Issue: 19910202

Saturday, February 2, 1991
SPRING 1991
123
True
1991
Wednesday, July 15, 2015
8/26/2015 7:48:50 PM

Articles
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APERTURE
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Editor's Note
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Between Past and Future: New German Photography
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THE EDITORS
Now that the giddy celebrations that marked reunification have ended, Germany finds itself still confronted by unresolved questions of its past and its hopeful but uncertain future. “Between Past and Future: New German Photography” examines the state of Germany today, as well as the tremendously varied photography being produced there.
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APERTURE
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2,3,4,5,6,7,8,9
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Reclaiming a Legacy: Photography in Germany and German History
From the glories of Berlin’s Golden Twenties, to the nadir of the Nazi Era, to the renewal of art and society after World War II—the path of German photography in this century has paralleled the history of the country itself.
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Klaus Honnef
Photography in Germany can look back on a grand tradition. In the twentieth century, German photographers have made essential contributions to the history of the medium. The years after World War I produced an extraordinarily rich cultural climate, fueled by the efforts of artists and intellectuals to distance themselves from the prewar hierarchical society of Prussian militarism.
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10,11,12,13,14,15,16,17,18,19,20,21,22,23,24,25
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Another German Autumn
Amidst the euphoria of reunification, Ulf Erdmann Ziegler reflects on the 1970s, when discontent with West German consumer society sparked a campaign of urban terrorism—revealing contradictory attitudes toward the question of Germany’s moral responsibilities.
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Ulf Erdmann Ziegler
Whenever a German runs into another German, be it on the Spanish Mediterranean coast or in downtown Manhattan, he turns away and stops talking. Being German is already an embarrassment, but it is the presence of the other German that makes being German unbearable.
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A View from the Temple: The Photographs of Herbert List
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Max Scheler
In the late 1920s and early '30s Hamburg was second only to Berlin as an artistic center in Germany; a leading figure in the city's art scene was the son of a Hamburg coffee merchant, Herbert List. In 1929 Stephen Spender came to Hamburg to see the new liberal Germany; in his novel The Temple, Spender describes meeting List and the circle of young people around him.
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East Side, West Side: Berlin Between Euphoria and Anxiety
Long the eastern outpost of the Cold War West, Berlin became a thriving center for avant-garde art and photography. With reunification and the collapse of the Wall, the city will change—for better or worse.
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Dieter Hildebrandt
Berlin is well on its way to being once again the Hauptstadt, the capital city, of a newly reunited Germany. But as Dieter Hildebrandt writes in the following essay, many Berliners regard that likelihood with mixed emotions. Berlin in the Golden ’20s was the throbbing center of a remarkably rich cultural and artistic scene—a scene whose more extreme manifestations were captured by Christopher Isherwood in his Berlin Stories.
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42,43,44,45,46,47,48,49
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Another Country
A look back on the brief and unhappy history of the German Democratic Republic, better known as East Germany, and the difficulties of photographers who worked under it.
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Christoph Tannert
Events in what was the German Democratic Republic, or East Germany, are occurring so rapidly that there is little time to pause and reflect on their meaning. And yet the new Germany desperately needs such a breather. East Germans, emerging into the world from their national ghetto, have suddenly been pushed into social and democratic adulthood.
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50,51,52,53,54,55
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Memory’s Quest
Memories of the destruction brought about by World War II remain vivid and painful for Germans. Novelist Martin Walser describes one man’s attempt to reconstruct the memories recorded in his family photographs, lost in the firebombing of Dresden.
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Martin Walser
Memories of the Second World War and its terrible consequences retain an overwhelming importance for Germany today. In the following excerpt from his current work in progress, Die Verteidigung der Kindheit (The defense of childhood), novelist Martin Walser presents the story of a young man whose family home was destroyed in the firebombing of Dresden in February 1945, and who for years afterwards attempts to reconstruct the family history that had been encapsulated in the photo albums and home movies incinerated in that horrible destruction.
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56,57,58,59,60,61,62,63,64,65,66,67,68,69
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The Mask of Opticality
Exploiting the camera’s ability to provide optically precise and apparently neutral records, an influential group of German artists are reworking such familiar genres as portraits, landscapes, and architectural photography.
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Enno Kaufhold
Pictures do not explain themselves, and even if two are identical in form, it does not mean that they share the same intentions or content. Photographs are not excluded from this; those made with the greatest possible optical precision may have completely different contents or—since photographic technology can be used to produce pictures virtually automatically— may have no intended contents at all.
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70,71,72,73,74,75,76,77,78,79,80,81,82,83,84,85,86,87
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The Metaphysicians of Dionysus: Comments on the New German Photoworks
Influenced by painting, performance art, and other media, many German artists are pushing photography in a new direction marked by formal innovation and psychological drama.
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Wilfried Wiegand
The history of German photography after 1945 can be divided into three major chapters, each of which has been the labor of a different generation. The first era was shaped by people whose cardinal experience had been Germany's total collapse in 1945; a second chapter began with the "generation of 1968"; and the third chapter, which has been evolving for several years now, is that of a postmodern "post-1968 generation."
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People and Ideas
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POINT OF VIEW: A PHOTO MAP OF GERMANY
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Thomas Weski
When the Nazis came to power in Germany in 1933, the loss for photography and culture in general was vast. In the liberal climate of the Weimar Republic, German photography had been astonishingly innovative. But with the rise of the Nazis all that changed.
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People and Ideas
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FROM THE END OF THE WORLD TO SMACK DAB IN THE MIDDLE:
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Charles Hagen
Wim Wenders had just returned to Berlin from shooting his next film, Until the End of the World, when we spoke with him recently. "It's fantastic," Wenders, one of the leading filmmakers of the postwar generation, said of the changes that have overtaken the city in the past year.
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People and Ideas
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AARON SISKIND, 1903-1991
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Aaron Siskind, renowned photographer and teacher, died on February 8, 1991, at his home in Pawtucket, Rhode Island. Born in New York in 1903, Siskind taught English in the New York public schools before turning to photography in the 1930s.
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CONTRIBUTORS
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CONTRIBUTORS
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GOSBERT ADLER, born in 1956, studied photography at the University of Essen. He lives in Berlin. DIETER APPELT, born in Niemegk in 1935, studied experimental photography with Heinz Hajek-Halke in Berlin, where he now teaches at the Academy of Art.
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ACKNOWLEDGMENTS
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A great many people, in Germany and the United States, have contributed time, energy, and ideas to help make this issue a reality. We would like to thank first of all the members of our Advisory Committee: Ulrich Domröse, Ute Eskildsen, Janos Frecot, Manfred Heiting, Klaus Honnef, F.C. Gundlach, and Peter Weiermair.
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CREDITS
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NOTE: In the following credits, dimensions are given for prints 24 × 36" or larger, with the height listed first. Unless otherwise noted, all photographs are courtesy of, and copyright by, the artists. Cover photograph by Jaschi Klein, 24 × 20" Polaroid;
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Linhof
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Linhof
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advertisement
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Rodenstock
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Rodenstock
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advertisement
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zoom: ZOOM Magazine
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ZOOM Magazine
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Advertisement
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Back Cover
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Back Cover
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