournalism and social documentary photography, eschewing eventbased, narrative-focused, and emotionally charged imagery, Joseph Rodriguez’s work deliberately engages with these genres. He aspires to give visibility to marginalized people by communicating with his subjects and attempting to tell their stories. Many of his photographs are accompanied by short commentaries that provide information about the context in which each image was created. Joseph Rodríguez’s pictures employ unusual perspectives and surprising compositions, and his use of reflections emphasizes the subjectivity of the photographer’s empathic gaze beyond the momentariness of the shot. The exhibition features around twenty photographs from his Taxi series.

Joseph Rodriguez

East Village, NY, 1984

Gelatin silver paper, print after 1988, 25,3 x 37,4 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

Pulaski Skyway, New Jersey, 1984

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This is the first exhibition in the new Photography Rooms at the Museum Ludwig, centrally located on the second floor.

Curator: Barbara Engelbach

MUSEUM LUDWIG

Heinrich-Böll-Platz , 50667 Köln

www.museum-ludwig.de

Street Photography - Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne, May 3 – October 12, 2025

06/04/24

Artist Roni Horn Exhibition @ Museum Ludwig, Cologne - "Roni Horn: Give Me Paradox or Give Me Death" + Catalogue

Roni Horn

Give Me Paradox or Give Me Death

Museum Ludwig, Cologne

March 23 – August 11, 2024

Museum Ludwig presents Roni Horn: Give Me Paradox or Give Me Death, a solo exhibition of works by influential American artist Roni Horn. The exhibition includes over 100 works, spanning from the beginning of the artist’s decades long career to present day.

Roni Horn's work spans from photography to drawing, artist books, sculpture, and installation. Behind this openness lies the artist's understanding that everything in the world is mutable and cannot be subjected to fixed attribution. The exhibition at the Museum Ludwig examines this idea through three recurring themes in Roni Horn's work: nature, identity, and language.

The title of the exhibition is derived from a quote by Patrick Henry, an advocate for American independence in the eighteenth century, who concluded a speech with the words, “Give me liberty or give me death!” Roni Horn is more interested in the visual power of the quote than its original context; in her adaptation of the structure of Henry’s famous exclamation, she substitutes the word "paradox" for "liberty", thus equating the meanings of both terms. For Roni Horn, paradoxes are a way to access ambiguity, a quality in which things may contain their opposites.

Upon entering the exhibition, viewers are greeted by This is Me, This is You (1997-2000), a photographic work installed on two opposing walls. Each wall contains 48 framed photographs of the artist’s niece, which were taken over a two-year period during her adolescence. Every photograph corresponds with one on the opposing wall, showing subtle changes between split seconds. As she explains in a 1989 interview, “The pair form, by virtue of the condition of being double, actively refuses the possibility of being experienced as a thing in itself.” Here, Horn not only employs doubles or pairs, but also speaks to identity’s constant flux.

Yilmaz Dziewior, curator of the exhibition, comments, “Roni Horn began exploring fluid representations of gender long before terms such as 'genderqueer' and 'nonbinary' entered public discourse. In her (self-)portraits, you see a person who fluctuates between genders without needing to find a specific term to describe this mode of being. She shows humans as organisms constantly manifesting themselves in a state of perpetual transformation. While extremely precise and highly aesthetic, her objects, photographs, and drawings have a liberating and emancipatory potential because they are often intangible and indefinable.”

Moving through the exhibition, viewers encounter never before exhibited drawings from the late 1970s, in addition to a selection of pigment drawings produced between 1983 and 2018.

Photographic works on view include the seminal work Still Water (The River Thames, for Example) (1999), comprised of 15 photographs which act as a portrait of the River Thames in Southern England; a.k.a. (2008-09), which depicts the artist at different moments throughout her life, and Portrait of an Image (with Isabelle Huppert) (2005-06), where Horn has photographed actress Isabelle Huppert posing as characters from her films.

Sculptures in the exhibition include works from the series When Dickinson Shut Her Eyes (1993-2008), where Roni Horn has recreated poems by Emily Dickinson; Gold Field (1980/1994), a work composed of 99.99% gold foil; and Untitled (“The tiniest piece of mirror is always the whole mirror.”) (2022), a ten-unit solid cast glass work that reflects its surrounding environment.

RONI HORN

Roni Horn was born in New York in 1955. She graduated from the Rhode Island School of Design in 1975. In 1978, Roni Horn graduated with a master’s degree in sculpture from Yale University. Her oeuvre focuses on conceptually oriented photography, sculpture, drawing, and books. Since 1975, Roni Horn has traveled extensively in the more remote landscapes of Iceland. These solitary experiences have long been important influences in her life and work. Literature and Roni Horn’s prodigious reading have had a similarly profound impact on her work across various media.

Recent solo exhibitions include: Tate Modern, London; Whitney Museum of American Art, New York; Centre Pompidou, Paris; Kunsthaus Bregenz, Austria; Kunsthalle Hamburg, Germany; Kunsthalle Basel, Switzerland; Fundació Joan Miro, Barcelona; De Pont Foundation, Tilburg, The Netherlands; Fondation Beyeler, Riehen, Switzerland; Glenstone Museum, Potomac, MD; Pinakothek der Moderne, Munich; Menil Drawing Institute, Houston, TX; Pola Museum of Art, Hakone, Japan; Bourse de Commerce – Pinault Collection, Paris; Winsing Arts Foundation, Taipeh; Centro Botín, Santander, Spain; He Art Museum, Guangdong, China. This year, in addition to the exhibition at Museum Ludwig, Roni Horn have a major solo show at the Louisiana Museum of Modern Art in Humlebaek, Denmark.

Roni Horn: Give Me Paradox or Give Me Death

The exhibition is accompanied by the catalogue Roni Horn: Give Me Paradox or Give Me Death, ed. by Yilmaz Dziewior; with text contributions by Yilmaz Dziewior, Zoë Lescaze, Andrew Maerkle, Isabel de Naverán, and Kerstin Stakemeier; German/English. Hardcover, 312 pages, 21.5 × 27.5 cm, approx. 180 col. ill., Steidl Verlag, Co-published with the Museum Ludwig - ISBN 978-3-96999-379-8

MUSEUM LUDWIG, COLOGNE

Heinrich-Böll-Platz, 50667 Köln

www.museum-ludwig.de

09/12/20

Andy Warhol Now @ Museum Ludwig, Cologne

Andy Warhol Now

Museum Ludwig, Cologne

12 December 2020 - 18 April 2021

Andy Warhol is indisputably the best-known representative of Pop Art. His iconic subjects such as Marilyn, the Campell’s soup can, and Coca-Cola bottles are part of the collective memory. Thirty years after his last retrospective in Cologne, Andy Warhol Now presents Andy Warhol as an artist whose innovative work can be rediscovered, especially for a young generation in the age of migration and social diversity.

Andy Warhol (*1928 in Pittsburgh – †1987 in New York) captivated and polarized people with his personality, and his art shaped an entire era. His multifaceted work redefined the boundaries of painting, sculpture, film, and music. Even more than his deliberate flirtations with the world of commerce and celebrities, from today’s perspective his advocacy of alternative ways of life makes him an exceptional artist who can still reveal new interpretations and insights.

As a young man from a religious, working-class milieu, Andy Warhol carved his own path into the artworld, which was still dominated by Abstract Expressionism. In his early work, personal, often homoerotic drawings stood alongside commissions as a successful advertising illustrator, while his unmistakable screen prints made him the epitome of the new Pop Art movement. His explorations of advertising, fashion, music, film, and television attest to Warhol’s lifelong fascination with pop culture. But just as his celebrity portraits and Coca-Cola bottles held a mirror up to American society, Andy Warhol stands for a diverse, queer counterculture that found its expression not least in his New York studio, the Factory.

This major exhibition follows this path with over 100 artworks in a variety of media and illuminates Andy Warhol’s expanded artistic practice against the backdrop of pressing social issues. Famous key works such as the Elvis Presley series and colorful variations of an electric chair are represented as well as less well-known aspects, which allow for a current view of this artist of the century in a time of political and cultural upheavals. For instance, it illuminates the influence of Andy Warhol’s immigrant background as the son of Rusyn immigrants in Pittsburgh, which is reflected in a complex processing of religious themes and subjects, among other things. Many works, such as the magnificent series Ladies and Gentlemen, show Andy Warhol as a queer artist who postulated openness and diversity as fundamental and vital factors of a diverse society. In this way, in his work Andy Warhol continually and expertly negotiates topics that remain highly relevant today.

The exhibition is organised by Museum Ludwig and Tate Modern, London in collaboration with the Art Gallery of Ontario, Toronto and Aspen Art Museum, Colorado.

Curated by Yilmaz Dziewior, Director, Stephan Diederich, Curator, Collection of Twentieth-Century Art, Museum Ludwig, Gregor Muir, Director of Collection, International Art and Fiontán Moran, Assistant Curator, Tate Modern.

ANDY WARHOL NOW

Verlag der Buchhandlung Walther König

Museum Ludwig, Cologne

A catalogue has been published in German and English, edited by Gregor Muir and Yilmaz Dziewior, with texts by Kenneth Brummel, Diedrich Diederichsen, Stephan Diederich, Yilmaz Dziewior, Olivia Laing, Fiontán Moran, Gregoir Muir, Charlie Porter, and Martine Syms. London/Cologne 2020/2021, 224 pages. 200 color illustrations, 21,9 x 28,9 cm, Verlag der Buchhandlung Walther König.

MUSEUM LUDWIG

Heinrich-Böll-Platz, 50667 Köln

www.museum-ludwig.de

14/01/07

Sam Samore: The Suicidist, Galerie Gisela Capitain, Cologne - Texts by Bob Nickas and Max Henry

Sam Samore: The Suicidist

Galerie Gisela Capitain, Cologne

January 13 - February 24, 2007

This is the first exhibition by Sam Samore in Europe that combines two series of photographs: The Suicidist from 1973 and The Suicidist (continued) from 2003-. Currently both series are shown at the P.S.1 Contemporary Art Center in New York (curated by Bob Nickas; until 29 January).

„In the revisited series, “The Suicidist (continued),” which includes pictures made between 2003 and 2006, Samore shifts from everyday interiors and settings, casual dress, and a midrange vantage point to more austere spaces, each tightly framed, and with the artist appearing impeccably dressed. The hippie/student of the 1973 pictures is now an international businessman, easily interchangeable with any other dark-suited, corporate figure. This transformation of the victim/protagonist is most heightened in pictures that echo a number of earlier compositions, most notably one in which a body is slumped over a pill-strewn desk. By bringing his camera closer to the scene, Samore draws the viewers into the picture—as if they have just discovered the body—and creates a dream-like atmosphere.

Playing the role of both actor and director, Samore stages his own death in various ways—strangled with a telephone cord, asphyxiated, overdosed—and examines a macabre psychology in works that are both cinematic and documentary. These black and white pictures evoke both contemporary film noir and a crime scene investigation, and also offer an eerie take on the self-portrait.“ - Bob Nickas

„The photographic work of Sam Samore is linked to post-conceptual art of the 1970’s. In his well-known filmic work of the 1990’s Allegories of Beauty (Incomplete), and the 1980’s Situations, the artist made iconic pictures about beauty, antagonistic rivalry, voyeurism, non-linear narration and the isolated character marooned in his/her own existential drama. Authorship, the perception of the individual in the public domain and a focus on physical composure are aspects of these enigmatic images.

Early in his career Samore studied psychology, leading him to create a new body of work in 1973: The Suicidist, which set the tone for his later depictions of the anti-hero/heroine. An interest in literary devices, myths and fables, the film storyboard and exposition became established themes in his oeuvre. Text based installations, sound pieces and videos have further enhanced his investigations.

In place of the exalted, romantic American heroines of Cindy Sherman’s film stills from the same period, Samore inhabits in part the existential angst and anarchist comedy of La Nouvelle Vague. Predating the pre and post-millennial culture of medication or “pill society” they are in line with a literary tradition connected to author/artist as creative martyr.

The cinematic corpse also factors into The Suicidist, as seen in the final scenes of Godard’s A Bout de Soufle where the body of a dead Paul Belmondo lies on a Paris street. The narrative endgame of rigor mortis however, is not assigned only to the photograph. Manet’s painting Le Toreador Mort shows a bullfighter laid flat on the ground, a lifeless body dressed in the finery of a showman now relegated to a shape and form on the canvas. Manet’s painting may be considered a precursor to filmic realism and the aspect ratio of body proportion to the frame within the camera lens.“ - Max Henry

GALERIE GISELA CAPITAIN

St. Apern Str. 20-26, 50667 Cologne

www.galeriecapitain.de

05/05/06

Margarete Jakschik: Pardon My Heart, Galerie Gisela Capitain, Cologne

Margarete Jakschik: Pardon My Heart

Galerie Gisela Capitain, Cologne

May 5 - June 17, 2006

'Pardon My Heart' is the first solo exhibition of Margarete Jakschik at Galerie Gisela Capitain.

A fascination for the music-scene of Los Angeles in the 60's and 70's was the starting point for a sojourn in the city, to trace this yearning and nostalgia for a bygone era and its sentiments.

The results of this research trip do not show traces of a scene that no longer in existence, but they distil a kind of hangover of the morning after.

The photographs in the show are timeless, melancholic snap shots of unfulfilled expectations, they betray a European view for the golden West: the gaze wanders from the inside to the outside, stumbles through blinds and dull window panes, into sunlit gardens, through courtyards and towards empty lanes that lead to nowhere.

Documents of a sentimental search result in the end in a very personal story.

The title of the exhibition: 'Pardon My Heart' - is a quote from a Neil Young song, conveying in a poetical way the working method of the artist: Her openness towards sensibilities, the memorising in her photographs of the half-tones in the vernacular of every day life, giving the viewer the possibility to discover in these works their very own worlds.

"I follow the road, though I don't know where it ends."
(Neil Young, On the Beach)

GALERIE GISELA CAPITAIN

St. Apern Str. 20-26, 50667 Cologne

www.galeriecapitain.de

31/01/04

Wolfgang Laib, Buchmann Galerie, Cologne - Where the Land and Water Ends

Wolfgang Laib

Where the Land and Water Ends

Buchmann Galerie, Cologne

Hasselblad at Photokina

Köln 18-23 September 1996

Hasselblad is showing is Multi image show Aqua every 30 minutes. The program, which is presented using 20 Hasselblad PCP80 projectors, consists of 630 different individual images often surrounded by a panoramic image. The final version features the work of 92 photographers.

At the seminars arranged by the Hasselblad University the following lectures will appear Judy Holmes, Christopher Springmann, Walter Schels, Ernst Wildi and Tony Corbell. The seminars are about 45 min and free tickets from Hasselblad's reception desk are required.

Judy Holmes "Wildlife - Outdoor Photography"

21 Sept. 11 a.m., 22 Sept. 2 p.m., 23 Sept. 2 p.m.

Judy Holmes is an exceptionally talented and dedicated outdoor photographer with a MBA from the Dartmouth College. Her incredible images have been featured in countless L.L. Bean catalogues and dozens of magazines, posters and gallery prints. She has been an artist in residence at the Disney Institute and taught for Hasselblad USA Inc. in 24 cities over the past two years. She recently published "Eye On Nature" which is an elegant little guide to outdoor and wildlife photography covering everything from exposure, composition to lab selection and image filing systems.

Judy Holmes has spent a great deal of time working on remote locations and she has accumulated a wealth of helpful information which you will benefit from in this clear, down-to-earth educational photokina Seminar.

Christopher Springmann "Commercial Photography"

21 Sept. 2 p.m., 22 Sept. 4 p.m., 23 Sept. 11 a.m.

Christopher Springmann is an American freelance advertising and fashion photographer from San Francisco, who has specialized in location portraiture for advertising and in trade publications covers and consumer magazines. He long ago abandoned the comfort and security of the studio for the opportunity and ultimate rewards of working on location with an equipment-filled van. His very dynamic photography has given him a clientele of many of the best known companies in the U.S. such as ATT, General Electric, IBM, National Geographic and many more.

Christopher Springmann also teaches photography at the prestigious Santa Fe Photographic Workshops, where he shows in step-by-step fashion, how studio-quality lighting is created on location by combining electronic flash and quartz lighting with the existing daylight to produce a "new reality".

During this Photokina Seminar Christopher Springmann will show and lecture on his innovative lighting control techniques, which in combination with the FlexBody have created the most memorable images.

Walter Schels "Portraits - People and Animals"

18 Sept. 11 a.m., 19 Sept. 4 p.m., 20 Sept. 2 p.m.

Walter Schels worked abroad as a decorator until 1965. In New York the dedication to photography became his profession and years of fashion, advertising and reportage photography followed, like for instance the covering of more than 50 births. The face of the new born baby, which many times is suggestive of an old man's face, created an interest in faces and portrait photography. A great number of portraits of artists, musicians, politicians, philosophers, scientists and others, even of blind people, followed.

The same interest was also turned to animals. It even served as models to the human portraits, because animals have no complex in regard to appearance or originality. Babies and very often also old people share this with the animals.

Since 1990 Walter Schels lives and works in Hamburg. In addition to exhibitions in Germany and abroad, also the publishing of works like "The open secret" in 1995 with physiognomic reflections on the new born baby and the old man's face.

Ernst Wildi "Light metering and successful photography"

18 Sept. 2 p.m., 19 Sept. 11 a.m., 20 Sept. 4 p.m., 22 Sept. 11 a.m.

Ernst Wildi has distinguished himself as a photographer, speaker and writer with the capability of explaining and illustrating photographic ideas and techniques in a way that is easily understood and remembered. He has written over 200 articles for amateur and professional photography magazines and is the author of "The Hasselblad Manual" now in its fourth edition, and "Medium Format Photography manual", now in its second edition published by Focal Press.

Ernst Wildi, a craftsman in the Professional Photographers Association and fellow in the photographic Society of America, is the recipient of the 1990 Bill Stockwell Memorial Award from the Wedding Photographers international and the Professional Photographer's 1991 Gerhard Bakker Award for distinguished contribution in Visual Education.

He holds the degrees of Honorary Master of Science in Professional Photography from Brooks Institute of Photography, and Honorary Professor of Photography at East Texas State University and Sam Houston University in Huntsville, Texas.

Tony Corbell "Lighting Control"

18 Sept. 4 p.m., 19 Sept. 2 p.m., 20 Sept. 11 a.m., 23 Sept. 4 p.m.

Tony L. Corbell, photographer, educator, technical lighting specialist and Manager of Corporate Communications from Hasselblad USA Inc. will give you a thorough understanding of quality-of-light and illustrate how to apply that understanding for more effective lighting control.

Tony L. Corbell has taught lighting at the internationally renowned Brooks Institute of Photography and produced the Finelight series of books and tapes by Dean Collins, and will in this Photokina Seminar also explain his theories on photographing people and products the same way in his approach to utilizing various types of lighting to create shape, depth and roundness in the images.

HASSELBLAD

www.hasselblad.se