This exhibition accompanying publication of the Academy of Visual Arts Leipzig is devoted to the complex investigations and ingenious achievements of the scientist. The Letter sized stapled publication is emphasized withdrawn without titel, with typical folder cover material “clouds-marbled paper” and exclusively black tinted pages as a facsimile archive. In one font size designed, all the finds from the estate of the engineer are listed and merged with appropriate vintage imagery. Another photo image archive published, as it has become prominent known in recent years of photo books from the “Leipzig School” .
The large-format square book was published in 1975 and is one of the early US-American publications that have left the common path of typical single monographic picture albums aware. The so-called ”1968-generation” was looking for ways to charge up complex structures and above all, individual experiences with the visual medium of photography to make comprehensible. These primarily served the medium of the book, but it was next found on the film. One of the important early publications in this context is the here presented book. In the compilation of the photographs, with its complex layout and in the extension with documentary material, a novel narrative structure of the book was found. One of the pioneers of this contextualizing narrative book conception is Robert Frank’s “The Lines of My Hand” from 1971.
The Book Flowers and Trees by Lee Friedlander corresponds in essential aspects to the typical US-American photo book of the 1960 to 1980 years. Friedlander is one of the most important photographers of this period, a time in which the medium reached its preliminary highlights especially in the US with “photographic art” recognition, which was not already an obvious reception as a part of the visual arts. In its clear commitment to the book as a standalone presentation medium for photography and with his variety of “self-published books” he is one the few pioneers of today’s scene. The majority of his early books were created so without there has been for a term. His unusual fondness for the tactile qualities of the book body, for matte uncoated papers and for complex multitone-printing of his monochrome prints found in the cooperation with the printer Richard Benson also repeatedly highlights that was seminal for the history of the visual medium. The book published in 1981 represents in complex processes, an image album of frames in a conservative layout (if one can speak of it). By complex made ring binding in unusual colors of the canvas covers, the album character is marked by “solitary” frames. Although the book corresponds to the smallest way our current research claim. Anyway, books of Friedlander must nevertheless remain part of the debate about the photo book today.
Damien Hirst –“I want to spend the rest of my life everywhere, with everyone, one to one, always, forever, now.”
Damien Hirst became known with provocative installations in the late 1980s and early 1990s, where he laid his fingers into the still bloody wounds of modern consumer societies. Not only with installations of sliced animals, machinery of destruction and pharmaceutical laboratories he has penetrated deeply into these wounds. This book was in 1998 his first major monograph and was created in collaboration with the graphic designer Jonathan Barnbrook. The publication expands Hirst concept of installation into the book body and it manages to realize this in a standalone form opulent manner. He exploited pretty much any bookbinding special form of the medium, fold-outs, pop-up figures, transparencies, decals, sticker, cuts, paper models, as well as the absence of a coherent text form, the quote-scale use of scientific panels, advertisements and other multi-layered references, make this book an exceptional artistic work. Although the vast parts of the representation of his installations are realized with a wide-ranging use of the photographic medium, arises at this point and in this context the crucial question, is this even a photo book?
The book is not a classic photo book, where the photographic images are in the foreground. Rather, the work is a conceptual work made from the collection of several authors. Walter Kälin, Lars Müller and Judith Wyttenbach as editors have undertaken the trial on 500 pages with 720 photographs, to form a thesis about the reality of the UN Human Rights Carta as a current global statement. In colored contrasting chapters, analogue to various human rights, the articles are assigned in typographically high quality and backed with visually formulated theses.
The book “Airports” by the Swiss Fischli & Weiss is an early exceptional example of their artist’s books, published by Patrick Frey Editions in Zurich in 1989. Rather untypical for their later mostly small scaled inconspicuous books, here the external shape of typical large-scale opulent picture books (12”h x 17”w) is selected as a quotation. With 40 wide scaled full framed overview images the book presents several airports somewhere in the world. The photographs of airfields, movement- and parking-areas for planes show universal-designed functional spaces, that elude completely any topographical map. The global aviation standards have shifted unique places into a universal functioning apparatus of lost emotion and identity. The book further omits any explanatory texts and reduces its content to the opulence of its pictorial representation.
Peter Hill Beard’s first book “The End of the Game” was published in 1965 by Viking Press, N.Y. and marks an unusual handling of the artist and photographer with the book as medium in our field of photo books. In the book, the destruction of wild Africa is documented with for this time very untypical color images, but as well with classic black and white photography. Complex additional informations complement these haunting realized mostly with borderless image sequences within chapters, connected by self-written text material on leading autobiographical notes and illustrations. So Beard achieved a book of high complexity and informative and aesthetic sustainability, that is rarely seen with the typical U.S. American photographer books.
The book ‘The Bikeriders ” is the first book by Danny Lyon, published in 1968. This compact sized paper back is extremely atypical layouted for a for U.S. photo book since it unites not only an extensive series of black and white photographs, but also a extensive body of authentic experienced reports by Lyons himself. He had been connected for a period of his life with gangs of outlaws as “american cyclists” and took photographs as social part of those. The extension of the photographic series with autonomous text is up to this time extremely unusual for the american photo book and can be seen as a typical invention of 1968 generation of photographers, who have sought for a coherent form within the medium book.
This small-sized book with photographs from Jens Liebchen describes the departure from Japan after the tsunami and during the disaster at Fukushima on March 13th, 2011. He photographed during the bus ride to the airport and its departure to Germany in casual pictures an inventory, which focuses on the limits of the medium photography. In his images neither the devastation, the floods nor the radiation is to be seen, just everyday situations. A disturbing resting normal state is transmitted in an almost cinematic image sequence on the book. In borderless full formats, always on the right page the escape from the disaster is almost set as the flipbook.
The book Paris Mortel -Retouchè is published in 2013 by Van Zoetendaal Publishers. It is a exquisite work-up of a rare and wonderful photobook Paris Mortel from the early 1960s from the Dutch photographer Johan van der Keuken. A book about a book, meticulously researched by van Zoetendaal, prepared with excellent typographic design and published in a advanced form of the book medium. He presents a selection of Van der Keukens photographs in a classic image layout within exquisite print quality. He presents to us reproductions of the first marquette from 1958, designed by van der Keuken itself, and bound from original photo paper prints in 24x30cm size as unique form without text content, now here shown on gray background. And he presents reproductions of the 1963 printed edition of the book Paris Mortel consistently shown even with the endpapers. This book was a small print run for the publisher C.Boers as their gift and is accordingly rare and highly sought after. It is one of the most interesting photographic publications of this time, so is considered van Zoetendaals book a late tribute to Van Der Keukens work.